Interview with
Guy From Downstairs
Hello Victor, over the past decade, you’ve built yourself a distinctive place in electronic music’sunderground, not just as Guy From Downstairs the artist, but as someone who truly understandsvinyl as a living philosophy.
Through your GFD and QNQN labels, you’ve been creating this beautiful universe of sounds, while your productions have found their way onto some of the scene’s most respected imprints including Cadenza, Rawax or Curtea Veche just to name a few. What’s particularly exciting is how you’ve evolved from this underground voice playing across Europe and the UK into someone Luciano has entrusted with the artistic direction of Cadence Noire, a new sublabel introducing a significant new chapter for the legendary Cadenza family.
You’re standing at this fascinating intersection where Romania’s distinctive minimal heritage meets the label’s global influence, which feels like the perfect moment to explore your journey. I’m really grateful to have the opportunity to discuss together how the role of artist-curators has evolved in today’s electronic music landscape, especially through the perspective of someone who’s navigated both the intimate world of vinyl culture and the global reach of pioneering imprints.
It’s particularly interesting to dive into your artistic path, to understand how you’ve developed your distinctive curatorial vision across multiple projects, as well as to discover more about the creative direction you’re shaping for Cadence Noire and where you see it heading.
1/ Let’s start with your musical roots, as you’ve been crafting your sound for years now, like many Romanian artists, you’ve developed a very particular facet of electronic music, while your alias “Guy From Downstairs” suggests someone working from the shadows, crafting sounds in intimate spaces.
What initially drew you to this musical scene, how does this concept of the underground – both literally and metaphorically – has influenced your vision of music production, and what role (if any) has Bucharest’s musical culture been playing in shaping your sonic identity?
My first real connection with underground music (and even with Romanian artists) actually happened in London. I lived in England for some time during my university years and friends I met there took me to some raves that completely shifted how I saw electronic music. That experience taught me about the wonders of the underground; it’s not a place but an attitude defined by a strong connection with people and music, curiosity, intensity, and a refusal to chase trends.
Back home in Bucharest I discovered the rest of the puzzle: a slower, more obsessive relationship with sound, long sets where you can build stories from textures and layers. A scene that valued intimacy, not hype. Maybe today these concepts sound like a fairy tale utopia but that’s truly how I experienced my early days in this scene.
That mix of raw energy and introspective sound design really shaped how I approach music. Keeping it intimate, personal but still powerful enough to move dancefloors. Music that’s made for people who really listen.
2/ Your journey from those early days led you to create the GFD label, which is described as your “12-inch playground”, where you’re releasing your own creations as well as exclusive collaborations amongst which Guti From Downstairs alongside with Guti [GFD003], with Nu Zau [GFD10] or more recently together with Elia Nafzger [GFD011].
Looking back at your first vinyl releases, what drove you to start putting music on wax, and how has running GFD taught you about the physical, tangible relationship between music and the people who collect and play it?
After releasing a few digital EPs, putting my music on wax felt like the natural next step. A way to give it form, weight and presence. My early vinyl releases taught me that people interact with music differently when it exists physically. Collectors write to you, fans send photos of their copies, you start spotting your record in other DJs’ bags or in shops across the world.
I really resonated with that kind of feedback. The tactile response to music, the feeling that what started in your studio now has its own life in someone else’s hands.
3/ The physicality of vinyl seems central to your artistic practice, not just through your own labels but in how you envision music creation, and your hands-on experience with vinyl seems to have caught Luciano’s attention, as you’ve been releasing your « Aquarius Tripping » on Cadenza [CADENZA129] last year, while you’re now heading up Cadence Noire, its new sublabel.
Can you walk us through this collaboration with Luciano, what got you two that aligned together for this new chapter?
The practical version is simple: I sent music to Cadenza last year. Luciano and the team connected with it pretty much instantly. Maybe there was something in those tracks that felt familiar yet new. The same DNA but with a different perspective. Surprisingly, we’d never spoken before, even though I’d seen him play many times (especially in Romania).
Cadenza and L were definitely among my influences from many years ago to the present. The label and Luciano’s style shaped how I understood groove, space and emotion in electronic music. There’s a shared appreciation for strange textures, the tension that unfolds slowly, the grooves in the area of the minimal sound (and beyond).
