a pure artistic statement signifying a new chapter for the medellín-based producer pasq who welcomes a new name and direction.
previously working under the alias arcane prospect, pasq dropped the moniker towards the end of last year following a period of reflection on his art, not being fully happy with his output so far. this new name has allowed pasq to explore new possibilities, experiment more with his sound and enters the chat with fresh excitement. alongside his work as a dj and producer, pasq runs the label artificio alongside rainmaker which they launched in 2020 and have since released records from the likes of erre ye, noise casino, rasgar, Æon series, and rachiid paralyzing as well as records from themselves including the recent double-header a fuego y a fondo.
to tie in with their weighty joint ep release, pasq discusses the motivation behind the new name, running artificio, his recent ep with rainmaker and his early relationship with music.
Hey! How are you doing? What have you been up to lately?
Hey, I’m doing well! I’ve been focused on my work as a software engineer, keeping a healthy routine, and getting everything ready for what’s coming this year with Artificio and Pasq. Really happy with the reception our music has gotten and excited for what’s next!
Let’s start from the very beginning, what was your first introduction to music in general and then more specifically electronic music?
My mom has sung in classical music choirs since before I was born, so I’ve always been surrounded by music. I grew up listening to different styles every day, constantly looking for new music, digging into artists, and collecting records in both digital and physical formats.
Reggaeton was one of my earliest musical influences. I got into it when I was around 8–10 years old and spent my teenage years working on a digital magazine dedicated to the genre, covering concerts, promoting new music, writing news pieces, and interviewing artists. Around the same time, I had friends who went to parties where DJs played a lot of Latin house (I guess? Can’t recall), but I wasn’t really into it. My real introduction to electronic music came about 12 years ago when I moved to Medellín and started listening to electro house, progressive house, and deep house.
Who was the first artist or band that you were a fan of?
I liked many artists before, but the one that really got me hooked—where I followed his entire career, bought every CD, and memorized every song—was Daddy Yankee. His album Barrio Fino was the first reggaeton CD I ever bought, and it fully pulled me into the genre. I think I still remember most of the lyrics. I listen to it once in a while, and it’s incredible how it still resonates with me. I’ll make sure to listen to it again this week 🙂
I never got the chance to see him live before, but last year, during his farewell tour, I finally did. My inner child was the one at that concert. It was amazing.
Was there a formative moment growing up, whether that’s seeing your favourite band live or an incredible DJ set, that led you to this path?
A lot of nights at Mansion Club in Medellín shaped me, but a really special one was the Move party with DJ Stingray at a secret location in 2016. The DIY energy of the venue, the music, and how the DJs mixed it all, opened my ears and mind to explore new styles and take more risks in both my productions and DJ sets. Since then, I’ve never been stuck in one style.
Where do you look for sources of inspiration outside of music?Besides making or playing music, I love watching films and discussing them with friends. I think it exposes me to different realities, which end up shaping my approach to art. I also love dancing salsa and bachata. I’ve been taking lessons and going to clubs for more than two years, and it has completely changed how I see and approach art in general.
How has Medellín influenced or informed your sense of self and artistic output?
Medellín is full of contradictions, and its art scene reflects that. Some people are loyal to one genre or style, wanting it to stay the same (same sound, same artists) while others are constantly pushing boundaries, experimenting with new tools, and supporting different artistic expressions. That spirit of exploration and DIY culture, the idea of making music with what you have and throwing your own parties if none fit your vision, has defined both Pasq and my previous alias, Arcane Prospect. It’s also why I created Artificio.
What has been your most recent musical discovery that you’re obsessed with?
I listen to a lot of reggaeton and bachata, but since last year, and thanks to the dance academy where I take lessons, I’ve been getting into kizomba. I’ve discovered a lot of artists from Africa, especially Angola. It’s incredibly sensual, and something about it just makes me want to dance. I guess the rhythmic similarities to reggaeton help, but some tracks feel just right for me when they make me want to dance and cry at the same time.
You’ve recently released a split EP with Rainmaker on your shared label, Artificio, what’s the story behind this release?
We’ve been running the label since 2020, but before A Fuego Y A Fondo, we had only released one EP each, plus one collab as SLRSCT. After that we stayed quiet and focused on releasing music from other producers.
We wanted to come back strong, with a club-oriented sound that reflected where we are now. And we thought: “what better way than with a split EP from the label’s founders?” – We’re really happy with how it’s been received. Seeing DJs and artists we admire playing our tracks has been amazing.
You’ve also contributed a mix for the 909 series, what’s the concept behind this one?
Until last November, I was still going by Arcane Prospect. I wasn’t fully happy with my art in general till the point where I even considered quitting music to focus only on engineering. After months of thinking about it, I decided to start fresh with a name that felt more personal. Pascu (Pronounced: /paskoo/) is short for my real name, Pascual, and it’s what people have always called me. Pasq is just a variation of that, supposed to be pronounced the same way.
Since this is my first mix as Pasq, I wanted to show where I’m at as a DJ and what people can expect at my gigs—techno, bass, and breaks. I also included some unreleased tracks of mine and label mates 🙂
How does your approach to DJ sets differ from studio mixes/radio shows? Is there a narrative in mind that you’re always trying to tell through your sets?
When I DJ live, I focus on dancefloor-driven music, sometimes throwing in more experimental sounds to see how the crowd reacts. But when I do radio shows or studio mixes, it’s different. It’s more of a contemplative thing. I try to make something you can just sit and enjoy. Those mixes give me the space to explore styles beyond club music—ambient, experimental, neoclassical, downtempo, film scores, and other stuff that wouldn’t necessarily work on a dancefloor.
I miss doing radio shows. We used to have a monthly one with Artificio, and I’ve been thinking about starting a new one.
When was the last time you were on the dance floor?
A week ago. I go to at least one electronic music party a month, but I also go to reggaeton and salsa/bachata nights.
What are you most excited about right now?
The music we’re going to release on Artificio this year. And developing my own sound further as I don’t think I’m fully where I want to be artistically yet.
What’s on your vision board at the moment?
Staying healthy, physically and emotionally. Upgrading my studio setup and making a lot of music. Getting a promotion at my software engineering job. And adopting a dog.