Brazilian DJ and producer Mochakk continues to blur the lines between music, design, and performance with his latest release, Noises, a remix of PinkPantheress’s original. Fresh from celebrating his twenty-sixth birthday, he returns with a rework that’s equal parts raw and playful. “I wanted to keep the breakbeats and vocals that make the original stand out, but give it my own touch by exploring a heavier bass and textures,” he says. The track arrives as another reminder of the DJ’s instinct to keep things moving; never predictable, always charged with emotion and curiosity.
In conversation, Mochakk opens up about the creative rhythm that connects all sides of his universe, from Mochakk Calling, his São Paulo-born event series turned global brand, to his fashion project Soro Lab and the skate-inspired Tricks & Tracks pop-ups. Following Legumes with Kwengface on Disorder Records and the upcoming HyperSilent, he explains how pushing structure and embracing contrast help him stay inspired: “I’ve never liked being put in a box, so I try to make music that I’d want to hear myself.”
That same curiosity extends beyond the studio. On November 15, he’ll headline Hollywood Boulevard with an all-Brazilian lineup, while back home he continues to nurture Sorocaba’s creative scene through Obliqo and his label Dogghaüz. Each new project feels like an experiment in connection, turning movement, music and community into one ongoing conversation.
First of all, thank you for taking the time to speak with us. How’s your summer been so far, and in what part of the world do we find you right now?
Yo guys, thanks for having me! Honestly, this summer has been one of the best so far. Hosting the very first edition of Mochakk Calling Festival in Malta was such a milestone. To bring together so many artists I admire and see the crowd vibing with it was insane. Summer crowds in Europe are on another level; everyone’s so hyped. Playing shows in places like Italy, France, Belgium, the UK, and my CircoLoco residency at DC-10 were sick. And then there was Sunny Hill Festival in Kosovo, which was extra special since it was my first time there and the vibes were incredible.
This whole season I’ve basically been living on tour across Europe, never in one place for too long. Once the season ends, I’ll head back to my home in Brazil to recharge and work on some music before heading over to Australia, which I’m super excited about, as it’s my first time, as we will be hosting the first-ever Mochakk Calling in Sydney on October 4th.
This whole season I’ve basically been living on tour across Europe, never in one place for too long. Once the season ends, I’ll head back to my home in Brazil to recharge and work on some music before heading over to Australia, which I’m super excited about, as it’s my first time, as we will be hosting the first-ever Mochakk Calling in Sydney on October 4th.
Your new single, Legumes, with Kwengface just came out a few weeks ago. How are you feeling now that it’s finally out in the world?
I’m super hyped it’s finally out. The response so far has been amazing. I’ve been a fan of Kwengface’s sound for a while, so getting to work with him was fire. It’s a bit different from my past productions, but that’s what made it so exciting, to push myself into new territory.
Many listeners describe Legumes as a hypnotic yet flexible groove, almost unconventional for house. How important is it for you to push structural boundaries in your productions?
For me, electronic music has always been about pushing boundaries. If you look at DJ sets, it’s all about blending different genres, different eras, even flipping old samples into something brand new. That freedom is what makes the scene so alive. I’ve never liked being put in a box, so I try to make music that I’d want to hear myself, stuff that excites me and hopefully inspires others to dig deeper, discover new sounds, new artists, new genres. Legumes is a perfect example of that. It feels a little unexpected, maybe even a surprise for people who only know my previous tracks so far.
HyperSilent will be your second drop on Disorder after Legumes. How do these two singles connect, and in what way do they open a new narrative in your discography?
Next up is HyperSilent, which features the legendary JJ Fad. It’s a more playful, bouncy track that flips their classic 1988 record Supersonic. Musically, it’s very different from Legumes, but that’s exactly the point; I love playing with contrasts. Where Legumes hits with that raw grit, HyperSilent brings this fun, unexpected twist. I’ve been a fan of JJ Fad for a long time, so getting the chance to reimagine Supersonic and put my own personality into it was really nice.
On October 10th, you’re releasing Noises, your remix of PinkPantheress’ original. How did you approach reimagining the track?
PinkPantheress has such a fun sound, I really dig what she’s doing. So working on this remix was super exciting! I wanted to keep the breakbeats and vocals that make the original stand out, but give it my own touch by exploring a heavier bass and textures. I’m pretty proud of the end result, hope you guys enjoy it too!
