Mona Chrome is an artist who does things on her own terms. The Belarus-born, Dubai-based producer and DJ has spent years quietly building something substantial. She has a refined ear for texture, a classical piano background, and an unshakeable commitment to craft over convenience. Now, with her debut solo EP Lost In The Ocean out on Unheard Music, the label she co-founded, and a Pan-Pot remix in tow, the momentum is undeniable.
In the interview she talks about the sounds that shaped the record, the realities of building a label from scratch, and why she believes the music industry’s relationship with shortcuts (algorithmic or otherwise) is a problem worth naming out loud. She also prepared DJ Tips video where she shares how she prepares for her DJ sets. A true artist obsessed with details and craft, Mona Chrome is definitely one to watch.
Your new EP Lost In The Ocean is out! Can you walk us through how the track came together, and what was the inspiration behind it?
The track came together incredibly fast, which is usually a sign that you’re onto something special. I was working late at my desk, and it was actually the second draft I started that night. The turning point was finding that specific bass sound – it immediately dictated the direction of the track. I laid down the main motif, added a minimalist drum pattern, and the groove felt so locked in that I decided to keep the arrangement clean and focused.
To elevate the mood, I layered a repetitive, cinematic drone. It cuts through the track and creates this intense, driving sense of tension – almost like a psychological thriller. The addition of the vocals later on topped it off perfectly, giving it that deep, hypnotic, and slightly dark edge.
Looking back, this track represents a specific chapter of my journey. A year and a half ago, I was still navigating my sound and experimenting with different tools. Most of my music stems from raw improvisation and whatever mood I’m channeling in the studio. For “Lost In The Ocean”, the main catalyst was the Moog “Mariana” synthesizer; its rich textures shaped the entire sonic landscape of the single.
Getting Pan-Pot on a remix is remarkable! How did that conversation come about, and what was it like hearing their interpretation of your music?
It’s honestly an indescribable feeling, especially considering this is the very first remix for my fully solo project. Our connection with Pan-Pot actually started by pure chance. Last February, they played my track ‘Give Me One’ (released on the Italian label Ratis) during one of their sets. When I first saw the video, I couldn’t believe my eyes – I was literally jumping around my apartment, rewatching it on loop. It was such a surreal moment.
So, when ‘Lost in the Ocean’ was finished and we started discussing potential remixers, I knew I had to take a shot and pitch it to them. To my absolute delight, they said yes. On top of that, they were coming to Dubai for a show around that time, which gave us a chance to meet in person and chat.
As for the remix itself – I am absolutely blown away. They completely captured the sonic philosophy of our label, Unheard Music. What I love most is that they delivered something truly unique that steps outside of their signature sound, while still maintaining incredible energy
The EP is released on Unheard Music, which you co-found. Could you tell us more about the label and how did you start it?
Launching an imprint is a massive milestone for me, especially since I get to build it with industry heavyweights like Far&High. Plus, working with pizzaaftersex is incredibly exciting; he might be a new name in electronic music, but his overall artistic track record guarantees he’s going to do amazing things here.
When Maksim brought the idea to the table, I didn’t hesitate for a second. The core philosophy of Unheard Music is to offer artists total creative liberation. It’s incredibly tough for musicians to step out of their comfort zones or evolve past a sound they’ve been known for for years. We wanted to create a space that removes that pressure entirely, allowing for pure, unadulterated experimentation.
My own perspective as a rising artist heavily influences how I view the label. Navigating the scene early on is tough, but it also gives my work a fresh, unpolished edge that has caught the attention of veteran producers. My mission is to ensure our platform supports other fresh voices who dare to deviate from the mainstream.It’s hard to believe how fast things are moving. We only recently went live and have barely started our catalog, yet the influx of international demos has been relentless. Seeing so many global creators align with our vision and want to join the movement is the best start we could have ever hoped for.
The label is already developing events, podcasts, and sessions in cities like Dubai, London, and New York. What are your plans for this year and beyond?
Right now we have decided to focus more on releases, on building a community, and on generating interest in our label. There is no doubt that great things await us, because this label is built with love – without financial calculations, without chasing profitability or return on investment. Thanks to pizzaaftersex, we have the opportunity to build something large and genuine without watching the bills. This is a remarkable opportunity, and we are only at the very beginning of our journey. The contemporary music market is already clearly splitting into two camps – those for whom simple neural slop is acceptable, and those who are trying to escape digital bubbles and algorithms in search of something real. That is precisely why vinyl releases are a non-negotiable part of every release on our label. On that note – the record for my release is going to be incredibly beautiful, even in black and white. You will see it soon.
Can you tell us where you’re currently based and what’s the local music scene there like?
I’ve been based in Dubai for the past three years. Honestly, it’s a very unique place with a rather one-dimensional electronic scene, especially for a DJ like me who has transitioned into Techno. There are plenty of massive venues here, and during my first couple of years, I played almost every significant spot in the city, including Soho Garden.
However, the crowd dynamic here is different. You easily become a hostage to mainstream trends. It often feels like everyone is playing from the exact same USB, and very few artists dare to speak a different musical language. When they do, the audience treats it with skepticism. Even when I attended shows by industry giants like Solomun, Pan-Pot, Âme, Dixon, Sven Väth, Nina Kraviz, or ANNA, I noticed that their sets in Dubai always carried that specific ‘Dubai gloss.’ They have to play it safer than usual to please the local crowd.
