Heaven INC.(@heaven_incorporation) are a Budapest-based DJ and producer duo moving between organic house, progressive house, and melodic electronic music shaped by atmosphere, storytelling, and groove.
Zsolt and Bogi have been building a steady release path across labels including Amulanga, Magnitude Recordings, Sounds Of Sirin, Manual Music, Stripped Digital, Rude Resonance, Sunexplosion, Inner Fire Records, Songuara Tales, and Journey of the Soul, while also developing their own imprint, Heaven Flow Recordings.
That recent run has given the project greater visibility within the deeper progressive and organic house space. Their work includes the Sirena EP with Yves Eaux on Amulanga, “Circle” with Ákos Győrfy on Amulanga, “Tariqua” on Sounds Of Sirin, their remix of Rivvo & Redfern’s “Magnetic Fields” on Inner Fire Records, and the Stripped Digital release Messier ’87 / Ordinary Dream with Ákos Győrfy. One of the larger recent moments came when Hernán Cattaneo opened Resident Episode 797 with Ákos Győrfy & Heaven INC.’s “Messier ’87.”
That context makes our interview below feel especially aligned with how Heaven INC. describe DJing.
Their sets are not treated as a simple sequence of records. They think in terms of mood, flow, emotional pacing, spontaneous changes, and the shared authorship that emerges when the DJ and crowd respond to each other in real time. For a duo whose sound already leans into gradual movement and atmosphere, that way of thinking says as much about the project as any release credit.
Interview With Heaven INC.
When you’re preparing a set, what elements are you thinking about most – mood, flow, energy?
For us, a set is first and foremost a journey, so mood and flow are perhaps even more important than energy itself. We like the music to build naturally, with every track having its own place and purpose in that particular moment. We also pay a lot of attention to emotion, dynamics and leaving enough space for the music to breathe. We don’t like to overcrowd a set; instead, we let the groove and the atmosphere guide the story.
Our goal is for people to not only listen to the music, but eventually feel completely immersed in the world we are creating together.
Do you consciously think about the shape of a night, or does it reveal itself as you play?
For us, it is a combination of both. We usually have an idea of where we would like to take the night, but we never want to follow that idea too rigidly. A DJ set is a conversation with the crowd, so we are constantly paying attention to how people react to the music. If we feel that the room wants to move in a different direction, we are happy to change our original plan.
Very often, those spontaneous moments become the most memorable parts of a set.
How do you approach pacing across a longer set?
We don’t think only in terms of BPM, but also in terms of changes in energy and tension.
In a longer set, we believe there should be rises, moments of release and also sections where you simply allow the music to breathe. Sometimes a deeper or more restrained moment can be much more powerful than constantly trying to build upwards. We like the tempo and energy to evolve organically rather than following a predetermined formula. The most important thing is that the audience always feels that we are going somewhere.
Do you usually anchor a set around a few key records, or build it more intuitively?
There are always certain records that we know could play a special role in a particular set.
They might be our own productions, new music we have discovered, or older favourites that carry a certain memory or emotion for us. We use these tracks more like a compass rather than fixed points that we absolutely have to reach. Everything in between is often chosen intuitively, depending on where the moment takes us. That is what makes every set slightly different, even when we start with some of the same records.
What helps you weave in surprise without losing coherence?
For us, surprise works best when it has an emotional connection to what came before it.
It doesn’t necessarily have to be something completely unexpected or extreme; sometimes a beautiful vocal, a different texture or a special groove is enough to change the energy of the room. We love introducing records that the audience might not expect, but which still feel completely natural within the moment. That is one of the most beautiful parts of DJing for us — finding that point where surprise and coherence meet.
Can you recall a night where everything unfolded exactly as you envisioned?
Honestly, perhaps the rarest nights are the ones that unfold exactly as planned.
There have been moments, though, when the connection between the crowd and the music became so natural that the difference between the plan and the moment almost disappeared. One of those experiences was playing during ADE in Amsterdam, where we felt that every track arrived exactly when it needed to. At that point, it is not about executing every detail you planned beforehand, but about allowing the whole set to become one story.
Those are the moments that remind us why we keep coming back to DJing.
How much of that arc is planned, and how much emerges in the room?
We would say that we plan the direction, but not every step along the way. We like to know where we are starting and what kind of world we want to take people into, but the exact route is often decided by the crowd. The energy in the room, the reactions and even the feeling of a single track can completely change the plan.
To us, that isn’t a flaw in the system — it is the essence of DJing. The best sets happen when the DJ, the music and the crowd are all writing the story together.
Closing Thoughts From The Editor
Heaven INC.’s answers make the most sense when you look at how they describe pacing. They are not talking about energy as a straight climb. They are talking about room, breath, release, surprise, and emotional continuity. That is a much better way to understand organic and progressive house than reducing it to softness or slow builds. The music works when the arc feels alive enough to change while it is happening.
That sits close to my interview with Robin Thurston around “Equinox”, where progressive house was treated as a space for patient movement rather than constant peak-time pressure. Heaven INC. use similar language from the DJ side. The track or set still needs direction, but the best moments often come from giving the room enough time to reveal what it wants next.
Their answer about key records acting like a compass also ties into my interview with Jerome Isma-Ae on dancefloors, presence, and club connection. Jerome spoke about the crowd as an active part of the set rather than a passive audience, and Heaven INC. describe nearly the same exchange. They plan the direction, but the room still chooses part of the route. That is where DJing becomes more than preparation.
The ADE detail is also worth holding onto. Their set at the Magnitude Recordings 20th Anniversary Sessions seems to have given them one of those rare nights where the intended arc and the room’s response started to feel like the same thing. That connects with my interview with Lost Desert on atmosphere, patience, and All Day I Dream’s emotional language. In both cases, the point is not just selecting beautiful records. The point is creating a space where those records can carry people somewhere gradually.
Heaven INC.’s current run also shows how important catalog context can be for this corner of electronic music.
The Hernán Cattaneo support for “Messier ’87,” the Amulanga releases, the Sounds Of Sirin appearance, the Inner Fire remix, and the growth of Heaven Flow Recordings all point toward a duo building their identity in several connected places at once. It is not only about one single track breaking through. It is about repeated placements that slowly define where their sound belongs.
That is the clearest read on Heaven INC. right now. They are not trying to force every set into a rigid story, and they are not treating spontaneity as the opposite of preparation. They build the world first, then let the crowd help decide how deep into it they should go.
For a duo working in organic and progressive house, that balance is the whole craft: enough intention to guide the night, enough trust to let the room answer back.
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.
