“We produce a lot of ideas because we need to create constantly” Mozambo interview

Mozambo’s records often feel rooted in memory as much as club culture. The duo grew up trading records between them, moving from 60s guitar bands into soul, disco and eventually French Touch, where sampling and replayed instrumentation shaped the way they still approach production today. That lineage sits quietly behind their recent run of releases, including the Brazil-leaning collaboration with Maz and vocalist Martinho da Vila, “No Embalo da Vila”, a track refined through road testing and finished with live guitars recorded in Rio.

In this conversation they talk through how ideas move from instinct to finished record, why testing tracks in sets remains central to their process, and how collaboration alters arrangement decisions more than studio theory ever could. It also touches on identity, the influence of Daft Punk’s long-view career thinking, and why they continue to generate large volumes of sketches before committing to a final version.

What kind of music was around you at home growing up, and did you realise early it would feed into Mozambo later?

We’ve both been passionate about music for a very long time and we’ve always listened to a wide range of styles. When we were younger, we used to share the records we loved with each other. A lot of it was music from the 60s and 70s, rock, pop rock, and legendary bands like The Beatles, The Rolling Stones, The Kinks and many others.

At the same time, we were also listening to soul, funk and disco. A bit later, we discovered house music and especially the French Touch, which had a huge influence on Mozambo and on the way we produce today.

The whole culture of sampling, reworking sounds, replaying instruments and the slightly analog approach of late 90s and early 2000s production really fascinated us. Even though the tools are very different now, we still try to keep that spirit and that DNA when we make music.

Was there a particular record or artist that made you think, “this is the lane we want to exist in”?

There are many artists who have inspired us throughout the Mozambo journey, and who still do today. But if we had to name one iconic influence, it would definitely be Daft Punk.

They inspired us on so many levels, musically, in their artistic direction, and even in the way they built their career. Their vision and attention to detail had a huge impact on us, even if the music we make today is quite different. They remain a constant reference and a source of fascination.

More recently, we also feel close to the universe of artists like ANOTR, and of course Maz, with whom we work today and who has become a friend. There are many inspirations, and all of them help us stay true to ourselves and continue developing our own identity.

With the legendary Martinho da Vila involved on your single, did you treat the material carefully from the start or did you first experiment freely and then pull it back?

For the Martinho da Vila project, we started from the original material by sampling his voice and a specific part of the track that we really loved. From there, we gave ourselves a lot of creative freedom. We had a clear direction in mind and began experimenting with Maz, gradually changing and refining different elements.

There were several versions of the track. We started by testing an early version in our respective DJ sets, both us and Maz, to see how it worked with people. Then we kept developing it step by step until we reached the final version that we’re very proud of.

Releasing it during Carnaval in Brazil was very symbolic for us, because the track is deeply inspired by that energy and by our connection to Brazilian culture.

Did the track change more from conversations between you two, or from actually playing it out to people?

The track really evolved over time through constant exchanges between Maz and us. We went back and forth a lot, sending new versions, testing them in our sets, listening again and again. Each version felt good, but there was always something missing that would make it feel complete.

The final turning point came when we recorded Brazilian guitars in Rio, in Maz’s studio. That live, organic element brought a new layer to the track, a melodic touch and a real Brazilian color that made everything feel more alive and more emotional.

That was the moment when we felt the track was finally finished and exactly how we wanted it.

Are you still making ideas quickly and picking the best ones, or spending longer on fewer tracks now?

There isn’t really a strict rule for us. We produce a lot of ideas because we need to create constantly. It’s part of our creative process and also something we genuinely enjoy. We like to experiment without overthinking and just let things flow.

Then, after some time, we listen back with a bit more distance and start selecting the ideas that really stand out. That’s when we decide to develop a track fully, finish it, play it in our sets and eventually release it. So we still work quite fast and generate a lot of material, but the selection process is what shapes the final output.

What’s the smallest detail in No Embalo da Vila that took the longest to get right?

The detail that took the longest to finalize was the Brazilian guitars at the end of the process. We had a lot of great recordings, so the real challenge was selecting the right moments and making them fit perfectly in the track.

It became more of a structural and mixing decision, knowing when to bring them forward, when to pull them back, and how to balance them with the rest of the elements. They’re small details, but they made a big difference in the final result. That final stage took some time, but it’s what gave the track its organic and melodic character.

Have audiences in different countries heard it in noticeably different ways so far?

So far we’ve played the track mostly in Latin America, especially in Brazil and Chile, and the reaction has been very positive everywhere. It really creates a Carnaval atmosphere, very uplifting with a strong positive energy. Every time we play it, we feel that connection with the crowd and people respond in a very warm way. For now, we’ve only had great feedback and we’re very happy about how it’s been received.

Right now, are you more motivated by preserving a recognisable Mozambo identity or surprising yourselves each release?

Right now, our main motivation is simply to keep making music and enjoying the process. Our identity will always be there because we’re the ones making the decisions and shaping the sound, so there will always be a recognisable Mozambo touch.

At the same time, we like to surprise people. We don’t want to stay locked into one specific style. We enjoy evolving and exploring new ideas when the timing feels right.

It’s very encouraging to see the positive feedback from listeners, from people who already follow us and also from new audiences discovering the project. In the end, our goal is just to keep making good music that we love and that connects with people, whatever the specific style may be.

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