But I do see a glimmer of hope. Lately, underground communities have started to emerge, championing a more daring, non-conformist sound. Crews like Arabic Night Radio or the techno community Secta are changing the game. In the end, it’s a great shift, and it shows that there is room for authentic music even here.
Growing up in Belarus, what was the electronic music scene like around you early on, and how much did your roots there influence the way you approach music today?
To be precise, my artistic growth didn’t actually happen in Belarus. Belarus was where the initial spark was ignited – it’s where I learned the absolute basics, got my hands on my first setup, and fell in love with electronic music. But less than a year after that passion took over, I moved to St. Petersburg, and that’s where the real immersion began.
St. Petersburg is where I truly developed my musical identity, dug deep into the culture, and had my first successful gigs as a DJ. Back in Belarus, I was just a clubber attending local parties; I couldn’t really analyze the scene from a professional standpoint. But those early days were crucial because they birthed my unconditional love for nightlife, the energy of the crowd, and electronic music as a whole.
Your YouTube channel reaching over a million views was clearly a turning point. Looking back, do you think that platform gave you more visibility? Is social media still important in getting your music heard?
Social media is undeniable today, but the landscape has become incredibly skewed. We are seeing influencers with zero technical skills booking massive festival slots just because they know how to create viral content, while genuinely talented producers who spend years mastering their craft get overlooked. Anyone can get millions of views playing a set on an XDJ-RX in their kitchen without even knowing how to beatmatch.
As someone who has invested years into learning music production, mixing, and the complex art of vinyl, this shift is hard to ignore. Crafting a set that actually tells a story is a lifelong journey – it’s the hardest part of being a DJ. But today, you are expected to be a full-time content creator. It leaves you wondering: when do you actually find the time to make music and hone your skills?
Ultimately, it forces a frustrating choice: do you want to be visible, or do you want to be a professional? You either spend your days churning out mindless content at the expense of your craftsmanship, or you stay locked in your studio mastering your skills, risking remaining completely invisible to the algorithm. It’s a toxic trade-off.
YouTube is a perfect example of how algorithms enforce conformity. My very first videos, which featured trendy Melodic Techno and Afro House sets, racked up hundreds of thousands of views effortlessly. Now, my technical execution and production quality are lightyears ahead, but because my sound has evolved into a more sophisticated – Techno – the viewership is more exclusive. If you play what everyone else is playing, the algorithm pushes you. If you choose authenticity over mainstream trends, you pay the price in views. Personally, I choose authenticity.
Tell us about your production process. Do you spend a lot of time in the studio alone or do you prefer working with other people? Any gear that you can’t live without or do you work mostly in the box? Do you use your own voice in your tracks?
My creative process always starts in complete isolation. It was incredibly important for me to understand the structure inside out and learn how to produce tracks completely on my own. Choosing sounds, arranging, working on details – this is my way of expressing the musical depth I’ve spent years building. The only part I delegate to more experienced professionals is mixing and mastering, simply because that technical side is still quite tough for me.
As for the workflow, I’m used to working in FL Studio with plugins. Even though I have access to great hardware like the real Minimoog, habit wins in the end. All I really need to be happy is a large MIDI keyboard with full octaves. As a former pianist with a degree in classical piano, I just feel much more comfortable and fluid with a proper keyboard layout.
I’m still too shy to use my own voice because I feel my English pronunciation isn’t perfect, and my vocal range is pretty average. To be honest, finding the courage to put myself out there and show something raw is an ongoing battle for me. I’m a perfectionist; I always feel the need to bring everything to absolute perfection before letting my audience hear it.
AI in music production is becoming impossible to ignore. Where do you personally draw the line, and do you think the conversation the industry is having about it is honest enough?
Personally, I draw the line where human intentionality ends. Music must be written by heart, not by an algorithm. When platforms like YouTube are flooded with multi-hour videos of AI-generated avatars paired with generative music that pulls massive viewership, it cheapens the entire art form.
We are entering a dangerous territory, especially with streaming platforms shifting from distributors to creators. Spotify’s latest move to launch a paid add-on tool that lets users generate AI remixes and covers of existing songs is incredibly disheartening. A remix used to be a dialogue between two artists, a reinterpretation of a musical universe. Reducing that to a button or a prompt for listeners turns music into disposable background noise.
The conversation around AI is deeply hypocritical. Major corporations shield themselves behind buzzwords like ‘responsible AI’ and ‘licensing deals,’ but they are essentially paving the way for low-quality mass production that drowns out independent human artists. If we stop valuing the thousands of hours a producer spends in the studio, we lose the very essence of what music is.
For producers and DJs just starting out right now, especially those trying to build something real in an era of shortcuts, what’s the one thing you wish someone had told you earlier?
You know, I consider myself incredibly lucky. There is someone in my life who told me everything I needed to hear exactly when I needed to hear it. Having access to that kind of profound knowledge and industry experience is a rare privilege. I am deeply grateful to the universe for bringing this mentor into my life. The priceless insights that usually take creators decades to accumulate, I was fortunate enough to absorb early in my youth.
This guidance is what truly shaped me and built my foundation as a professional. Today, I carry a backstage archive of knowledge as massive as a BelAZ truck – and that’s a direct nod to my Belarusian roots, where those unbelievably gigantic, record-breaking machines are built. Having that powerhouse of expertise behind me is everything.