I’ve been on the receiving end of enough demo submissions to know that getting your music heard shouldn’t require a complicated process. Yet I still receive emails containing twenty unfinished tracks, broken download links, and several paragraphs explaining why an artist deserves to be signed. I understand the enthusiasm, especially when you’ve spent months working on something, but I think producers sometimes forget that the person receiving their music probably has another hundred submissions waiting in the same inbox. Making somebody’s job easier can go a long way.
Romanian DJ and producer Mahony (@mahonyro) knows that process from the other side of the desk. Alongside performances at Sunwaves, Club Space Miami, and DC10 Ibiza, he’s released music through Desolat, SCI+TEC, Vato Locos, and Tamango Records while running his own Take Notes imprint. His latest EP, Sex Appeal, arrives November 13, 2026, on Ilario Alicante’s Sound D’Elite label, introducing two minimal house productions that continue his interest in stripped-back arrangements and rhythm-focused club music.
With another release arriving and his own label continuing to develop, I wanted to hear what Mahony actually looks for when somebody sends him music. We talked about how many tracks to submit, what information belongs in the email, why constant follow-ups can work against you, and whether a good story matters when the recording itself doesn’t connect.
His advice is refreshingly straightforward, and I think producers preparing their next round of demos should pay attention.
Interview With Mahony
When a demo lands in your inbox, what do you want to see there?
First of all, I want to hear something that catches my attention. It doesn’t necessarily have to be a finished masterpiece, but it needs to have character, a certain identity and something that makes me want to listen until the end.
I’m always looking for music that creates a feeling. Something with a groove, an interesting idea or a particular atmosphere. I think the most important thing is that the artist has their own vision rather than simply following what’s currently working in the clubs.
What does an artist need to send along with the track?
Keep it simple. trackstack or a downloadable WAV file is more than enough. Include your artist name, track title and contact details.
If you have a couple of other releases or a profile where I can discover more of your music, that’s always helpful.
You don’t need to send a full biography or a presentation about yourself. Let the music do most of the talking.
What are some of the things that can make a submission harder to deal with?
Sending huge folders with 20 or 30 tracks, unfinished ideas without any context, broken links or files that are difficult to access.
Also, I think following up every two days asking if we’ve listened to the music doesn’t really help. We receive quite a lot of submissions, and sometimes it takes time to go through everything properly.
Do you want much background on the track, or do you mainly want to hear the music?
The music comes first, always.
I’m interested in understanding the artist and sometimes knowing the story behind a track can give you a different perspective when listening to it. But I don’t want the story to influence my decision before I’ve even pressed play.
I prefer discovering the music without too many expectations. Sometimes the most interesting tracks are the ones that don’t need much explanation.
Is it better when an artist sends one or two tracks that feel ready instead of dropping a whole folder on you?
Definitely. I would much rather receive one or two carefully selected tracks that represent the artist’s sound than a folder containing 20 random ideas.
It shows that the artist has taken the time to understand what they’re sending and where their music might fit.
Quality over quantity. Always.
And remember, sending music to a label isn’t just about getting a release. It’s about finding the right home for your sound and connecting with people who genuinely believe in what you’re doing.
About
‘s Sex Appeal EP On Sound D’Elite
Released November 13, 2026, Sex Appeal marks Mahony’s debut on Ilario Alicante’s Sound D’Elite imprint. The two-track EP, catalog number SDE050, features “Sex Appeal” and “Moog,” with the Romanian producer concentrating on the minimal arrangements and percussive production associated with his previous releases.
The title track combines rolling percussion, a prominent bassline, and processed French vocals. “Moog” takes a comparatively restrained approach, incorporating analog synthesizer elements, programmed percussion, and manipulated vocal samples. The release continues the groove-focused direction of Sound D’Elite, which Alicante established in 2024 as a separate outlet from his techno-oriented Virgo label.
For Mahony, the release adds another established imprint to a catalog that includes SCI+TEC, Desolat, Vato Locos, and Tamango Records. His work as the founder of Take Notes provides a related perspective, placing him in the position of evaluating music from other producers while continuing to release his own recordings.
That connection between running a label and developing a career as an artist is particularly relevant to this interview. Mahony is regularly considering what makes a recording worth releasing, which helps explain his emphasis on individual musical identity and carefully selected demo submissions.
Listen to Mahony’s Sex Appeal EP on Beatport
Final Thoughts From The Editor
The thing I appreciate about Mahony’s answers is how uncomplicated his expectations actually are. Send one or two records you’re confident in, make them easy to access, include enough information for somebody to contact you, and give the label time to listen. I’ve covered this extensively in my guide to sending demos to record labels, and it’s interesting how often the same problems continue appearing. In my recent interview with Cioz about submissions to Raamo, he raised similar concerns about unnecessary information and producers trying too hard to convince an A&R that their music deserves attention.
I think artists sometimes forget that the purpose of the initial email is to get somebody listening, and anything that complicates that process deserves reconsideration.
There’s another point in Mahony’s answers that I think producers should consider before sending anything: having a recognizable musical identity matters considerably more than trying to predict exactly what a label wants. In our interview with Riccardo Pierini of Where The Shadow Ends, he explained why a technically polished recording doesn’t automatically deserve a release if the underlying musical idea lacks originality.
Mahony is making a related argument when he talks about wanting records that have character instead of another version of whatever happens to be popular. As somebody working in A&R myself, I think this is where a little selectivity can help. If you’ve made ten tracks, spend some time identifying the two that represent your interests most clearly rather than assuming the label will do that work for you.
And finally, I appreciate that Mahony approaches demo submissions as the beginning of a potential relationship. Getting a track signed is an achievement, but finding people who understand what you’re trying to make can influence what happens with your next several releases. We explored that idea in our conversation with Sondela about A&R and developing artists, where the label team discussed why communication and responsiveness matter once they’re interested in a recording.
My advice is similar to Mahony’s: concentrate on making music you believe in, send a manageable selection to labels whose catalogs you understand, and give the people receiving it a reasonable opportunity to respond. That’s a far better starting point than another generic email containing twenty tracks and a request for immediate feedback.
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.
