You probably know Jen Cardini as a DJ and producer; they’ve lit up dance floors around the world for several years know. But perhaps you don’t know that they’re also the founder of a couple of record labels — Correspondant and Dischi. It’s with the latter that Cardini has recently released Intermezzo Tre, a record that compiles thirteen songs from a wide array of artists including Zaatar, Pablo Bozzi, Port Manteau, Nightwave, Tjade, or Pureblast, among others.
“As a DJ, you’re always on the hunt for new music, and you also end up getting sent so much of it. At some point, I thought, why not start releasing some of it myself?,” Jen says about how they became a record label founder and owner. But juggling all of their responsibilities as both an artist and businessperson is tough — finding the time to do it all while also having your personal space to unwind. “It’s definitely not always easy, whether it’s managing the financial side or collaborating with other artists, but honestly, I fucking love it. Discovering new talent and digging for tracks keeps me excited and inspired,” Cardini admits.
In 2021, via Dischi, they released a double compilation titled Intermezzo Uno and Intermezzo Due, which aimed at putting together a couple of records that made sense. More specifically, and in Jen’s words, “The goal is always to create something that’s not just beautiful but also makes sense as a whole.” Oh, and I almost forgot: Cardini is also behind the Nighttclubbing parties, hosting regular events in Berlin and Lisbon — on December 21, there’s one at Outra Cena Lisboa, in case you’re around. Using the recent release of the third volume in the Intermezzo series, we sit down with Cardini to discuss gender identity, wearing many different hats, pinkwashing, and their favourite thing to do in their free time.
Hi Jen, it’s a pleasure to speak with you.
Likewise, thank you for having me!
What does a normal day in your life look like? Are you a routine person or do you prefer to improvise?
I’m definitely a creature of habits, but I also need a little room to improvise. During the week, I’m usually up super early, but I like to stay in bed for an hour or two, sipping coffee and digging for music online. That’s hands down my favourite part of the day — the house is quiet, everyone’s still asleep, and it’s just me, my coffee, and the music. My mornings are all about staying active. After lunch, I dive into label work, calls, meetings, and anything related to my DJ projects. Afternoons are less predictable — there’s always something last-minute that comes up, but I just roll with it.
Lately, I’ve been spending more time in the studio, getting back into remixing, which has been really exciting. Evenings are usually my time to unwind. I love cooking, watching movies, or having dinner with friends. I try to get to bed at a decent time during the week to compensate for my heavy touring schedule and intense weekends.
Lately, I’ve been spending more time in the studio, getting back into remixing, which has been really exciting. Evenings are usually my time to unwind. I love cooking, watching movies, or having dinner with friends. I try to get to bed at a decent time during the week to compensate for my heavy touring schedule and intense weekends.
In June, you shared with your audience that your name is now Jen and your pronouns are they/them. “I know some of you might find changes challenging, but this is how I’ve felt all my life, and it’s about time I own it, live it, and love it.” What made you take this important step, and what changes in yourself and others have you felt since then?
Gender identity is such a deeply personal thing — it’s all about your internal sense of self. Yet for me, coming out as non-binary wasn’t just a personal statement, it was political. As queer people, we’re often emotionally wired differently, and growing up in a heteronormative society can be incredibly challenging. We absorb how society treats us, and sometimes that treatment is harsh — even violent. So for me it was about stepping outside of that violence and rejecting outdated ideas that just don’t work anymore for anyone.
I’ve never felt fully aligned with the binary ideas of gender that society insists on, but at the same time, I’ve also felt connected to both in different ways. Growing up in the ‘80s, we didn’t have the language or the space to explore identities outside the binary. I love that we have these options now, and I love being able to celebrate that everyday in my personal and professional life by proudly stating my gender identity alongside my name and my profession.
I’ve never felt fully aligned with the binary ideas of gender that society insists on, but at the same time, I’ve also felt connected to both in different ways. Growing up in the ‘80s, we didn’t have the language or the space to explore identities outside the binary. I love that we have these options now, and I love being able to celebrate that everyday in my personal and professional life by proudly stating my gender identity alongside my name and my profession.
