Chasing the Edge / Human Safari

First interview ever of Maltese DJ and producer.

With a sound that weaves together tribalism, jazz, and techno into a deeply human journey, Human Safari is rapidly emerging as one of the most authentic and visionary voices in Europe’s new electronic scene. Originally from Malta, yet with his gaze set beyond the sea, toward Berlin, Europe, and the world, the producer and performer shares a story of discovery, loss, and artistic rebirth. In this first interview, he opens up about his island roots, the jazz influence passed down from his father, the creation of his label Adventure Time Records, and the emotion of his live debut at the Stone Techno Festival, a pivotal moment marking the beginning of a new era in his musical journey.

I believe this is your first interview, so what better way to break the ice than by asking for a few clarifications. How did Human Safari come to life? Where does this wild, African- inspired stage name come from?

Yes! this would be my first interview, I’d like to say a big thank you for inviting me.
“Human Safari” really resonated with the sound I was trying to create — percussive, tribal drum–driven foundations infused with elements of nature. I love using sounds like birds, and samples from the Amazon and tropical forests, to give the listener the feeling of being somewhere else. I wanted a name that captured that wild, organic energy — something that felt alive and deeply connected to the earth.

You’re originally from Malta, one of the Mediterranean’s most historically and culturally rich islands. What can you tell us about living there? Does living on an island feel different compared to a metropolis? Have you ever thought about moving abroad for your career?

Malta is a beautiful island with a population of around half a million people. It’s small, but the people have big hearts — friendly, warm, and inviting. The weather is sunny most of the year, so we basically grow up in the sea during our childhood, haha! For artists, though, being on a small island can be tough. Opportunities for gigs, networking, and collaborations are limited especially when the major scenes are in Berlin or Amsterdam. Many Maltese artists rely on social media to connect, release music, and reach international audiences. I think every Maltese artist has considered moving abroad at some point. Personally, I’m moving to Berlin in January as I found a studio space shared with the talented Jazz-o-Tech guys. It’s the perfect setup: a studio always full of jazz musicians. Oh boy, oh boy!

Every year, Malta hosts the Glitch Festival, one of Europe’s most forward-thinking electronic events. As one of its residents, what can you tell us about it? And what’s the electronic scene like on the island?

Glitch Festival is a four-day event held every August, featuring over 80 artists from across the electronic spectrum from modern-day legends to rising stars. It opens with a party at the Valletta UNESCO World Heritage bastions, then moves to the Gianpula Complex, which hosts seven different clubs and stages. Summer in Malta is all about open-air clubbing, a completely different vibe compared to winter. During the colder months, promoters usually throw events at Liquid Club, which is strictly dedicated to techno, or rent out remote venuesfor one-off parties. The techno community in Malta feels like one big family. Promoters work together out of mutual respect since there’s really one main crowd on the island, collaboration is key. The scene is full of friendship and support; there’s no competition, only love. We genuinely want to see each other grow and enjoy the music together.

The country’s official languages are Maltese and English, but Italian has also been widely spoken for decades. You’ve played in Italy before do you speak Italian? What’s your relationship with Italy and Italians?

That’s true, most Maltese people speak Italian because it’s taught in schools, and many of our parents grew up watching Italian television and cartoons. Back then, that was what was available, so even as kids, you’d naturally pick up the language from what you watched! My agent, Antonio, is actually from Naples and he also works with the legendary Mark Antonio, who I’m releasing a new track with called “Trap Door” on his label, AnalyticTrail. So I guess that connects me to Italy in its own way, haha! Personally, I never became fluent in Italian because I moved to the U.K. when I was 11, after my father was offered a great job opportunity there. My whole family still lives in the U.K. today. When I turned 18, I decided to move back to Malta as I needed a fresh start, a new environment, and a chance to reconnect with myself.

You debuted as a producer with The End of the Jungle (2022, ARTS), but Sax Paradiso (2023, R&S Records) became your real breakthrough. It merges jazz improvisation with techno, often incorporating live instrumental elements. Where does this jazz influence come from?

