Life After Touring
Chris Spero, DJ and Producer, on Finding Balance
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How did you get into electronic music?
I was always much more into bands until I was 16. Then a uni friend dragged me to Bedrock at Heaven in 1997 to John Digweed's night. I'd never heard electronic music actually played in context before and it completely blew me away. I've never looked back since. Although the whole industry has changed almost beyond recognition, the ethos for me has never changed.
You studied sculpture at Central Saint Martins, sculpture often involves working with layers, textures, and forms. Is that what it's like making music?
There is a huge connection between making music and sculpture. In sculpture space is your canvas and in music silence is your canvas. It's essentially just adding and taking away. I still love sculpture but unfortunately don't have the time to do it at the moment.
Do you think techno still holds the same significance for today's younger generations?
Techno started off as a counter-culture movement. That is something that has definitely changed. However, I think house and techno is always there waiting for every generation to mould it into whatever they want it to be. It's a very expressive genre. It's an industry that is fed on youth and that's exactly how it should be.
How was it living in Ibiza, being in the 'scene' and juggling family life?
Living in Ibiza was great but juggling touring and family was predictably fairly tricky. Especially having to change flights in the winter in Barcelona. I'd often spent 20-30 hours traveling in a weekend during the winter months.
mOat made a strong impact in Ibiza this year, with Brian getting played by heavyweights like Solomun. Do you find yourself enjoying the behind-the-scenes role more?
Yes I way prefer being behind the scenes making the tunes in the studio. I get a much more rewarding buzz in the studio making records than playing them out. I feel comfortable leaving that to other people now. This shift mainly happened during COVID where I was forced as a lot of us were to stop touring. I quickly realised how much amazing stuff I was missing at home with my amazing family. In some ways COVID was the best thing that's ever happened to me.
You live in Mallorca now. What do you love about it - and do you miss Ibiza?
I absolutely love Mallorca and we are very happy here. I don't miss much about living in Ibiza apart from some good friends I have there. I still go back regularly to work with Tom the other half of mOat who still lives there.
What do you think set you apart and enabled your success in an industry where so many struggle to break through?
An obsessively hard work ethic and crippling doubt.
What's your most favorite restaurant in Ibiza? And where is the best place to watch the sunrise?
La Paloma for food and Es Canar for sunrise.
To find out more about Chris's latest projects visit @moat_collective on Instagram
Chris Spero, DJ and Producer, on Finding Balance
DJ and Producer Chris Spero
14/1/25
By Sophie Morrow
From peddling vinyls down Oxford Street to international DJ, Chris Spero has shaped electronic music through projects like Glimpse and Dense & Pika. Now settled in Mallorca, he's found unexpected peace in studio life post-COVID, crafting tracks as mOat while rediscovering the joy of family life away from the decks.
Tell me a bit about your childhood and growing up.
I grew up in London which was great in the 80's. Was very much into the band scene around that time and later the rave scene of the 90's. My regular haunts were fairly typical. The now closed Kensington Market, obviously Camden Market and Brixton. I was shipped off to boarding school when I was 7 (apparently because I was too naughty to stay in London) although I think that's a lie my mum tells me. After that I went to Central Saint Martins School of Art which was brilliant fun and was totally free to soak up all the music and art culture London had to offer at the time.
Was music always a big part of your life? Tell me about that...
I've always been a music fanatic from about 6 when I started playing guitar. This led to many failed bands and lots of angry neighbours. In 1996 I started DJing and started producing in 1998 and released my first records (on vinyl) in 1999. From then on it's been the main focus of my life. I started the Glimpse project in 2001 which led to touring around the world playing live playing at regularly at the now closed Space in Ibiza, DC10, Japan, Australia etc. In 2010 I started Dense & Pika with friend Alex Jones for the more techno-leaning sound I was developing at the time. This took off very quickly and led to a gruelling touring schedule that lasted up until around COVID. During COVID I started a much more song-based project called mOat which is my main focus these days. At 44 most of my touring days are behind me and I'm much more studio based which is perfect for me. I still do a few gigs here and there but definitely enjoy being at home more than anywhere else.
By Sophie Morrow
How did you get into electronic music?
I was always much more into bands until I was 16. Then a uni friend dragged me to Bedrock at Heaven in 1997 to John Digweed's night. I'd never heard electronic music actually played in context before and it completely blew me away. I've never looked back since. Although the whole industry has changed almost beyond recognition, the ethos for me has never changed.
You studied sculpture at Central Saint Martins, sculpture often involves working with layers, textures, and forms. Is that what it's like making music?
There is a huge connection between making music and sculpture. In sculpture space is your canvas and in music silence is your canvas. It's essentially just adding and taking away. I still love sculpture but unfortunately don't have the time to do it at the moment.
Do you think techno still holds the same significance for today's younger generations?
Techno started off as a counter-culture movement. That is something that has definitely changed. However, I think house and techno is always there waiting for every generation to mould it into whatever they want it to be. It's a very expressive genre. It's an industry that is fed on youth and that's exactly how it should be.
How was it living in Ibiza, being in the 'scene' and juggling family life?
Living in Ibiza was great but juggling touring and family was predictably fairly tricky. Especially having to change flights in the winter in Barcelona. I'd often spent 20-30 hours traveling in a weekend during the winter months.
mOat made a strong impact in Ibiza this year, with Brian getting played by heavyweights like Solomun. Do you find yourself enjoying the behind-the-scenes role more?
Yes I way prefer being behind the scenes making the tunes in the studio. I get a much more rewarding buzz in the studio making records than playing them out. I feel comfortable leaving that to other people now. This shift mainly happened during COVID where I was forced as a lot of us were to stop touring. I quickly realised how much amazing stuff I was missing at home with my amazing family. In some ways COVID was the best thing that's ever happened to me.
You live in Mallorca now. What do you love about it - and do you miss Ibiza?
I absolutely love Mallorca and we are very happy here. I don't miss much about living in Ibiza apart from some good friends I have there. I still go back regularly to work with Tom the other half of mOat who still lives there.
What do you think set you apart and enabled your success in an industry where so many struggle to break through?
An obsessively hard work ethic and crippling doubt.
What's your most favorite restaurant in Ibiza? And where is the best place to watch the sunrise?
La Paloma for food and Es Canar for sunrise.
To find out more about Chris's latest projects visit @moat_collective on Instagram