As June is Pride Month, many brands want to profit off our community, but each year we see more performativity and less commitment. As a queer artist yourself, how do you navigate this?
It’s true that in recent years, we’ve seen a lot of pinkwashing, and many of us have struggled with the official Pride celebrations. It can feel disconnected particularly when it’s the case in countries where LGBTQ+ rights are equal or nearly equal.
Last year, I asked one of my best friends, what are we doing for Pride?, and they replied, chéri, the real question is, what is Pride doing for us? It made me laugh, but honestly, it hit the nail on the head. That feeling has led to the rise of alternative Prides, like Dyke Marches, Trans Prides, and, in Paris, La Pride des Banlieues, which centres marginalised communities. That said, as an artist (especially a queer artist) it’s tough to balance staying true to your political beliefs while still making a living. A lot of cultural and queer spaces rely heavily on funding, and with the rise of the far right and ongoing economic crises, budgets for these spaces (and even broader cultural institutions) have been brutally slashed.
In the past few years, we’ve seen more and more artists working with or collaborating with brands. Music, fashion, and art are so intertwined these days. Personally, I think it’s up to each artist to make their own choices about collaborations or private funding — as long as those choices feel true to their art and beliefs.
Last year, I asked one of my best friends, what are we doing for Pride?, and they replied, chéri, the real question is, what is Pride doing for us? It made me laugh, but honestly, it hit the nail on the head. That feeling has led to the rise of alternative Prides, like Dyke Marches, Trans Prides, and, in Paris, La Pride des Banlieues, which centres marginalised communities. That said, as an artist (especially a queer artist) it’s tough to balance staying true to your political beliefs while still making a living. A lot of cultural and queer spaces rely heavily on funding, and with the rise of the far right and ongoing economic crises, budgets for these spaces (and even broader cultural institutions) have been brutally slashed.
In the past few years, we’ve seen more and more artists working with or collaborating with brands. Music, fashion, and art are so intertwined these days. Personally, I think it’s up to each artist to make their own choices about collaborations or private funding — as long as those choices feel true to their art and beliefs.
“I came out on the dance floor; it became my home, my chosen family. I want to share that sense of belonging with my community, especially in these scary times.”
Besides being a DJ and producer, you’re also the co-founder of record labels Dischi and Correspondant. How did you get into that?
As a DJ, you’re always on the hunt for new music, and you also end up getting sent so much of it. At some point, I thought, why not start releasing some of it myself? That’s how Correspondant came about, and later, Dischi. It’s been a wild ride with plenty of ups and downs. It’s definitely not always easy, whether it’s managing the financial side or collaborating with other artists, but honestly, I fucking love it. Discovering new talent and digging for tracks keeps me excited and inspired. It’s also a great way to put my dance floor knowledge to use while staying connected to what’s coming next.
If I’m not mistaken, you founded Dischi in 2017. After seven years at the helm, how do you evaluate the label’s trajectory so far? What have been some of the learnings you’ve had along the way?
Dischi started out as an indie label focused on bands, but along the way, I realised my own limitations as a label owner. Running an indie label required way more knowledge and time than I had back then. That said, I’m still so proud of what we accomplished — releasing Dollkraut’s album, which is honestly one of my favourite records ever. It’s just perfect. The same goes for Curses — I’m so proud we released Luca’s first album.
Over the last few years, Dischi has evolved into more of a dance label, which makes sense since we realised we’re better at that. Plus, we didn’t really have the resources to grow as a full-on indie label. I feel like Dischi is exactly where it’s meant to be right now — on the dance floor, getting hands in the air while keeping things weird and hot! Working with French designer Basile Fournier has also been a big turning point for the label. It’s made such a difference, it looks so good.
Over the last few years, Dischi has evolved into more of a dance label, which makes sense since we realised we’re better at that. Plus, we didn’t really have the resources to grow as a full-on indie label. I feel like Dischi is exactly where it’s meant to be right now — on the dance floor, getting hands in the air while keeping things weird and hot! Working with French designer Basile Fournier has also been a big turning point for the label. It’s made such a difference, it looks so good.
You’re releasing Intermezzo Tre, a compilation of thirteen songs that you’ve curated personally. Could you tell us a bit more about the process behind it?
