From formative car rides soundtracked by Italian songwriters to sunrise sessions at Fabric, Mariiin has long been known as a barometer of quality when it comes to blending the timeless essence of electronic music with emotion, movement and atmosphere. Raised in a small town outside Naples and now firmly embedded within London’s underground, she has become one of the capital’s most trusted selectors, moving fluidly through electro, hypnotic techno and rolling tech house with a sound that feels both classic and sharply forward-facing.
This year saw her take another major step forward in her production journey, with her contribution to Chat Noir’s Hors-série series delivering a dark and driving new EP that captures the full scope of her sound: electro-leaning, crunchy basslines and built for dance-floor immersion. Across three original cuts, plus a remix from fellow Italian artist Otis, Mariiin pushes further into the shadows while retaining the emotional pull that defines her sets and productions alike. It’s the kind of record that feels equally at home beneath the glare of a single basement strobe as it does echoing through the trees at a forest festival at 3am. It feels fitting that her Truancy Volume today leans heavily in a similar direction, delivering a propulsive mix fully rooted in her love of electro.
Hey there Mariiin, amazing to have you on the series! So how have you been recently? What’s the year been like for you so far? Any particular highlights you care to tell us about? “Hey guys, thanks so much for having me, really happy to be part of this. I’ve been good and pretty busy! The start of the year is usually a bit slower, which I actually love-it gives me time to reset, make plans, work on music and reflect on what’s next. That said, I’ve been lucky to play some really nice gigs already-big love to Prism in Greece (I have a soft spot for Greece), played at fabric in January for Time Passages, played at the legendary Ring at Seoul and also had a really special one in Berlin for THE Roof weekender, proper family celebration.”
So as this is your first interview on site, I thought we’d just go back a bit. Could you tell us a little bit about where you’re from and what are some of your earliest musical memories, not necessarily in dance music? Apparently there were some long car rides in your youth. What can you tell us about them too? “I’m from a small town about 30 minutes from Naples. Growing up there, you were surrounded by this kind of mythology around house music, Naples had such a strong scene and influence. On one side, I had all these CDs with recorded sets from Metropolis (a legendary club that’s now closed), which I used to listen to way before I was even old enough to go out-older friends would pass them on to me. On the other side, my parents-especially my dad-introduced me to Italian songwriters. My name actually comes from a song by Fabrizio De André. These songs were the perfect soundtracks for our long trips on the road.”
So at what point did you start getting into electronic music, DJing and buying records? Was there one particular summer where you went to an event or someone introduced you to some new music? I feel like a lot of people in this scene have that one magical summer of musical revelation that takes us down this path. Do you have something like that? “I kind of grew up with house music already in the background, so as soon as I could, I started going out, even driving on my own around the region and to Rome too to catch parties. I became a regular presence in the Neapolitan scene, which was evolving and bringing in new sounds too. Buying records felt like a very natural step, it was just part of feeding that passion. I was also travelling quite a bit to Berlin and going to Sónar and other festivals every year, so it wasn’t just one moment, more like a series of experiences that built up over time. DJing came a bit later, I started after practicing a lot on my own and then organising small parties with friends from university.”
So when you were fully getting into DJing and dance music what sort of parties did you have in your city that you were going to? Were you still in Italy at this point? “Yes, I was still in Italy at that point, and Naples was really thriving. Every weekend there were amazing line-ups with some of the most influential artists, and lots of promoters pushing things forward. Nice To Be was a big presence, along with parties like Woo and Le Simpatiche Canaglie. I still remember one night where Zip was playing the main room and Ben UFO in the second room… that kind of experience really stays with you. It was such an inspiring time.”
What can you tell us about the nights L’Appuntamento and Nice To Be? Were they quite important to your development as a DJ? “L’Appuntamento was more like a small weekly gathering with university friends in Caserta, it was basically my training ground. What was amazing is that so many of my friends were into music and had turntables, so we were constantly sharing and learning from each other. Nice To Be, on the other hand, is where I really grew up. Even before DJing, it was a place where I found friendships, connections, even love. So when Diana invited me to play there, it felt like a dream. I still remember one of my first warm-ups for an open-air with Miss Kittin, Nastia and Ellen Allien, crazy to think about now.”