Your Noises release comes out just after the first Mochakk Calling in Sydney, Australia. How do you connect your own music releases to the spirit of your events?
My releases and the Mochakk Calling events are connected by the same spirit of energy and surprise. I’m a very visual guy, so I always read the space, the crowd, and the vibe of the night before deciding how to play, and I do the same with my own music. I love testing unreleased tracks in my sets, and at Mochakk Calling the crowd already comes with a sense of my sound, so it’s the perfect place to try out some new things. I want people to hear something they came for, but also leave with a moment they didn’t expect.
This November, you’ll headline Hollywood Boulevard, one of your biggest US shows to date. How does it feel to bring an all-Brazilian line-up to such an iconic American stage?
The location is just bananas! To headline on Hollywood Boulevard is already huge, but to do it with an all-Brazilian lineup and getting to bring Beltran and Maz makes it even more special. I’ve got so much respect for both of them, and I feel like this show will also be about representing Brazil in such an iconic location that everyone in the world recognises. As Brazilians, we carry a lot of pride in our culture and our sound, and moments like this prove how far we’ve come and how strong our scene is. I can’t wait for us to bring that energy to the US crowd and show them what a proper Brazilian takeover feels like.
Mochakk Calling has grown into a global brand, from New York to Lisbon to Buenos Aires. How do you preserve its São Paulo roots while adapting to each city?
With every Mochakk Calling event, we try to adapt to the local crowd and the venue while keeping the authenticity of the brand. No two spaces are the same, so I pay attention to the music, the visuals, and the overall vibe to make it fit the city. The way we stay true to our São Paulo roots is by bringing a little bit of the city’s urban chaos into every detail, like with the VJ effects, gritty, colourful, street-inspired visuals, and of course, the ‘calling’ element with phones and vintage imagery in the booth. I want the parties to feel like hanging out on the streets with your friends.
In Brazil, it’s common for people to hang out at street parties and bars, and I love bringing that same sense of freedom and energy to our events around the world. I’m very excited about hosting it for the first time ever in Australia, where we’re doing Mochakk Calling Sydney at the Fleet Steps, with the Sydney Opera House in the backdrop.
In Brazil, it’s common for people to hang out at street parties and bars, and I love bringing that same sense of freedom and energy to our events around the world. I’m very excited about hosting it for the first time ever in Australia, where we’re doing Mochakk Calling Sydney at the Fleet Steps, with the Sydney Opera House in the backdrop.
“I’ve never liked being put in a box, so I try to make music that I’d want to hear myself, stuff that excites me and hopefully inspires others to dig deeper, discover new sounds, new artists, new genres.”
The design and visual language of Mochakk Calling are bold and distinctive. How are you involved in shaping those aesthetics?
On the Mochakk Calling team, we have amazing designers, technicians, and a creative director whom I trust completely. There’s a lot of creative freedom. We brainstorm together about the vibe, what could be exciting or unexpected, and then they bring those ideas to life. I stay involved in shaping the overall vision, making sure it matches the energy of the music and the crowd, and they run with it.
Fashion has always been close to you, from your studies in São Paulo to your own line Soro Lab. How do you integrate style and aesthetics into your creative universe and your musical identity?
Fashion has always been central to how I express myself. The name ‘Soro’ is like a substance that enters your veins and opens your mind, and it also stands for ‘seek other realities outside,’ which is all about exploring new perspectives. That same philosophy guides my music, and the clothing reflects it too, with modular pieces that can be styled in any way with no right or wrong approach.
For me, music and fashion go hand in hand, like in skate or hip hop culture, where style and sound create a full identity. My personal style isn’t fixed, just like my music. I go for what I like and feel myself in, what I can move in comfortably, whether I’m skating or playing a long set, but that still has an edge. Fashion and music are both ways to express yourself, and Soro Lab is just another part of the world I’m creating through sound and aesthetics.
For me, music and fashion go hand in hand, like in skate or hip hop culture, where style and sound create a full identity. My personal style isn’t fixed, just like my music. I go for what I like and feel myself in, what I can move in comfortably, whether I’m skating or playing a long set, but that still has an edge. Fashion and music are both ways to express yourself, and Soro Lab is just another part of the world I’m creating through sound and aesthetics.