It all started with my father, Paul. He was a respected house DJ in Malta during the ’90s, often traveling abroad to dig for records. My childhood home was literally filled with vinyl everywhere. At around 12, I started learning drums and later formed a math-rock band along with my brother and some friends. The genre itself — full of intricate arrangements, jazzy guitar riffs, and groovy basslines — shaped how I understand rhythm and texture. That influence naturally bled into my techno. I’ve always been drawn to drums and percussion. They speak to me more deeply than melodies on a piano or guitar. I don’t rely much on theory; I go by ear and feeling. Over time, your ears get sharper — you develop an instinct for balance, groove, and emotion. A big inspiration for me was UR presents Galaxy 2 Galaxy. That album is just pure emotion. It was a lightbulb moment: realising music isn’t about “making a banger,” but about creating a moment. When you let go and trust the flow, the music almost writes itself. I always say jazz techno isn’t new — it’s been around since the beginning. It just needed someone to keep pushing it forward with today’s tools. Sax Paradiso was my first real jazz-infused EP, and the feedback made me think, “Oh damn… did I just find my sound?”

On Instagram, you wrote about your track Jazz Affair reaching Beatport’s Top 10, saying: “Playing the game outside my small island nation is not something we Maltese artists are used to, with limited resources on the island and even less attention from the government toward our art. We’re always swimming against the current.” What did you mean by that?

Being from a small island means there aren’t many artists doing music full-time. How many shows can you really play to the same crowd in a month? It’s just not sustainable. Resources for artists are extremely limited, and honestly, there’s almost little to no government support for music. The small amount of funding that exists usually goes to the same circles, often in other art forms like theatre or large public events. Five years ago, if you mentioned Malta in the context of electronic music, most people wouldn’t take it seriously. Promoters and agencies didn’t really pay attention. But that’s changed recently — Maltese producers like Yazmin, Scythe, Echofaze, and Kyle Cortis are putting out incredible work, and Promotions like Glitch Festival, Dalma Festival, Indigo/Wax, and the Glitch Club Series have helped put the island on the map. It feels like a turning point. Malta is finally being recognised not just for its beauty, but for its creative potential.

Earlier this year, you launched your own label, Adventure Time Records, kicking it off with your EP The Way of the Horse, followed by the introduction of artist Alfa Cornae. The project’s name and visual identity emphasize your constant drive to explore. Is that desire limited to music, or does it go deeper than that? What kind of sound and artistic identity are you seeking for your label?

Adventure Time Records was born from the need to build a space for artistic freedom — a place without rules, where every release feels like a journey. The name reflects that spirit of curiosity and discovery; I’ve always believed that music should be an adventure, both for the artist and the listener.
That desire to explore definitely goes beyond music. It’s about mindset — being open to different experiences, people, and ideas. I think creativity thrives when you put yourself in unfamiliar situations, when you allow yourself to get lost and find new inspiration.
Sonically, Adventure Time Records will focus on organic, percussive, and emotional techno — a sound that feels alive, with depth and movement. I want it to reflect artists who have a distinct story to tell, not just producers makingtracks for the club. The idea is to create a catalogue that feels timeless, where every release has its own world.

And 2025 also marks a turning point in your career, with your live debut at Stone Techno Festival, which drew international attention (I was there myself, and it was one of the festival’s most memorable moments). What emotions and memories do you associate with that experience? Do you prefer performing live or DJing? And will it be the first of many?

Thank you — that means a lot!
Stone Techno Festival was honestly one of the most emotional and fulfilling experiences of my career so far. Performing live felt deeply personal — my family knew how much this opportunity meant to me, and they were all rooting for me. It was my first-ever live performance, and once I was confirmed for the festival, I had about six months to prepare and build the entire live set from scratch. I didn’t share it with anyone beforehand, so I went in completely blind trusting my instincts. Stone Techno Festival was the first time anyone would ever hear it.

A few months before the show, we sadly lost our grandfather, who was like a second father to me. Being with him in his final months at the hospital was painful, but those moments are something I hold very close to my heart. About thirty minutes before my set — just after taking over from Rebecca Delle Piane I said a prayer, hoping he would be there with me in spirit, guiding me through the performance. In those final moments before going on stage, I was running through everything in my mind until my friend turned to me and said, “Bro, there’s a lot of people here.” That definitely didn’t help my anxiety! I was surrounded by about twenty of my closest friends from Malta and my partner, who all came to support me and it honestly made it feel like home.

