With Freaky People and In Rio, CENKK presents a two-track release that thrives on contrast rather than uniformity. One track is designed to lock dancers into a continuous state of motion; the other opens outward, blending rhythmic experimentation with cinematic and operatic references shaped by imagination rather than literal geography. Released via Moodyverse, the pairing captures an artist comfortable moving between functional club energy and more expressive, story-led composition. Rooted in melodic and progressive techno but informed by classical training and hands-on DJ experience, CENKK uses this release to articulate where narrative, groove, and atmosphere intersect. In this interview, he reflects on how the two tracks speak to each other, why Moodyverse felt like a natural home, and how his sound continues to evolve toward something more playful without losing its emotional weight.
Freaky People and In Rio explore two different moods. How do these tracks complement each other as a release, and what story were you aiming to tell across both?
They complement each other well. Freaky People is a floor-filler where I wanted to engage the audience from start to finish, with no dull or repetitive moments, while In Rio explores a more experimental side of my creativity. I used Brazilian drums and vocals crossed with operatic elements and a cinematic sound to capture what Rio de Janeiro represents through my imagination.
Your sound moves between progressive drive and melodic depth on this release. How do you approach balancing groove, atmosphere, and emotional tension in your productions?
Recently, some of my colleagues mentioned that they can easily distinguish my tracks, which actually surprised me because I’d never really thought about it before. I guess, without consciously trying, I’ve moulded my own sound. Groove is extremely important because, at the end of the day, we make dance music, the listener needs to move rhythmically. Atmosphere and emotional tension come quite naturally to me. I can build interesting progressions with simple harmonic structures, but I usually go all out at first and then have to trim, rearrange, or refine the track afterward.
Why did Moodyverse feel like the right label for this release, and how does the label’s identity align with your own artistic direction?
I met Denes last year at ADE, and we really hit it off both as colleagues and as friends. I already knew the kind of sound he was curating for Moodyverse, and he had asked me for some music. I had these two tracks that I’d been testing, and they were getting strong reactions when DJs like Toto Chiavetta played them at festivals such as Zamna. It felt like a natural fit, and I also knew that Denes is very detailed and thoughtful when it comes to curating the label.
When producing progressive and melodic techno, how important is storytelling compared to pure dancefloor functionality for you?
I chose to focus on melodic music because it gives me the space to tell a story, something that’s almost impossible in many other genres. While I really enjoy writing complex music and see it as an important part of being an artist, I also have to make sure that it translates properly to the dancefloor.
How does this release on Moodyverse mark a progression in your sound, and what can listeners and DJs expect from you next?
These two tracks were written nearly a year ago and reflect the sound I was pursuing at that moment in time. Listeners will hear a harder, more developed soundscape on this release. Today, I’m writing music that’s shaping up to be groovier and more playful, a more fun side of my artistic output.
