Malóne Morez (@malonemorez) and Nico Bernardini come together for the first time on “No Cure,” a new single that dropped on April 10 via This Ain’t Bristol, and the pairing makes a lot of sense on paper and in practice. The track pulls from deep tech and house with light 90s references, then builds that into something aimed squarely at the floor through rolling percussion, low-end punch, vocal texture, and late-night swing.
It is the kind of record that feels built for movement first, which fits a label like This Ain’t Bristol and also fits two artists who have spent the last few years sharpening very functional club sounds.
There is also real momentum behind each side of the collaboration.
Malóne continues his run from Miami with releases across Saved, Insomniac, Abracadabra, and Watergate, plus his ongoing Club Space residency and previous Beatport chart success with tracks like “Muy Bien” and “Besame.” Bernardini brings his own lane into it from Milan via Miami and New York, carrying a sound rooted in tech house, disco warmth, and his Harmonic Heaven label and party series. Taken together, “No Cure” reads like a record designed to work across multiple settings, from terrace sets to heavier peak-time rooms, while still maintaining a clear groove identity.
That idea connects closely to our conversation with him. The answers focus on tension, crowd attention, surprise, and the way a DJ has to shape memorable moments in a culture where so much gets filmed, clipped, and replayed. What comes through clearly is a commitment to reading the room and keeping sets alive through timing, pacing, and deeper digging. In that sense, “No Cure” lands as a useful extension of the conversation, because it sounds like a track made for exactly that kind of environment.
Interview Malóne Morez
Has the awareness that moments can travel beyond the room, through social media or iPhone filming in general, influenced how you shape a set?
It’s definitely something that I keep in mind, especially when I’m playing a festival or big club night. Creating special moments that leave the crowd with an iconic memory or specific moment / song of the night is a beautiful thing that also helps me grow, or makes the crowd want to see me again.
The art of building the tension in the room, especially during a long set, and it paying off in that specific moment we’re talking about, is one of the most satisfying things about DJing and playing sets.
Do you think the current phone-based culture rewards precision more than experimentation?
I’m all for the crowd and everyone doing whatever they feel like doing and enjoying themselves in whichever way they want. But there’s no question that the dance floors with fewer phones have 10x more connection to the music and the moment. As a DJ, I definitely can feel the difference as well.
With that in mind, what does creative risk look like for you today?
trying to play records that are unreleased or unknown and getting the same reaction or moment from a big “commercial” or well-known track / sample. I think as artists we always have to educate the crowds and continuously push to play new music and dig deep for new tracks in all our sets, and not play the same stuff all the time.
There are obviously a couple of tracks that stay in rotation that you’re really feeling at the moment, but there’s nothing like finding those gems that no one has ever heard.
When you play something unexpected, what determines whether you commit or pivot?
Usually, the reaction and energy of the crowd in the room. I think it’s super important to be able to read the room and vibe of the room track after track. Having a deep collection of music for sets and understanding the room / market you’re playing in is just as important.
How do you maintain freshness in a culture that archives everything online?
I think there’s so much good music out there and consistently coming out that there’s enough to go around. Just have to do your part as an artist to keep digging for new music and new artists that inspire you, and you dig their sound, etc.
What role does surprise still play when you’re DJing?
I think most crowds’ attention span nowadays is not what it used to be. So doing certain things throughout a set to capture that attention is crucial. It also makes the set more entertaining. Connecting with the crowd is crucial, eye contact, reading the room, the best sets / DJs I’ve ever witnessed all did such an amazing job at this.
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.