In the past few years, your career has skyrocketed, from Sorocaba to Ibiza and Coachella. How has your life changed, and do you feel very different from who you were before all this?
Even with everything that’s happened, I try to focus on making what I want to happen, whether or not it’s considered ‘success.’ There’s belief, of course, but mostly it’s about doing things for the fun of it, for the experience, and for the learning along the way. I love trying new things that push me to different places. I don’t know if this is my destiny, but if it is, then great, I’ll embrace it. From the beginning, that’s been my mindset, and it still is. I’m grateful for everything I’ve achieved, but I’m still the same guy.
Even though you’re constantly surrounded by thousands of people at your shows, have there been moments where you’ve felt lonely?
Touring can definitely be tough sometimes, and you have to accept that you won’t always be present for moments with friends and family. I’m really lucky to travel with my team, who are also close friends, so there’s always a sense of home even when things get crazy. Also, when at parties, that connection with the audience makes the whole experience feel alive rather than lonely, so it’s actually the opposite.
With such a busy schedule, do you manage to disconnect from work? What do you do in your free time to recharge?
Whenever I get some free time, I like to be back home in Brazil, taking care of myself, sleeping well, eating well, and spending time with family and friends. I also skate, play basketball, and just take moments to recharge; that’s what keeps me grounded and ready to go on tour again.
“For me, music and fashion go hand in hand, like in skate or hip hop culture, where style and sound create a full identity. My personal style isn’t fixed, just like my music.”
Have you ever struggled with mental health along the way, or felt like things were moving too fast and you were losing joy in the process?
Things did happen pretty quickly for me, so it was definitely a big shift, and I found myself touring constantly. I’ve always felt really grateful for everything and know how lucky I am to have achieved so many dreams already. At the same time, it taught me the importance of taking care of myself, valuing downtime whenever I can, and finding a balance that keeps me good and able to do good parties.
How does your family react to everything you’ve achieved, and how important are they in keeping you balanced?
My family has always been incredibly supportive, and they mean a lot to me. My dad has been my biggest fan from the very beginning, and having that encouragement while I’ve been chasing my dreams has been a huge source of strength. For any aspiring artist, living off music can feel risky, but my family has always encouraged me to the fullest. Being able to spend quality time with them whenever possible keeps me grounded and is a major anchor in my life.
Not long ago, you said: “Music is a very important tool that has been used for many years. And I think it could be used for many years to come, especially in very volatile times that we’re having right now, all over the world.” Could you expand on that? How do you see music functioning as a tool for connection or even resistance today?
I see music as one of the most powerful ways to connect people, especially in times that feel uncertain or chaotic. The right melody or rhythm can reach you on a gut level, and lyrics or ideas layered on top can make you think in a new way. It’s a tool that opens hearts and minds, giving people a chance to engage with ideas they might not encounter otherwise. Dance music is often about having a good time, but it can also challenge the mind and spark reflection. I think there’s a lot of room to experiment with that, making tracks that are both moving and meaningful, that get people dancing while also giving them something to think about.
When you were a kid, who were the artists or cultural figures you admired the most? And who do you look up to now, after everything you’ve experienced?
Growing up in Brazil, I was surrounded by an incredible musical legacy. Artists from movements like Tropicália and MPB left a huge mark on me; they created music that honoured our diverse roots while weaving in political messages, all with amazing songwriting and influences from rock, disco, and psychedellic sounds. Brazilian artists like Caetano Veloso, Milton Nascimento, and Chico Buarque were a big part of my childhood too, since we’d listen to their records at home. As I got deeper into electronic music, I discovered a whole new world of inspiration and have been lucky to meet or even play alongside some electronic music artists I admire.
Do you consider some of your peers genuine friends, or is it difficult to find that closeness in such a competitive industry?
I believe there’s space for everyone in the scene. I’ve been lucky to experience a lot of support from other artists, and I try to do the same. Lifting each other up is so important to keep the community collaborative and creative, and I’ve been fortunate to build genuine friendships with people who share that mindset.
“I see music as one of the most powerful ways to connect people, especially in times that feel uncertain or chaotic. The right melody or rhythm can reach you on a gut level.”
Do you ever miss going to festivals simply as a fan, blending into the crowd and enjoying music without being recognised? Or is it something you still manage to do?
