Marhu talks “Mamichula” and her Latin-techno fusion on ARTCORE [Interview]

Belgian DJ and producer Marhu returns to Indira Paganotto’s label ARTCORE with her new two-track EP “Mamichula,” released this September

The project marks another bold step in her journey as a psy-techno innovator, fusing electronic precision with emotional depth and multicultural energy. With Mamichula, Marhu cements a defining moment in her artistic evolution — blending hypnotic grooves, accordion melodies, and fiery Latin heat. The title track features MC Arlene, whose vibrant vocals perfectly match Marhu’s driving rhythms, while Solo Si Puedes Papi explores Guaracha influences and global textures.

Stream “Mamichula” EP below:

Over the past few years, Marhu has built one of the most exciting careers in the European underground scene, moving from local club sets in Brussels to major festival stages like Tomorrowland, Awakenings, and Dreambeach. Recognized by Beatport as one of 2024’s emerging talents, she has become a core artist on ARTCORE, where her fusion of psy-trance, techno, and world sounds stands out as something truly unique. Her upcoming tour includes Hï Ibiza, Ecuador, Awakenings @ ADE, and a highly anticipated Teletech debut in 2026.

With Mamichula, Marhu once again pushes creative boundaries while celebrating her diverse musical influences. We caught up with her to talk about her career, the creative process behind “Mamichula”, and her ever-evolving sound within ARTCORE.

You have a very unique background, from competing in the Swiss national equestrian team to becoming a producer and DJ. How has that discipline shaped your music career today?
Yes, indeed when I was a kid, dressage caught my interest and I ended up competing for the Swiss national team. Going from the discipline of dressage to the wild world of techno has been a pretty crazy journey. Dressage taught me to be determined and never give up. Skills that are essential in music too. It helped me build consistency in my workflow and pay attention to the little details. The music scene is super competitive, so you have to be disciplined to stay on top. Honestly, it’s my love for music that keeps me creating every day. Plus, being around horses kind of shaped my sound. I like to incorporate natural elements, like the sound of rain or birds. And while I don’t ride anymore, I can say my basslines definitely gallop fast, haha!

Fuse in Brussels was your first gateway into electronic music. How do you remember that early phase and what led you to fully dedicate yourself to music in 2018?
Ooh, indeed, since I’ve been living on my own in Brussels I’ve been digging the parties at Fuse. I’ve got so many memories there as a clubber and now as an artist. The music was always top-tier there and that’s basically where I discovered and fell in love with the techno sound. Back in the day, my friends were not into this kind of music, so I had to go there myself and make friends. Around that time, I started learning to play at home, and I also went to music school for production courses. That’s when I knew I wanted to dedicate myself fully.

Your productions often include Japanese and Indian instruments, like flutes and guitars, which is quite unusual in the rave scene. Where does this Eastern inspiration come from?
Yes I love the idea to blend techno with world music and to incorporate real instruments that feel alive and that you don’t usually hear in raves. The flute is my obsession, it’s sweet and addictive. For Mamichula I used an accordion, in the break it goes hectic and then the drop is super minimalistic, it works so well. For Solo Si Puedes Papi I fused it with guaracha: the break slows everything down with a real Latin vibe, then the drop hits fast again. My inspirations come from all my artistic journey, I’ve been touring since 2020 and lots of shows in South America, Asia or Europe influenced my vision and sound.

From “Through My Veins” to “Bansuri” and “Bhajan”, each track marked an important step in your career. Looking back, which one do you feel was your real breakthrough?
When I sent Bansuri to Indira, things changed so fast. Her team contacted me and said I was bringing something fresh, a cool new sound to their label, and that I could become a resident of ARTCORE. That meant bigger showcases, bigger stages, bigger festivals. Suddenly doors opened! That moment really gave me confidence in my artistic identity. Things go very fast now and you have to be ready for it!

Your new EP “Mamichula” brings Latin fire and even touches of Guaracha. What inspired you to explore these sounds and blend them with your psy-techno identity?
Touring the world is intense and unique. Not many people get to live what I experience through music. This year I played a lot in Colombia, Chile and Argentina, I go back again in October with Ecuador on the list which I’m so excited about. I want to make a culture fusion between my world of Psy-techno and world music. Guarracha brings a real Latin heat, the trumpets are sick.

How was the collaboration with MC Arlene on the title track? Did the energy click right away or did the song evolve over time?
When I discovered Arlene’s vocal on Instagram I got hooked, I was actually in Argentina as that time, and I started working on this project. Indira and I started testing Mamichula in our sets and the crowd went crazy, it was fire, so we contacted Arlene and decided to make it official. Again I love the idea to blend my music with an artist from a complete other genre, it’s inspiring and it nourishes me.

You’ve also gained attention with your psy edits of pop hits like “Don’t Cha” or “Video Games”. How do crowds usually react when you drop these unexpected versions in your sets?
It’s so cool to introduce these edits in my performances and have people sing along as these are worldwide hits. It allows me to connect more with my audience while keeping my trademark Marhu sound. It’s also a gift for my audience as these edits are free to download. I might drop my edit of Louis BPM “Tranquillo” very soon, so keep an eye out!

This year you have performed at Tomorrowland, Medusa, Dreambeach, Les Ardentes, Rave Rebels, Kompass in Ghent, Fuse In Brussels and many others. Which gig felt like a milestone moment for you so far?
Tomorrowland was my fav moment of this year, the Atmosphere stage is so epic, everything was perfect that day. I recognised so many familiar faces in the crowd, my parents were also on stage, my team. I understand why this festival is worldwide popular, they are really good at storytelling and production. Belgium is my home, and it feels extra special to live this experience, a moment that will be with me forever. For such a small country we have such a strong scene, it’s awesome, I’m a proud ninjaaaa.

As a core artist on ARTCORE, you’ve been part of many showcases worldwide. What does this partnership mean to you and how do you see your role within the label’s roster?
My role within the roster is to bring my own style and sound. Indira selected a few artists that would bring something new to her showcases and label. Valentino has his own style, and we also have Lola Cerise who brings a more experimental sound to the roster. We will actually play our first back-to-back together at Awakenings October 25th during ADE. It will be at the SugarFactory, and I can’t wait to see this new venue.
 

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Upcoming dates include Hï Ibiza, Ecuador, Awakenings @ ADE and your debut at Teletech in 2026. Can London fans expect to see you here soon as well?
Super thrilled about my TELETECH Debut January 1st!! We start the year with a bang in my hometown Brussels. London is on my wish list too.

The London scene is well known for embracing hybrid sounds and cultural fusions. How do you think your Latin and Eastern-inspired approach would resonate with the UK crowd?
I would love to play in UK more, the crowd is always curious and open-minded, so I feel my sound would connect really well. Hopefully soon I’ll bring some fire to the UK dancefloors.

Looking ahead – are there any dream collaborations or unexplored sounds you’d love to bring into your productions in the future?
I'm working on some cover versions from old tunes that would complete my music catalog and show the full spectrum by reimagining classics in my own style. I’m also aiming to make a collaboration in the future with a flutiste. The flute has become such a signature in my tracks, and I want to work more with this in the future. I’m already cooking more ninja material with the master Interactive Noise, we’re preparing a follow-up after Solid Ninja, and it’s going to be wild!

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