Trallez (@trallez) keeps building real momentum with his debut on Loco Dice’s SB Recordings, and the Merengue EP feels like a clean extension of the run he has been on across the last year. Following releases on labels such as Black Book Records, Moon Harbour, Organic Pieces, and Nervous Records, he arrives here with a three-track project that pushes his Brazilian identity closer to the front of the music while staying locked into club function.
That balance gives this release its appeal, because it clearly understands what makes people move while still carrying a sense of authorship that feels personal to him as a producer.
The EP itself is built with a clear sense of pacing. “Merengue” opens with chopped vocals, tight hats, and a groove that feels built for immediate reaction, while “Complexio” leans into percussion, bass pressure, sirens, and clipped vocal details that keep the track in motion. “Deixa Forte,” the collaboration with Peru’s Sunday Noise, closes the release with glitched textures, fluid synth work, and a low-end focus that keeps the energy consistent.
Across all three cuts, Trallez sounds precise and self-aware, and that is a big part of why this debut on SB Recordings feels earned rather than convenient.
What makes the release more relevant is the context he brings in conversation around metrics, curation, and artistic patience. He speaks openly about the pressure of numbers in bookings and label decisions, but he also makes it clear that his own focus has stayed on creating music he connects with, and that tension gives the EP extra substance as a career step. He points to Loco Dice as someone who still values quality and aesthetic over raw data, and that says a lot about why this release lands where it does.
There is also a broader thread running through his comments about trusting his team, staying honest about his own energy, and continuing to back music with real conviction, and that makes Merengue feel like part of a longer arc instead of a one-off placement.
Interview With Trallez
Have you experienced moments where metrics played a noticeable role in booking decisions? How did you interpret that?
I haven’t just experienced it – I still experience it. Metrics do influence bookings, as well as decisions within some record labels. Something that made me admire Loco Dice even more than I already did is the fact that he doesn’t focus on numbers, but rather on the quality and aesthetic of the music released by the artists on his label.
I see myself as part of a kind of resistance when it comes to this numbers-driven mindset. I do have solid metrics, but they’ve never been my main focus. My priority has always been to create something I genuinely connect with. That being said, I’ve been seeing great results. Of course, I’m aware that I could be playing better slots if I had astronomical numbers – but at what cost?
I want that growth to happen without compromising who I truly am. Everything happens at the right time, and I strongly believe patience and authenticity are the keys to getting there.
How do you navigate the expectation to stay active online while remaining focused on your music?
What has kept me sane is accepting that I’m human. There are days when I simply don’t have the energy to pretend I’m happy when I’m actually not.
Because of that, on days when I feel inspired and motivated, I tend to be very active on social media. But on “off” days, I step back, isolate myself a bit, and focus on making music. To me, that’s what art is about – expressing yourself through every mood you go through.
From your perspective, how are promoters balancing instinct with data today?
I believe this balance has become quite challenging. The electronic music scene is cyclical – styles evolve, and audiences shift constantly.
In my case, I see myself as part of a resistance by staying true to what I genuinely enjoy creating, even if that means it might take longer to reach certain clubs. One thing that helps a lot is releasing music on labels that also throw events. I’d like to give a special thanks to Loco Dice for the opportunity to release on his label. Given his legacy and the respect he has built, I know this will bring meaningful results.
I truly admire the way he supports emerging artists – including myself. He has supported several of my tracks and helped me reach places much faster than I would have on my own.
Have you observed a gap between what feels artistically exciting and what gets programmed on lineups?
Absolutely – very much so. And this also reflects the audience’s level of maturity. Sometimes promoters do try to push something more exciting artistically, but the crowd might not yet be ready to fully embrace it.
A personal example was when I had the opportunity to watch Laurent Garnier live. At the time, I wasn’t deeply familiar with the scene, but that set completely changed my perspective. Huge thanks to the club “Caos Campinas” for making that moment possible.
In your view, how has reach influenced the kinds of risks promoters are willing to take?
Reach has definitely made promoters aim for safer choices. The pandemic forced many clubs to shut down, and those that survived are still rebuilding. For some venues, there’s simply no room for mistakes anymore.
That said, I believe it’s important that alongside artists who can guarantee ticket sales, there’s always space for emerging talents that promoters truly believe in.
How do you stay centered on your craft knowing visibility often factors into opportunities?
What keeps me grounded is knowing that my team does the best they can with everything I bring to the table. I trust them deeply, and that gives me peace of mind to stay focused on becoming a better producer and DJ every day.
Believing in the people around me keeps me strong. Having a capable and supportive team gives you a solid foundation to keep moving forward.
Can you share a moment when someone without much online presence delivered a set that shifted the room?
Lomike at Coletivo 94A, Dhun Club.
My brother Abbud threw a party during Carnival, and Lomike was on the lineup. There were around 30 to 50 people there, and he delivered one of the most incredible sets I’ve ever heard in my life. I still listen to that mix at home whenever I can – in fact, I’m listening to it right now while answering this Q&A.
Lomike has around 4K monthly listeners on Spotify and 7K followers on Instagram, but what he delivered that night was a true masterclass. I highly recommend checking him out.
Abbud also does an amazing job curating his events. I strongly suggest attending any Coletivo 94 party if you get the chance.
I’d also like to take this opportunity to mention that I’m an A&R at Organic Pieces, Classmatic’s label. I want to emphasize how incredible Classmatic’s curation is, both for releases and events. We never release music based on numbers – our focus is always on contributing to the electronic music scene with tracks we genuinely believe in.
Much love to Classmatic – you’re both an idol and a brother to me. ❤️
I can also tighten the three paragraphs so they sound even closer to your exact cadence.
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.
