Artist Spotlight: PMX Soundz: from a studio simulator to top 4 in the tech house charts

PMX Soundz

For over 15 years, Berlin-based French producer and DJ PMX SoundZ has been setting dancefloors ablaze across Europe, performing at major events throughout France, Germany, and beyond.

Renowned for crafting immersive sonic experiences, PMX SoundZ has carved out a distinct signature style that’s earned him spots in some of the most iconic and exclusive clubs. His dancefloor-ready tracks have garnered global attention and support from legends like Green Velvet, Claude VonStroke, Gene Farris, Tocadisco, Joris Delacroix, The Avener, Maxxi Soundsystem, and Vazik. His music has lit up stages at international festivals such as BPM Festival, Awakenings, Rainbow Serpent Festival, and Boiler Room.

Now based in Berlin, PMX SoundZ is embracing a more collaborative and introspective direction, working with underground and established names in the electronic scene, such as Lutzenkirchen, Daniel Boon, Thomas Lizzara, and more. His recent track ‘My Soul' reached #4 on Beatport’s Tech House chart and was played by Maxxi Soundsystem at BPM Festival.

How did you first get into electronic music production?

I started producing in 1999 when I was 16, right after going to my first raves, free parties, and festivals. My entry point was a PlayStation 1 game called Music 2000—some older folks might remember it. It had a bank of loops and samples that let you piece together your tracks. That’s how I wrote my first songs. A year later, I started working on an album draft—unreleased, of course, as the tools were super limited. But from there, I dove deeper: buying CDs, vinyls, turntables, mixers, and sound systems.

What was your first big challenge as a music producer?

Without a doubt, the hardware. This was the early 2000s, computers weren’t what they are now, and sound cards were expensive. Producing anything with decent quality required serious gear, and as an 18- or 20-year-old, affording that was tough.

On the performance side, my biggest challenge wasn’t technical—it was human. I've always been outspoken, which didn’t always work in my favour. But when I’m on stage, I only have one goal: to leave a lasting impression. Whether in the studio or behind the decks, I create music to move people. That’s always been the core of my approach.

Let’s rewind. What musical influences shaped you growing up?

Moving to Berlin was a turning point. I quickly connected with the right people and became part of the renowned Ostfunk collective, run by Daniel Boon and Oliver Tatsch—huge shoutout to them for believing in me early on. That connection led to gigs at major clubs and events, where I shared stages with artists who deeply inspired me: Anthony Rother, Westbam, Monika Kruse, Extrawelt, Worakls, Sascha Braemer, Andreas Henneberg, AKA AKA, Super Flu, René Bourgeois, and Thomas Lizzara, who holds a special place for me.

Beyond that, I draw a lot of inspiration from names like Patrick Topping, Jamie Jones, Green Velvet, and Gene Farris, artists who’ve defined and continually evolved the genre.

Chuck Roberts

You grew up in France and are now based in Berlin. How has the European electronic scene shaped your sound?

That’s a tricky one and not so much the "European scene" itself that influenced me, but rather the clubs, the parties, and the human experiences within those spaces. A club is a sensory and emotional environment. It’s the smell, the lights, the acoustics, the sweat, the fleeting conversations in smoking areas or over drinks at the bar. These moments—the shared highs, the post-show decompression, the chaos and beauty of the afterparties—are what stay with me. And that emotion is what fuels my music.

For example, a Tribe Hardcore track played on a sound system at a free party in Markstein, France, hits completely differently than house music in a big Berlin club. The vibe at Wilde Renate is not the same as playing at Tresor. Even clubs that no longer exist, like Lichtpark or Katerholzig, have left emotional imprints on me. It’s these fragments of memory—lived, imperfect, beautiful—that inspire my melodies, rhythms, and the soul of my tracks.

You’ve made a name for yourself in the tech house scene. What draws you to the genre?

To me, tech house is one of the many nuanced branches of house music. I don’t want to lecture on its history, but I will say this: house music is about community, emotion, and connection. There’s a track from 1987, a true anthem, that sums it all up perfectly: “My House” by Chuck Roberts. It’s a celebration of unity and expression. That’s what house, and by extension, tech house, means to me.