Can you tell us a little bit about your move to the UK next? What inspired the move and how did you go about involving yourself in the scene here? It seems like you had a big tie to Leeds and London in your early days, with some of your first parties here being On Rotation in Leeds and the Pleasure Party nights in London. How do you look back on those early days? “I moved to the UK after getting a scholarship for a PhD at the University of Leeds. I wasn’t completely sure at first because I was enjoying my life in Italy, but I felt like opportunities were limited especially after getting my master degree. Once I moved, I was lucky to live with people who were also into music and organising events, my friend Andy was one of them. That led me into radio shows and local parties in Leeds. The community was super open and welcoming, and I met people who really shaped my path.
Pleasure Club came a bit later, and Andy was actually the connection between me and Bobby. We first met in Leeds and then he invited me to play in London. Looking back, those early days feel really special, and Leeds holds a special place in my heart. Moving to the UK was definitely one of the best decisions I’ve made.”
Can you tell us a little bit about your development as a producer too from when you first started, what were some breakthroughs for you in being able to get out the sound you wanted to? You’ve released some absolute killer cuts in the last five years, want to just pick out some tracks like ‘Impasse’ ‘False Memory’ ‘Shape the Future’ and ‘V-Addict’, which are some absolute faves of mine from your Discography. “I feel like I’m still on that journey of finding my sound, to be honest! Thank you for the kind words-it really means a lot. Producing is such a deep world, and I feel like I’m still evolving and only touching the tip of the iceberg. During lockdowns I had a lot of time to focus on music, but now it’s about finding the balance again between gigs, work, and studio time. It’s a constant process.”
Having released records on five different labels in terms of solo releases, how much have you learnt from label to label? “Every label has its own identity, its own way of working. What I’ve really learned is the importance of trust and support when you feel that from a label, it gives you the confidence to push your sound further and take more risks.”
What sort of producers inspire or influence the way you make music? Are there any particular records you listened to loads trying to break down how they produced them as a way of learning? “Usually I listen to a lot of the music I’m playing before I start producing. At the moment I’m trying to simplify my process while improving the outcome making tracks that I can actually play out and that connect with people on the dancefloor. That’s the main challenge, without limiting myself creatively. Lately I’ve been going back to artists like The Hacker and Miss Kittin, but also newer stuff from people like Zap, Enrico Vivaldi and JUAAN.”
Obviously record digging is a really central, almost meditative part of who you are, and you’re surrounded with crews and fellow DJs who are also massive diggers too. These days how much of your record finds are more recently released music rather than old finds? Do you find that balance important? “These days I do buy quite a lot of new music and also play promos I receive. Of course I still have older records in my collection, but for me it’s really about what a track makes me feel, not whether it’s new or old. That said, I like to keep a balance, if I’ve been buying a lot of new stuff, I’ll subconsciously go digging for older records. Mixing both worlds makes a set more personal and interesting.”
What do you look for in creating a set when you’re playing? Do you have your bags and USBs prepared in any way that helps you bridge into different areas with ease? We know you like playing a lot of electro, to more breaky stuff too. “I’m quite a planner in life, it gives me a bit of a sense of control, so I approach DJing in a similar way. I try to study the context and imagine what I’d want to hear in that moment. But the beauty of playing is that you can only plan so much. So I always bring a wide selection with me to stay flexible. I do tend to lean into electro towards the end of my sets, but it really depends on the situation.”
Is it a special occasion when you get to play back in Italy these days? I feel like Naples has a very big underground selector digger scene as well right that probably deserves more shine. Is there something about the Italian approach to electronic music that you still feel connected to? “Playing in Italy always feels special. Naples has had a bit of a difficult moment, but I really feel like it’s starting to shine again and it definitely deserves more attention. I’d love to reconnect with the scene there more closely. I think the Italian approach is about passion, the intensity, the perseverance, something I can really resonate with.”
Any Italian DJs, producers, friends, designers you want to quickly shout out here? “Otis, Jos, GNMR, Sohrab and Danae.”