This one’s really connected to what I’m playing right now — a bit faster, a bit more trancey, but still very much in the vibe of the first two volumes. There’s no strict process to it, honestly. I either receive music or reach out to artists I like, and when I’ve got a few tracks that feel like they work together, that’s when it starts to come together.
Once it clicks, I move on to the artwork and think about adding artists who can bring something special to the mix. The goal is always to create something that’s not just beautiful but also makes sense as a whole.
Once it clicks, I move on to the artwork and think about adding artists who can bring something special to the mix. The goal is always to create something that’s not just beautiful but also makes sense as a whole.
The two previous Intermezzo compilations were released in 2021. What’s been cooking these past three years until you finally decided to release Intermezzo Tre? Will there be more Intermezzo releases after this one?
Yeah, I definitely took my time — sorry about that! It was right after the pandemic, so we had a lot of releases to reschedule. Plus, the label was still finding its path musically and visually. As the sound evolved, it became really important to seek out emerging artists whose music not only aligned with my vision but also fit naturally with our past releases. But yes, there’s more to come! I’m already working on number four!
You have a series called Nightclubbing, with residencies at RSO in Berlin and Outra Cena in Lisbon. How did that come about? And what does this party set apart from others?
Nightclubbing is a queer party — it’s my love letter to the dance floor and everything it represents for minorities. I came out on the dance floor; it became my home, my chosen family. I want to share that sense of belonging with my community, especially in these scary times.
I’ve personally seen you several times — at Sónar Barcelona, at Sala Apolo… And your energy is always unmatched. What do you think is the most important for a DJ to connect with their audience?
It’s a party — it’s not about showing off how much you know about music or how sharp your taste is. It’s not a demonstration. It’s about generosity, love, and humour too. I love pushing boundaries, and I’m all for dark, mental stuff, but there comes a moment when it has to be about pure joy. And honestly, I don’t care if that means playing a cheesy piano house track or a ‘borderline’’ mashup. I have no shame about that — we all need joy.
Ending my set at Fusion Festival with Eurythmics’ Here Comes the Rain Again while everyone was raving in the rain, or dropping Temple of Love by Sisters of Mercy at Pbar — those are the kinds of moments people always remember and that creates lasting connections.
Ending my set at Fusion Festival with Eurythmics’ Here Comes the Rain Again while everyone was raving in the rain, or dropping Temple of Love by Sisters of Mercy at Pbar — those are the kinds of moments people always remember and that creates lasting connections.
Is there a go-to song that you know will lift up the spirits if the audience doesn’t seem to be feeling it on the dance floor?
Let the Spirit Move You by Chrissy — what a track! The joy in it is just contagious. It’s definitely a bit outside of my usual sound, especially right now, but it perfectly sums up my love for the dance floor and that incredible feeling of joy when we’re all united as one.
Touring the world from club to club and festival to festival, in addition to managing Dischi and Correspondant, must be exhausting. What do you do to unwind and relax?
I play a lot of tennis — it’s such a great way to handle the stress of touring and stay in shape. But I also love boxing, pilates, and swimming. Mornings are my time to unwind, and staying active keeps me healthy both mentally and physically. It really helps me stay grounded, especially when I’m on tour.
That said, I’m terrible at taking vacations. I rarely do it unless my family (or my body) forces me! When I finally do, the one thing that always works is being out in nature. I absolutely love hiking — it’s like a full reset. It clears my head and gives me so much clarity.
That said, I’m terrible at taking vacations. I rarely do it unless my family (or my body) forces me! When I finally do, the one thing that always works is being out in nature. I absolutely love hiking — it’s like a full reset. It clears my head and gives me so much clarity.
As the year comes to a close, how do you reflect on 2024? How has it been?
Creatively, it’s been a good year for me and the labels, but honestly, the weight of the world right now feels so heavy. The constant attacks on trans people, the genocide in Gaza, the ongoing war in Ukraine, the crises in Sudan, Syria, and Georgia, Trump, the rise of fascism — it’s overwhelming and terrifying. How can you not feel a deep sadness with everything happening around us.
