Some tracks make you move. Others make you feel. The new Shake It Out EP from Parallelle and Nicolas Masseyeff somehow does both. Out now via Crosstown Rebels, the three-track release folds rich analog textures into a dancefloor-ready blend of rhythm, restraint, and raw emotion. The title track hits hard with layered percussion and hypnotic vocals, while “Everything” pulls back the energy into a more introspective space. Add in a high-voltage remix from Airrica and the package becomes more than a set of songs — it becomes a moment for sure.
We caught up with both Parallelle & Nicolas Masseyeff talk through their live hybrid mindset, their shared sense of curation, and the quiet rituals that shape their process. What came about was a reminder of what DJing can still be when it is intentional, vulnerable, and rooted in something deeper than the spectacles that so much of the industry relies on these days to simply do what a DJ’s job as always been….to move a dance floor.
When you step into the booth, what kind of mindset are you trying to bring with you?
P – Uplifting, energetic and groovy. Got to make the people dance, that’s the job.
N – I always try to step into the booth with an open mind and a clear heart. For me, it’s about being fully present, listening to the energy in the room and feeling where it wants to go. I like to approach every set with curiosity, not with a rigid plan, but with the intention to create a genuine connection between the music, myself, and the crowd.
Do you think of your sets as storytelling—or is that something that happens naturally without overthinking it?
P – It is definitely thought through, even though each track tells a story, the journey you take within a specific key, or specific music genre tells an even bigger story. We of course always leave room for improvisation and cherish the non-overthinking, and just feeling what would please the crowd at that specific moment, but better be a little prepared.
N – It’s a bit of both. I see my sets as stories, but they’re not written in advance, they unfold in real time. I might have an idea of the mood or direction, but the actual “storytelling” happens naturally, through the emotions of the moment, the reactions of the crowd, and the flow between tracks. It’s an organic process rather than something overly calculated.
Have you ever played a set that felt more like a conversation than a performance? What made it feel that way?
P – Definitely, that usually happens in after parties, or in very intimate settings, where the crowd is very much involved. We personally love this feeling.
N – Yes, many times. When the crowd is really engaged, it becomes a dialogue. You play something, they respond, and you answer back with the next track. It’s subtle but very powerful, you feel like you’re exchanging emotions rather than just playing music at people. Those are the moments when you lose the feeling of “performing” and it becomes pure connection.
How do you balance planning ahead with staying present in the moment once you’re actually playing?
P – We are two, so that makes it easier! One can plan ahead while the other is being present with the crowd.
N – I always prepare music that resonates with me at that moment in my life, but I never stick to a fixed plan. I like to have a big palette of tracks ready so I can adapt freely. Once I’m playing, I focus on the atmosphere, the people, the energy, so the planning just serves as a safety net, but the real set is always about being fully present and reactive.
Do you ever think about the emotional journey of a set as much as the technical one?
P – We actually think mostly of the emotional journey and selection. Regarding our sets, we usually do hybrid sets and combine several tracks together, create our own climax with looping and adding more synths, therefore the technique is as important as the selection.
N – Absolutely. For me, the emotional journey is the essence of the set. The technical side is important, but it’s just the tool. I want people to feel something, whether it’s tension, release, nostalgia, euphoria. A great set takes you somewhere emotionally, not just rhythmically.
What does “serving the room” mean to you—and how do you do that without losing yourself in the process?
P – There is a fine line with reading the crowd, and being a crowd pleaser. We always stay true to our craft, and music taste. Serving the room would be to play new songs that inspire the crowd, that open the understanding, that touches the emotions.
N – Serving the room means understanding what the crowd needs in that exact moment, but without compromising your own identity. It’s about finding the intersection between your taste and the energy of the people. You don’t have to play what you don’t believe in, but you can express your sound in a way that resonates with them. It’s a balance between giving and staying true to yourself.
Has there ever been a night where you felt the story you were telling land with the crowd in a real unforgettable way?
P – Definitely, even more than this, at Fusion Festival we were in sync with the weather forecast as we came in harder and it started to rain and then went more uplifting and it started to get sunny again. The crowd felt it so much, it was true symbiosis.
N – Yes, and it’s one of the most beautiful feelings. There are nights when everything aligns, the vibe, the people, the sound, and you can literally feel the story you’re telling becoming their story too. You see it in their eyes, their movements, the silence between drops. Those nights stay with you forever because you know you created a memory, not just a set.
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
