Imagine a track that could be played by Solomun, Fisher, Tale of Us, and Dom Dolla alike — that’s the magic of Far&High. Since emerging in 2019, the duo has become a driving force in the Indie Dance scene, with every release landing in the Beatport Top 100 and massive support from the world’s biggest DJs. With chart-topping hits like Alone, Mannequin, and Sans Vetements, and over 300 shows in 20 countries, Far&High continue to shape the sound of modern electronic music. LoudLife sat down with the duo to talk about their journey, inspirations, and the sound that connects dance floors worldwide.
Interview With Far&High:
Hello Guys, nice to have you with LoudLife, how is your Life, recently?
Lately, it has been super intense, thanks for asking. 90% of our time is dedicated to building the Unheard Music label. For us, pizzaaftersex and Mona Chrome, it is a very serious project where we invest not only our time but also our soul. It is exciting, it is emotional, and it gives us a huge amount of anticipation.
You’re not only behind the first release on Unheard Music but also among its co-founders. What sparked the idea to start your own label?
Far&High as a project only exists since summer 2019, but as independent electronic music artists, we have been around since the late 90s. We each had our small personal labels, but after meeting pizzaaftersex we saw a few ideas that were big enough to create something truly global. The whole label stands on three pillars: first, freedom from expectations, you can create anything as long as it is made for the dancefloor. Second, we do not set genre limits, unlike how the industry works now; Unheard will not have a “main genre”. And third, we want to make the world a little better for young artists. Today, they face massive problems at the start of their careers, and we divide music only into what we like and what we do not like. Simple but honest.
Unheard Music stands for artistic freedom and underground expression. What does that mean to you in real terms?
It means exactly what we said; there are only two types of music, the one you like and the one you do not. And that is individual for everyone. We will try to keep the balance between experimental ideas and more classic sounds. Since in our core we are three people from different generations and with different musical backgrounds, we can evaluate music quite honestly. The range goes from light organic house to peak-time techno. The main thing is, it should be danceable, interesting, have an idea, and no boundaries.
Why did you choose “Rabbit Hole” with Pizzaaftersex as the label’s first release, what makes it the perfect launch statement?
As a project, we always tried to touch on social or emotional themes. “Alone” was a protest against people filming instead of dancing, “Sans Vetements” was meta-irony about brand obsession, the title “without clothes” already says a lot. “Computers” was about how modern music became mechanical and perfect, as if it lost its soul. And “Rabbit Hole” is about mental struggles, it is a sad track about living in constant anticipation, like producers often do, about living in a state of intro, about the weight that music authors carry around the world.
The label isn’t genre-driven but vision-driven. How will you recognize when a track truly fits your philosophy?
It must have a story, it must have energy, and it must clearly move away from the standard. If someone produces melodic techno and sends us another melodic techno track, it means they have not understood our philosophy yet. But we will explain it, and if the track is really good, we have Unheard Black, a place for music that we like but that does not fully align with the main concept. It is both simple and complex at the same time, but it is what makes it exciting.
You’ve released on iconic labels like Diynamic, Renaissance, Stil vor Talent, and Katermukke. How did those connections come about?
Always the same way. Either a direct request from the label to us or via the demo email. Probably, if we were more open and communicative, we would have even more labels in our catalogue, but this is just not really our path, and honestly, we are fine with that.
DJs like Solomun and John Summit play your tracks. How does it feel to hear your music from such great artists?
Every time it makes us happy and surprised. Let me explain: Solomun, John Summit, Fisher, Blond:ish, Tale of Us, Yotto, Raxon, Röyksopp, Nick Warren, Oliver Koletzki, feel the genre amplitude, how different these artists are, and all of them (and many more) played our tracks. For us, it is a pure form of joy, exactly what we always wanted, to never be boring, to break the stereotype that if you made a hit, you must repeat it ten more times to build your signature sound. We managed to avoid that. Yes, Far&High definitely has a recognizable sound, but it is not stuck in a narrow framework, and that makes us really happy.
Looking ahead, what’s the ultimate dream for Far&High?
To leave a real mark on electronic music. In a world where an artist is forgotten if they do not release anything in 3 or 4 months, where everything is fast and consumeristic, we want to be remembered as a project that did something special. And we are on our way to that.