I love being on stage and performing, but whenever I get the chance, I like to slip into the crowd a bit and just enjoy the music. It’s even better when I have friends with me. There’s something special about experiencing a festival from the audience’s perspective, letting yourself get lost in the energy while being incognito. I went straight to the crowd to watch Kevin Saunderson after my set at Nuits Sonores this year, and it was incredible.
Can you tell us more about your Tricks & Tracks pop-up?
Tricks & Tracks came from my love for skateboarding and the culture around it. I used to skate every day growing up, and it introduced me to amazing people and music, so I wanted to bring that vibe into a party celebrating skating, dancing, and community. The first edition was at ADE a couple of years ago, and it was sick. More recently, in May in LA, we threw a surprise edition at the Venice Beach skatepark. It was free for everyone, with a skating competition, prizes, and by the end it turned into a big block party. It was fire, we’re planning on expanding the concept in 2026, so stay tuned!
And what about Obliqo? It’s a project that blends club, radio, and gallery, isn’t it?
Obliqo is a multi-purpose creative space for the electronic music scene, designed to inspire, educate, and connect people both locally and hopefully globally. It’s intimate and versatile, focused on building a community around electronic music, which was something missing in Sorocaba. We bring in a mix of local talent and international DJs, and we also host workshops and talks because education is a big part of what we aim to do when it comes to connecting people in the scene. In September, we celebrated Obliqo’s first anniversary with our first-ever festival at a sick venue in Sorocaba, with an afterparty at the club, and it marked a big milestone for the space and everything it represents.
Why was it important for you to give something back to your hometown?
In Brazil, there’s an incredible pool of music talent, and the local crowd is hungry for events, but often people have to travel to bigger cities to experience festivals or club nights. Creating something in Sorocaba was my way of giving back, building a space where people can connect with music locally and be inspired. I hope Obliqo not only gives the community a place to enjoy electronic music but also encourages others to pursue careers in music or discover the scene for the first time.
Your label Dogghaüz Records pushes Brazilian artists forward. What excites you most about the new generation of producers and how do you want to support them?
Dogghaüz Records started because we felt the scene was getting a bit saturated and there was a real need for originality. It all began with our first studio session back in 2020, my friends Cesar Nardini and Jay Mariani and I, and since then, it’s grown into a space where we can really showcase music that we believe in. We’ve put out over fifty tracks so far, from house to tech house to minimal and deep tech, featuring some awesome artists like Drunk & Play, Victor Lou, Jho Roscioli, Duarte, Brisotti, Pricila Diaz, Marian, and so many others.
What truly excites me about this new generation is their energy, their creativity, and how they’re carving out their own sound. With Dogghaüz, I just want to give them a platform to be heard, help them grow, and keep pushing artists we believe in. It’s an invite-only concept, so we really get to curate what we do. There are some cool releases coming up, too!
What truly excites me about this new generation is their energy, their creativity, and how they’re carving out their own sound. With Dogghaüz, I just want to give them a platform to be heard, help them grow, and keep pushing artists we believe in. It’s an invite-only concept, so we really get to curate what we do. There are some cool releases coming up, too!
You’ve become a resident at DC-10 and released with CircoLoco. What has Ibiza taught you about music, but also about yourself?
I remember going to DC-10 for the first time as a partygoer, and the atmosphere there just blew me away. Becoming a resident is like a mega stamp of approval. Every party is different, and it’s super inspiring. Ibiza has taught me a lot about feeling the room, trusting my instincts, and building a connection with the crowd, as the setup there still feels intimate enough to really feel this. That experience materialised in my double EP on CircoLoco Records, Locomotiva Ibiza 2099, which is very much inspired by what I feel whenever I’m playing there.
Beyond sold-out shows and hit releases, what does success mean to you personally now?
To me, success isn’t measured by numbers or fame. It’s about being able to create freely, chase the ideas that excite me, and enjoy the journey while I’m at it. I want to stay true to myself, explore new things, and keep learning along the way. Part of it is about supporting others, sharing energy and opportunities, and making sure the ride is as meaningful as the milestones I’ve achieved.
And finally, if we meet again in five years, where would you like to be, both personally and professionally?
I don’t usually think too far ahead and prefer to enjoy the moment, so I’m not really sure. I just want to keep doing what I love, keep growing, learning, and staying connected to the people and experiences that inspire me.
