Julio Torres And Ketoots On The Moments Club Cameras Cannot Capture

Julio Torres and Ketoots arrive on Paranormal with “Thought I Should Go All The Way,” a deep melodic house cut built around Carol Monteiro’s vocal presence, a rugged guitar riff, and a club-focused arrangement that keeps the mood direct without sanding off its personality. It is the kind of record that pulls from Brazilian house history while still feeling tuned for contemporary rooms, with Torres bringing the perspective of a São Paulo figure who has played Rock in Rio, Tomorrowland, and Space Ibiza, and Ketoots adding the shared language of longtime collaborators who understand how to keep a track functional without flattening its character. That context also gives this conversation a wider purpose. In the interview below, Torres and Ketoots talk through the tension between documentation and presence in club culture, from iPhone footage and professional nightlife crews to the nights that stay valuable because they were experienced in real time. Their chat point toward a version of dance music culture that still depends on trust, timing, room pressure, and the temporary connection between the booth and the floor. For a release like “Thought I Should Go All The Way,” that discussion feels especially relevant because the track itself sits in that same space between memory and motion. It has enough hook and vocal identity to travel outside the room, while its deeper value comes from how it would function inside one. Below, Julio Torres and Ketoots get into captured sets, lost moments, mystery, and why club music still needs experiences that cannot be fully reduced to content. Interview With Julio Torres And Ketoots What do you think is gained by documenting sets on iPhones, and what remains uniquely part of the moment?ezstandalone.cmd.push(function () { ezstandalone.showAds(130); }); Julio Torres: Documenting sets on iPhones helped dance music become more global and connected. A moment that happens in a small club in São Paulo can suddenly inspire someone in Berlin or Tokyo the next morning. Videos also help preserve emotions, aesthetics, and musical discoveries that can travel far beyond the dance floor. I think balance is very important. I believe the best way to document nightlife is through professionals who truly understand the culture, like RAWCUTS. I’ve been to parties in São Paulo where phones were sealed at the entrance, and only professional photographers and filmmakers were allowed to document the night. The result was beautiful because people felt much freer to dance, connect, and fully live the experience without constantly thinking about recording themselves. Professionally captured footage also creates a stronger aesthetic and tells the story of the night in a meaningful way. It can still inspire people outside the party while preserving the essence and mystery of what happened inside the room. I think the balance between documentation and presence is very important for the future of club culture.ezstandalone.cmd.push(function () { ezstandalone.showAds(131); }); Ketoots: Phones are great for global reach, but they often act as a barrier to the true connection between the DJ and the dance floor. The real magic is the collective tension and specific acoustic pressure in the room, which a microphone or camera simply cannot accurately translate. Can you recall a powerful night that lived entirely in memory? Julio Torres: I can remember several nights like that. I come from a time before smartphones existed, when only professional photographers or a few people with digital cameras were documenting parties.ezstandalone.cmd.push(function () { ezstandalone.showAds(132); }); One memory that immediately comes to mind is a weekend in Brazil when I played in the South, home to some of the country’s most iconic clubs, such as Warung Beach Club and Green Valley. Back then, those clubs represented very different worlds, one deeply underground, the other more mainstream, and the audiences rarely crossed paths. That Friday, I was scheduled to play at Warung alongside Laura Jones. My set was supposed to go from midnight to 2 AM, during the transition period where I was mixing vinyl with digital formats as CDs were becoming part of DJ culture. Unfortunately, Laura had flight issues and couldn’t arrive on time, so I ended up extending my set until 4:30 in the morning, when she finally made it to the club. It became one of those unforgettable nights where I had complete freedom to experiment musically and take the crowd on a long journey. The next day, I played at Green Valley alongside Pete Tong with one of my parallel live projects. What makes that weekend so special to me is that, at the time, almost no DJ would realistically have the chance to play both clubs in the same weekend because of how different their identities were. Somehow, through these two different projects, I experienced both worlds in less than 48 hours, and none of it was tr