Marian (BR): “Study The Roots Of House Music”

From early influences to Ibiza moments, Marian (BR) reflects on the journey so far. Marian (BR) is part of a new wave pushing groove-led house back to the centre of the dancefloor. Rooted in Chicago house and driven by percussion, his sound is simple but effective – rolling basslines, sharp sampling, and rhythms that lock in from the first bar. That approach has quickly translated globally. Tracks like “Pakit Ban” and “Swing Bom” put him on the radar, with the latter becoming part of the Music On season at Pacha Ibiza – a key moment in his rise. House music royalty can be found including his tracks in their sets from from Jamie Jones and The Martinez Brothers to Joseph Capriati and Franky Rizardo with releases following on Hot Creations, Hottrax and Elrow Music. With a new EP on Deeperfect and a growing international schedule, his trajectory is firmly upward. We caught up with him to find out more. Attack: Your music is rooted in Chicago house, but feels very current. What elements of that classic sound are most important to you when producing today? Marian (BR): I spend most of my time listening to old house music, and Chicago house has been a major influence on my sound. The way samples are chopped, the character of the vocals, the use of piano and classic organ tones, and those saturated, crisp drums – those are the elements that continue to inspire me the most. Your tracks are described as simple in intention but powerful in execution. How do you decide when a track is finished without overcomplicating it? I always come back to a simple idea: a painter never truly finishes a piece – they just sign it and move on. There’s no real endpoint in production, so for me it’s about knowing when to step away. I try to listen without looking at the project, so I can respond purely on instinct. That helps me focus on what the track feels like rather than on its technical complexity. Your music clearly prioritises the dancefloor. When you are in the studio, are you imagining specific moments in a club or reacting more instinctively? It’s always connected to the dancefloor. I tend to visualise very specific moments – a particular club, a certain time of night, even how the track would land in a set. That mental picture plays a big role in shaping my decisions in the studio. [quote align=right text="Study the roots of house music, spend time in clubs, learn from those who came before you, and be prepared for rejection"] Your tracks often revolve around groove and percussion. There’s a lot of narrative lately that groove is making a return. Did it ever go away though? I don’t think it ever disappeared. Trends come and go, and certain genres take the spotlight, but groove-driven tracks have always been there. For me, they’ve always been the most effective on the dancefloor – percussion is a fundamental part of that. Artists like Jamie Jones and The Martinez Brothers have been playing your tracks. At what point did you start to feel that momentum building around your music? It really started towards the end of 2025. That’s when I began receiving more consistent feedback – people asking about release dates, established DJs requesting promos, and labels reaching out for demos. Tracks like Ain’t No Way and Simple Things played an important role in building that momentum, both in terms of DJ support and streaming response. “Swing Bom” becoming part of the Music On season at Pacha Ibiza was a big milestone. Did that moment feel like a turning point for you? It came as a bit of a surprise, to be honest. Marco Carola had been playing the track consistently since 2024 – I even experienced it from the crowd in Brazil, which was a special moment in itself. The track was later picked up by Classmatic and released in March 2025. Initially, it didn’t perform as strongly as we expected on streaming platforms or Beatport. But once the Ibiza season began, Marco brought it back into rotation, and support from artists like Franky Rizardo helped it gain new traction. When Music On selected Swing Bom for their official aftermovie, that definitely felt like a defining moment. Considering the number of tracks played throughout the season, having mine chosen was something special. You have released on labels like Hot Creations and Elrow Music. How have those releases shaped your journey and opened new doors internationally? I wouldn’t say it was only the bigger labels that opened doors. Some of my earlier releases on smaller, independent labels also created important momentum. Of course, established labels bring visibility, but ultimately it’s been about maintaining quality and consistency – that’s what really drives long-term opportunities. You have played across South America and Europe in a short space of time. How has being on the road influenced your sound and identity as an artist? Touring – especially across South America and Ibiza – has had a direct impact on how I approach production. It’s made me more attentive to groove and how trac