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Stalvart John, a trailblazer in India’s dance music scene, is more than just a DJ; he’s a curator, label head, and a community builder reshaping the landscape of disco and house music. From his early days in Kerala to international stages, his journey has been nothing short of transformative. In this interview, Stalvart opens up about his inspirations, the evolution of Dynamite Disco Club, and the creative process behind his latest Nu Disco masterpiece, Nights of Sahra. Let’s dive into the mind of the Disco Dictator himself and uncover the stories behind the grooves.
I feel like I started clubbing with the right people and crew. In Kochi, Kerala, getting into clubs at 18 was nearly impossible due to strict entry policies and the ‘no stag’ rule. Our local culture also made it tough to get women to come out to clubs, which limited the scene. So, we had to get creative. That’s when my friends launched Kochi Vibe, the first online lifestyle magazine in the city, back in 2008 and I got to be part of the core team. It was focused on the nightlife, and through this platform, we began connecting with some of the most influential DJs in Kochi’s nightlife community, like DJ Sekhar, Nash, Abhiram, and others.
As we spent more time with them, we started organizing parties together. Within two years, I was invited to play alongside these great DJs and learn from them. Back then, learning DJing was all about hands-on experience. I’d arrive early at the club, plant myself behind the console, and practice until the first person walked in. I used to pray for people to arrive late (it’s funny how priorities change over time).
I’m grateful I had the right people and crew to help set my ethos, fundamentals and build a solid foundation in music
When I started DDC, I had already spent seven years DJing and hosting radio shows. By then, I had established myself as a Disco and House music DJ. But I began to feel like the scene wasn’t evolving, and I believed I could help bring that change (maybe a bit of a Messiah complex, haha). So, the next logical step for me was to create something that could eventually serve as a strong pillar for the Disco and House music scene in the country. I knew it would take time, and I had to build it step by step. I’m still only at the third stage of my vision.
I believe that for any society or culture to truly thrive, diversity is essential. When options are limited, people begin to reject everything altogether. My focus has always been on introducing diversity to the scene, creating an ecosystem where artists can flourish, and doing what genuinely makes me happy.
When I started, Soul City by Mixtape was the only entity making waves in the House and Disco space. But once I proved that you can survive and succeed by championing an alternative sound, the scene began to change. More collectives and nights focused on this sound started emerging.
Today, we have regular showcases at some of the country’s leading festivals, and acts from my collectives and label are headlining festivals nationwide. I’m optimistic about the future and excited to see how we continue to grow in the coming years.
This track was inspired by the idea of blending Nu Disco with the sounds of West African desert music. My vision was to create a dance floor-ready Nu Disco track, so every instrument and sample I chose was focused on that goal. I aimed to keep the organic feel intact while maintaining the groove of the track. As a result, most of the instruments were carefully edited to strike that balance.
I started by sourcing vocal samples from West african regions, and then moved on to incorporating key instruments native to the area. Having worked with Bassekou Kouyaté, I was familiar with the instruments he uses, so I brought in the Ngoni guitar for the rhythm.
Next, I layered in the signature Disco bassline and drums. The final touch was discovering an Arabic vocal. The initial demo I sent to the label didn’t have that vocal, but one of the samples I had used was also used by another artist who had just released a track on Wind Horse Records. So, I had to find an alternative—and that’s when I came across the Arabic vocal. It brought a whole new dimension to the track, which led me to name it Nights of Sahra (Desert).
I never limit myself to a single sound. I don’t believe that a particular genre should be confined to one culture. Culture and humanity evolve through collaboration and the exchange of ideas. The key is ensuring that both parties have a clear vision of their own. I draw inspiration from anything that resonates with me—whether it’s the sound itself or the story behind it. I explore everything that inspires me and aim to present it in a balanced way, allowing these influences to come together seamlessly.
One of the main reasons I started DDC was to prevent new artists from facing the struggles I went through to survive in this industry. I believe the previous generation of artists cleared the forest and built a mud road, and it’s my job to build solid highways so the next generation can drive Ferraris if they choose to. It’s crucial to establish a strong ecosystem for the future of the scene. I’m fortunate to work alongside people who share this vision and ethos.
When you study the work and greatness of those who came before you, it shows you the only way forward. At the end of the day, you become what you consume. That’s why it’s crucial to surround yourself with an environment and people that inspire you every day. If it’s not, change it. This is an ongoing process. You will fail, because we’re only human. But the key is to get up and try again, over and over.
I always try to understand why I’ve been booked and what my purpose is at each festival. My management team at Four32 plays a key role in helping me clarify this purpose for every event. Once you understand your role, the work becomes much easier. From there, I focus on crafting a set that aligns with that purpose. Sometimes I’m there as an entertainer, sometimes as an educator, or even a blend of both. I tailor my preparation accordingly.
This is one of my theories. I believe it has a lot to do with the cultural moment we’re in, which is one of revolution and activism. Today, much of the world is governed by extreme right-wing ideologies, and many people are seeking ways to break free from this. The only music that truly speaks to the soul can facilitate that freedom. Disco and House music were born out of this desire to break free, to escape societal constraints. I think this is a big part of why these genres are experiencing a resurgence in popularity.
Arun Ramanathan at Mixmag Asia, has been supporting us since the beginning of the label. So when I was planning my Asia tour, my management team connected with the Mixmag Asia team, providing some references. What started as a simple connection soon grew into a full-fledged tour.
Playing in these countries really helped me dive deeper into their unique sounds and cultures. The Singapore gig was my favorite—it was supposed to be a laid-back brunch set, but it turned into an absolute banger. I ended up doing a B2B with the venue curator, Joshua Pillai, after my set at a different space.
In Vietnam, we had a rainy day, but I got to play alongside one of the country’s coolest acts, MAQman, which was an unforgettable experience.
Since Traxsource was founded by artists themselves, their curation team is incredibly strong and made up of fellow artists. They’ve supported our label from our very first release. Being exclusive to Traxsource allows us to direct our fans and fellow DJs to access tracks two weeks before the global release. As a result, Traxsource has also featured us on their front page, which boosts visibility and sales for both parties.
Our next step is to collaborate with more international artists and collectives to build bridges between us. This will allow us to help our label artists secure releases on other international labels. Another goal is to explore opportunities for showcases in other Asian and European countries.
The vocals are samples taken from various sample packs. My approach was to use them in a way that they complement, rather than interfere with, the core groove and dance floor energy of the track, as mentioned in one of the previous questions.
I want people to dance to my music because dancing is one of the most transcendental acts anyone can experience. The mental and health benefits are truly phenomenal. So dance a little—wait, actually, dance a lot. One of the taglines we use for DDC is, ‘The future belongs to those who dance.’ So, dance, dance, dance!
A huge thank you to Stalvart John for sharing his journey and insights with us. His passion for disco and house continues to inspire both fans and artists across the globe. Don’t miss his latest release, Nights of Sahra, available exclusively on Traxsource from November 8th. Pre-save now and experience the soulful groove for yourself. Keep dancing because, as Stalvart says, “The future belongs to those who dance!”
DJ | MUSIC CURATOR & SELECTOR | PODCAST MAKER | BLOGGER Professional online interpreneur. Coffee practitioner. Electronic music culture maven. Total music guru. Infuriatingly humble problem solver. Food & sports fanatic.
Welcome to Dirty Disco 576! DJ Kono Vidovic invites you to embark on a meticulously curated 2-hour musical journey that blends the finest in soulful house, nu disco, and forward-thinking […]
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