From some of your past interviews it’s mentioned that you’ve also been working as an architect and that design has also been a huge part of your life as much as music has. As someone who works as a graphic designer I’ve often found the balance quite difficult, tipping to different sides in terms of focus constantly over the years. Can you firstly tell us a little bit about your design influences, and secondly a little bit about the challenges or benefits of having these two outlets? “At the moment I’m working in project management. Design has always been a big part of my life, but now I cultivate it more as a passion-I go to exhibitions, explore architecture whenever I travel. Finding balance is definitely challenging and something I’m still working on. The hardest part is time, but I’m quite disciplined so that helps. The positive side is that having different outlets gives me constant inspiration, and a lot of that discipline I have in my job carries over into music too.”
A b2b set between you and Bobby feels like a must see these days. You’ve played some fantastic sets over the years and there’s some great live recordings out there. What makes the b2bs so special to you two? Do you have any defining set memories of you two playing together? Houghton ones always seem like a blast. “Yeah, those sets are always really special for me. Houghton at Earthling will probably always be one of my favourites, along with opening Room 1 at fabric or doing an all-night-long in Room 3 as well as our set at Cartulis after party.
What makes it special is the connection, Bobby is one of my dearest friends and I feel really comfortable with Bobby when we play together. We complement each other, so the sets become quite eclectic and unpredictable.”
What does the dance floor represent to you now compared to when you first started going out? What sort of experiences and flow do you seek out via your DJ sets or someone else’s when watching? Can you tell us about some of your three favourite sets you’ve seen from other people? “At the beginning it was more about fun and discovering music. Now it’s also about connection, empathy, and creating a space where people can just be themselves without judgment. That’s what I look for, both when I play and when I’m on the dancefloor. Some sets that really stayed with me: Boris Divider live (super emotional), Nicolas Lutz at FOLD, and Zip at Panorama Bar many years ago.”
What sort of other hobbies or interests do you have outside of electronic music? Are there any books, films, shows or other things you’ve seen or been reading/watching that you might want to share? Things that influence you as a person outside of music? “I love travelling and food, so I end up watching and reading a lot around that. I’m also really into psychology, anything that helps understand how we live and think a bit better. Then architecture and fashion, of course. I watch quite a lot of geopolitics content on YouTube and travel vloggers.
For books, I’m a bit obsessed with historical novels, especially with strong female characters. Anna Karenina and Madame Bovary are two favourites. Film-wise, I love Fellini and cult cinema in general—8½ and Mulholland Drive are big ones for me. I also recently loved The Zone of Interest, and I’m really looking forward to watching The Brutalist as I’m a huge fan of brutalism.”
What was your approach to crafting your Truancy Volume mix, and are there any particular tracks that hold special significance for you? “For the Truancy mix, I really wanted to show my love for electro. It’s such a big part of my identity, so I focused on tracks that feel very personal and meaningful to me, while still telling a story through the mix.”
Looking ahead, what territories, musical or otherwise, are you eager to explore in your upcoming work? What are you looking forward to most now in 2026? “I definitely want to keep evolving my sound in the studio. At the moment I’m finalising an EP, so that’s my main focus right now. I’m also really looking forward to some festivals I’ll be playing this year. Musically, I’m quite curious to explore more electro in my productions, but also dive deeper into more rolling, hypnotic techno… we’ll see where it goes. I like to leave a bit of space for things to develop naturally.”
Last, usual question from us, what was the last thing to put a big smile on your face and when was the last time you had a proper dance? “Last thing was probably an amazing lunch I had in San Sebastián and thinking about all the lovely people I met while playing at a festival nearby.
And last proper dance… probably Ombra Festival last December, need to make up for it soon though, it’s been a while!”
Mariiin: Soundcloud, Instragram, Resident Advisor
Mariiin – Chat Noir hors-série #4 out now
You can download Truancy Volume 365: Mariiin in 320 kbps and view the full tracklist on Patreon here. Your support helps cover all our costs and allows Truants to continue running as a non-profit and ad-free platform. Members will receive exclusive access to mixes and tracklists. We urge you to support the future of independent music journalism—a little goes a long way. If you need any IDs though, please leave us a comment on the Soundcloud link and we will do our best to get back to you with the track ID :)
