SPEZ is a Melbourne-born Techno artist and the founder of Warg Records, with his curatorial work spanning Australia and Europe. Electric Mode speaks with SPEZ about the vision behind CLOSER Festival, the inaugural edition of the project in Bosnia and Herzegovina, set in Livno beneath the Kamensko mountain range. Bringing together a cross-section of contemporary Techno, the festival spans established and emerging artists with live and DJ performances from figures including Colin Benders (Live), Cleric, Daria Kolosova, Dax J, SLAM, Alarico, Estella Boersma, Ignez, Yanamaste and others, alongside curated stage takeovers from Vault Sessions, PLTFRM and Clergy Records, reflecting the broader expansion of his Warg-led curatorial vision into a new European context.
You originally built your reputation in Melbourne’s Techno scene. How has that foundation shaped the way you work today in Europe?
As much as my reputation was originally built in Melbourne I was always in contact with European artists and most of the work around Warg Records was international. This however allowed me to build relationships and find myself in networks where something like CLOSER Festival in Bosnia & Herzegovina would be possible.
Since relocating, what has surprised you most about how different European underground scenes operate compared to Australia?
I think the difference is major. Electronic music is built into the nightlife culture of many countries. People live and breathe techno and underground music here. They also do in Australia, but it still has a long way to go.
How would you describe the evolution of your sound since your earliest releases through to what you are making now?
I think my sound has evolved significantly over the years. I haven’t rushed to release anything as I wanted to find a sound that was unique but also compliments my vision of what techno should sound like.
As an artist and label head, how do you separate or combine those two roles creatively?
Music is a matter of personal preference of course. There may be tracks that I wouldn’t play as an artist but I would still release on the label as the fundamentals are still within the scope of what I believe in.
Warg Records has become a respected platform for forward-thinking Techno. What have been the hardest lessons in maintaining its identity as it has grown?
I think like with anything as things grow in popularity more opportunities become present, therefore sometimes it’s important to humble yourself and ask yourself why you actually started this. I always want to progress with the label but never change the original pathway I set out.
When you are curating artists for Warg or events, what qualities tend to stand out to you most when making those decisions?
I personally don’t look at anything other than talent and of course good music. If the artist is talented, has great output and a unique vision well then they’re a fit for Warg.
You have played alongside a wide range of artists across different spaces. How has collaboration influenced your own production mindset over time?
I think working with different artists is important as it allows you to view music from another person’s perspective which most of the time independently will spark new ideas.
What drew you to Bosnia and Herzegovina specifically as the location for CLOSER’s first European edition, and what made it stand out to you compared to other potential places?
Livno is where my roots are. Both my parents are from there and it was a dream of mine to bring something of this scale to my hometown. I also know what great offering Livno and in general Bosnia & Herzegovina offers in terms of landscapes and nature.
What are the key opportunities and challenges in bringing an underground Techno festival to a region that has not traditionally hosted events at this scale, particularly in terms of infrastructure and local engagement?
The opportunity is that I can now bring something new to the table and allow people from the Balkans to see something they would normally have to travel far and wide for. The challenge of course is finding the right people to execute the job as it isn’t familiar territory, so from a build perspective you’re starting from scratch.
When you think about launching a project in what some might call an untapped territory, how do you approach that responsibly in terms of cultural impact and long-term contribution to the local scene?
I came from Melbourne and didn’t really know many artists from the Balkans except for a few artists I was already working with. After the launch of CLOSER Festival in Bosnia & Herzegovina many artists have come to my attention and would love to involve more local talent next year, if they are the right fit musically. I would love to build a community here that is internationally recognized.
Throughout the interview, SPEZ offers a closer look at how CLOSER is being shaped as both a curatorial and cultural statement, grounded in intention rather than scale. Across themes of collaboration, environment, and scene-building, the conversation points to a broader focus on creating meaningful frameworks for Techno that extend beyond a single event, situating Livno within a wider network of exchange and evolving dialogue across Europe.
Tickets for CLOSER Festival are now available to purchase here.