I think releasing “Aquarius Trippin” on Cadenza felt like a natural fit. After that, Luciano invited me to join the Cadenza agency and I had the chance to play at a few amazing shows. I think he could sense my approach, my vibe and taste. That trust led to the conversation about starting a sub-label and that’s where Cadence Noire began taking shape.
4/ Cadenza has such a rich history in minimal and Latin-influenced house music, one could easily say that Luciano selecting you to handle Cadence Noire represents a significant moment of trust and artistic recognition.
With Cadence Noire, what’s the artistic direction you envision for this sublabel, are you looking to explore new sonic territories or is this about bringing more of your Romanian underground sensibility to the Cadenza family?
The trust I’ve been granted by Luciano is very important to me. Even more, I cherish the freedom I have with Cadence Noire, and I’ll use that freedom to curate music that surprises, connects and reveals something new with each release. I don’t want the sub-label to sit in a single lane and I refuse to be boxed by one genre. The one rule is attitude: it has to sound purposeful, slightly off-centre and ready for the dancefloor or to really make you feel something on a late-night listening session.
The “Romanian underground sensibility” has evolved in many directions nowadays, it has become a blend of old and new approaches. Sometimes, I don’t even know what it really stands for – and that’s fine. In the end, I prefer to trust my own sensibility to guide the label. Above all, Cadence Noire is about the artist, giving space for both lesser-known voices and established ones to express something unique, to connect and move people.
5/ Cadenza has always been about more than just music, whether it is as a lifestyle, as a philosophy or even as a spiritual perspective of sound. This said, you mentioned loving “strange sounds and doughnuts“ (I’d bet musical ones), that doubtlessly resonates with both Romanian minimal sounds and Cadenza’s experimental edge.
As you develop Cadence Noire’s artistic identity, how do you balance bringing your own cultural perspective and artistic vision to the project, while still pushing boundaries incorporating these unconventional elements defining your sound?
I do love doughnuts! Admittedly, I’m a sugar addict. The bridge to Cadenza is funny from this perspective but let’s say listening to the releases over the years can bring a similar pleasure in the brain, just like tasting a fluffy, juicy doughnut 🙂
The “strange sounds” part is about embracing imperfections and quirks, exploring unusual textures and grooves. At the same time, everything is grounded in respect for the dancefloor: no matter how unconventional, it has to move you, make you nod your head. I also plan to include some ambiental and experimental music at some point, which might not provoke nodding but instead invite more meditative states.
Regarding my cultural perspective…is hard to put into words. It’s a sum of influences, memories and experiences. Sometimes unexpressible, but perceptible when you hear the music I make or play. As for Romanian minimal, I carry a few core philosophies from the early days, far from full alignment. Maybe something like patience and the curiosity to experiment broader sonic territories.
6/ Running multiple vinyl projects – GFD, QNQN and now Cadence Noire – requires juggling between different artistic personalities.
How has running GFD and QNQN prepared you for the Cadence Noire project, how do you approach each label in terms of creativeness and curation, and what unique role does each of them play in your overall artistic expression?
Logistically, having prior experience running GFD and QNQN helped me confidently organise and plan the upcoming CN releases. Artistically, the GFD label is shamelessly egoistic. I release whatever I feel at the moment – my own tracks, collaborations, or productions that I’m obsessed with from friends – and hope others will like them too.
QNQN (currently dormant) is more about punchy, energetic, mysterious edits and straightforward dancefloor material from myself or other artists that’s released as “unknown artist”. Focused solely on sound rather than names. I believe these experiences taught me how to recognise when music belongs to a particular context.
On Cadence Noire I still trust my instincts but I plan ahead and maintain a high standard for what reaches listeners. I don’t leave things to chance, and while creativity remains central, I do ask some questions like “Would I send this to another DJ? Would it really work on the floor? Would people download it or stream it again and again?”
So, with this project I balance personal taste with a broader vision, bridging what I love with what I think would resonate with the listener, while honoring the legacy of being a Cadenza sub-label. It’s gotta have soul!
7/ Additionally, as the vinyl market has evolved significantly, managing several imprints in today’s pressing environment involves not only the artistic vision but also serious logistics.
As someone deeply dedicated to the physical format across your labels, how has this landscape affected your release strategies (if so), what operational insights have you gained about vinyl culture in the current market and what keeps you dedicated to vinyl despite the related challenges?
