Exclusive Interview with Talented Producers FYNN & HD. Built through a collaborative back-and-forth process between New Zealand and the United States, “Low” captures a shared vision for functional, dancefloor-focused music, stripping everything back to pure rhythm and impact.
FYNN, a New Zealand-based tech house DJ and producer, and HD, a US-based producer, join forces on “Low,” a high-energy tech house record built for dark club rooms and peak-time sets. The track was created with a focus on stripped-back, driving energy blending rolling basslines, punchy percussion, and a minimal, groove-heavy approach inspired by European club culture.
EXCLUSIVE INTERVIEW
1. “Low” feels very stripped-back yet powerful. What was the creative philosophy behind keeping the track minimal while still making it hit so hard on a dancefloor?
For us, the whole idea was to make something that had that club groove, but still carried enough impact to work in a festival setting. We didn’t want to overcomplicate it or fill every space just for the sake of it. The power comes from the groove, the bassline, and the tension around the drop.
I wanted it to feel like a hybrid rave record, something dark and stripped-back enough for a proper club room, but big enough that you could hear it on a larger stage as well. It was really about making every element earn its place. Less clutter, more movement, more impact.
2. You built this record across two different countries and time zones. What did the collaboration process between New Zealand and the United States actually look like day-to-day?
The collaboration was really hands-on from the start. We were constantly bouncing FL Studio files back and forth, sending new versions, making changes, and slowly shaping the track from opposite sides of the world.
HD has also been a big part of my production journey. I’m still a very new producer, so having someone involved who understood the sound and could help push the details further made a massive difference. It was not just a quick feature or a one-off file send. It was a proper back-and-forth process over time.
3. The track leans heavily into dark-room, peak-time club energy. Were there any specific clubs, festivals, or moments on a dancefloor that inspired the sound of “Low”?
The inspiration was definitely more about a feeling than one specific club. I was really drawn to that darker European electro and bass house influence, where the groove is still tight and club-focused, but the drop has a lot more weight and aggression behind it.
Artists like Max Styler, Mau P, and Marten Hørger were big reference points for us. I liked how their records can feel underground and driving, but still have enough impact to cut through on a bigger stage. That was a big part of what we wanted with “Low.”
4. Tech house is constantly evolving. Where do you feel your sound fits within the current global scene, especially with the European club influence mentioned in the release?
We see “Low” as sitting in that space between tech house, electro, and bass house. It still has the groove and repetition that makes tech house work in a club, but there is a darker, heavier edge to it that comes more from the European club and rave sound.
For us, the goal is to help bring more of that sound into New Zealand, while also making music that can travel beyond New Zealand. We do not want it to feel locked to one local scene. We want the records to feel international, like something that could be played in a club here, in Europe, in the US, or at a festival.
5. Rolling basslines and groove seem central to this record. Which element of the track came first and unlocked the rest of the production?
The vocal and the synth idea were there really early. From the start, we liked the contrast of having a more mainstream, pop-leaning vocal sitting over a darker, heavier club record. That was the thing that helped the track make sense. We also wanted the synths to feel big and festival-ready, because the sound itself is quite niche, dark, and heavy. The vocal and synths gave it a more accessible edge without taking away from the club energy.
That balance became the identity of the record: a heavy dark-room groove, but with elements that make it easier for the average listener to connect with. Once we had that contrast working, the rest of the production could build around it.
6. Did either of you approach the track differently because you knew it was meant to function as a “club weapon” rather than a more melodic or crossover release?
Definitely. From the start, we approached “Low” as a club record first. The priority was making something that DJs could play in a set and that would actually move a room, so the groove, bassline, tension, and drop impact mattered more than overloading it with melodic layers.
At the same time, we did not want it to be so dark or niche that only producers or underground DJs would understand it. That is why the vocal and the festival-style synths were so important. They gave the record a more accessible edge while still keeping the foundation heavy and club-focused.
7. What’s one production detail in “Low” that casual listeners might miss, but other producers or DJs would immediately appreciate?
One detail producers and DJs might pick up on is how much space there is in the track. It sounds simple on the surface, but a lot of the work was in making the low end, drums, vocal, and synths all hit without fighting each other.
We wanted the bass and groove to feel heavy, but still leave enough room for the vocal and festival-style synths to cut through. That balance was a big part of the record. It is not just about adding more layers. It is about knowing what to leave out so every element feels bigger.
8. How do your individual styles complement each other creatively, and where did you challenge each other during the making of this record?
Our styles worked well together because we were coming at the track from slightly different angles. HD was more melodic-focused, while I was leaning more into the bass house and darker club side of the record. In the end, that contrast became one of the strongest parts of “Low.”
HD brought a lot of musicality and helped make sure the track still had feeling and accessibility, while I was focused on making sure it had weight, groove, and that heavier dancefloor impact. That balance helped the record sit in a more unique place.
9. With modern dance music becoming increasingly polished, how do you balance clean production with keeping raw energy and tension alive in a track?
For us, it comes down to making the mix clean without making the record feel too perfect or lifeless. Dance music still needs to feel physical. It needs grit, tension, space, and movement, not just polished sounds stacked on top of each other.
10. If “Low” had to soundtrack one perfect moment at 3AM in a packed club, what would that scene look like in your minds?
It would be a dark room, low ceiling, smoke in the air, lights flashing, and everyone packed in tight. Not the kind of moment where people are standing around waiting for a big singalong, but the kind of moment where the whole room is locked into the same groove. In our minds, it is right as the vocal has built the tension and the drop is about to hit. Then the bassline comes in and the energy shifts. It is heavy, dark, and physical, but still has that festival-sized impact where the room feels like it lifts all at once. That is the perfect setting for “Low.” A proper 3AM rave moment where it feels underground, but still massive.
UFO Network brings you music news daily! See more news here
Listen on Spotify
Connect with FYNN
Connect with HD