It’s true that vinyl logistics can be a headache sometimes: high costs, delays, all of it; but, I’ve been lucky to work for my own labels with Andre Kronert and Decks (and now his Matter Of Fact pressing plant) for almost a decade. We’ve built a partnership that I really cherish, and I’ve learned a lot. Really made me plan releases more carefully, focus on quality, and make sure every record I put out is meaningful.
On another note.. sure, the vinyl market isn’t what it was at the pandemic peak. Sales have dipped a bit, pressing costs have climbed, and inflation has made things trickier as people are more cautious with spending. Still, I believe the industry’s resilience will strive and people will always feel the tangible magic of vinyl.
As for Cadence Noire, most releases make sense as digital for now. It works best for keeping a monthly consistency for the releases. It’s about being immediately available to fans everywhere, giving people instant access to the music without barriers and long waiting times. Of course, vinyl will still have its place as there will be special collector’s editions for those who cherish the format.
8/ The Romanian minimal scene has this incredible ability to create intimate, hypnotic experiences even in large festival settings, it has gained massive international recognition, yet it maintains this very specific, introspective quality.
As Cadence Noire begins to unfold, I’m curious about how you’re approaching this balance, are you looking to capture and translate that particular Romanian intimacy for Cadenza’s global audience or is this more about exploring entirely new sonic territory that stands apart from your GFD and QNQN work, and how do you maintain that distinctive introspective quality while introducing your sound to these broader international audiences?
My aim surely isn’t to export a sound like “Romanian minimal” as a label identity. Even though I come from where that aesthetic bloomed and spread across the world, it’s only one branch of my many influences. I think you can hear that in the music I make and play 🙂
What I do take from it is the mindset (patience, texture, introspective at times or hypnotic like you said) and let it intersect with other voices of artists that come with their own personal vibe, regardless of the style. Some releases will maybe feel familiar to people who know the Bucharest sound, while others will bring in different rhythmic flavors that broaden the palette. The goal is for each record to feel alive, personal, and slightly unpredictable.
Whether introspective or not, the identity of Cadence Noire won’t be built on uniformity but on a shared emotional frequency.
9/ When you’re not in the studio or managing label business, what feeds your creativity, are there books, movies, places or even random everyday moments that spark ideas for your music?
Frankly, I don’t really have that many hobbies, being a music nerd takes most of my brain. But, I’m a big fan of comic books and graphic novels. Also, I’m into history and global affairs and I’m always curious to find out things about other cultures. I love traveling, and whenever I visit a new city for a gig, I try to stay a few extra days, whenever I can, to soak in the atmosphere and get a real feel for the place.
Meeting people, seeing new places, tasting new flavors, playing my music in exciting settings or jamming with other artists – experiences like these feed my creativity. They all leave impressions that slowly find their way into the music I make, whether in the textures I explore, the grooves I build, or the moods I try to create.
10/ Speaking of the studio, what’s your relationship with gear like and how does your physical setup influence the way ideas develop?
I love gear. Love plugging cables, flipping switches, touching, twisting. It’s where the joy of sound design and exploration come from. I’m not ashamed to admit I’m a big time nerdy nerd. For me hardware gives character to a production.
The physical connection just feels right and it has quirks, unpredictability. And the low frequencies are usually more beefy coming from analog. Of course, the digital world is incredible too. With today’s technology, plugins can emulate the classics almost perfectly at a fraction of the cost. I use and need both to reach my full potential in the studio. But jamming on analog machines is where I feel most alive.
You’re literally shaping electricity to create some crazy sounds that will later move people either on a sweaty dancefloor or listening to your music at home. Also, how analog influences my workflow is that I never save patterns on my machines. Every session starts from zero. No templates, no recreating past moments. I like to keep it fresh and each idea exists only in that moment, like a snapshot of a mood.
11/ As we look toward the future, with everything happening around Cadence Noire and your various projects, are there any upcoming releases across your various projects that you’d like to share more about?
There will be more stuff coming on Cadenza, there’s a new vinyl coming on Pleasure Zone, I’m preparing the next 12 inch on “GFD” and also there’s a bunch of remixes I made for a few artists that should be out in the next period on different labels. All of it in both digital and vinyl format.
You must be logged in to post a comment.