I also made my debut with Mutual Rytm that day, and I owe a huge thanks to Marco (aka SHDW) for believing in my sound and giving me the opportunity to showcase it on such an incredible platform. Marco is a one-of-a-kind person whom I deeply respect, he supports artists with genuine passion and integrity, regardless of profile size. With him, it’s always about the music. The emotions during my set were overwhelming. I have so many videos of my friends crying behind me during the last track: tears of joy, pride, and love. It was such a wholesome, unforgettable moment, a beautiful journey we’ll all carry with us forever. After my set, I was still running on pure adrenaline and spent the rest of the night celebrating with everyone. It wasn’t until the next morning that it truly hit me. I rewatched the videos, called my parents, and completely broke down in tears. My mum just laughed and said, “You did it, didn’t you?” — and that made me cry even more. Knowing how proud they were of me is one of the happiest feelings I’ve ever experienced. Both DJing and performing live have their own kind of magic. DJing is about reading the crowd, building momentum, and creating connection through selection and flow. But performing live is different — it’s pure, direct emotional expression. You feel the audience responding to something uniquely yours, in real time. And yes, this was definitely the first of many. My goal now is to keep evolving the live show — to experiment more with improvisation, make each performance one-of-a-kind, and of course, to keep creating more music.

In that moment — which, I think we can both agree, was a “point of no return” — you delighted the crowd with Mouse on Keys. This track, now a staple among many of your fellow DJs, anticipated your album Culture Shock (2025, Mutual Rytm), released shortly after. “This EP” you stated, “represents embracing new beginnings that, although they may bring uncertainty and fear, the light always guides you to where you were meant to be.” What new beginnings are you referring to? Do you believe it’s destiny that governs our lives, or are we the true architects of it?

Yes , Mouse on Keys was such a magical moment that we all shared collectively. At that time, I was going through a lot of change — navigating new experiences, both uplifting and difficult. There were moments of rejection, self-doubt, and questioning my artistic worth. The path of creativity is full of hurdles, some small, some overwhelming — and there were definitely points where I thought about giving up. But every time I hit that low, something positive would happen again, reminding me to lift my head, keep going, and trust the process. It’s a cycle that tests you deeply in the beginning, but persistence always wins. I do believe destiny plays a mysterious role in our lives, especially when I look back at my own journey. For instance, when I was with my first agent, we had plans for a tour in Colombia but those plans fell through, and I suddenly found myself independent again. That period brought a lot of doubt and disappointment. For about two months, I really questioned everything. But eventually, I decided to take control of the situation and make the trip happen on my own. With the help of my good friend Serge Andre, I organized a six-week tour across Colombia, around nine shows in total. That experience not only reignited my confidence but also led to the creation of the Culture Shock EP. Looking back, I realize that if those earlier setbacks hadn’t happened, none of this would have unfolded the way it did. So yes, I think destiny works in mysterious ways but it also rewards those who take initiative and believe in themselves.

Another deeply evocative track from the EP is Fragments, a very personal one, dedicated to your late grandfather. Do you believe music is truly an immortal art form? And can its own immortality make a memory, a place, or in this case a person, live forever within it?

Absolutely, music embodies all of that and more. Our deep connection to it goes far beyond what words can explain. It carries nostalgia, it opens a gateway to euphoria, and it offers comfort in ways that are both invisible and profoundly emotional. It’s not just something we hear — it’s something we feel, and that feeling often becomes tied to specific memories or moments in our lives. Certain tracks have the power to instantly transport us back to a particular time maybe a difficult period, or a moment of joy and our brains naturally attach those sounds to the emotions we felt then. That’s part of what makes music so powerful and timeless; it becomes a vessel for memory and identity. When I produce, I create primarily for myself. I want to make music that I can live with — something I can listen to over and over again without growing tired of it. Every track I make goes through a kind of personal test: if, after weeks or months of repeated listening, it still gives me that same feeling as the first time, then I know it’s something meaningful, something that resonates on a deeper level.

My goal isn’t just to make club tracks. I want to create music that fits into everyday life — something you can listen to at home, at the beach, while walking, or on the bus. Of course, if it works in the club as well, that’s the perfect balance. But for me, it always starts with a concept, a story I want to tell. It needs to evolve, develop, and ultimately reach that emotional “sweet spot”, the moment when you feel that rush of dopamine and simply know: this is it.

Culture Shock was produced during your summer tour in Colombia last year — written and recorded in inspiring, unconventional settings using only a laptop and headphones. How was the reception there? Does the title refer to the culture shock you experienced yourself while being there? If so, what exactly shocked you the most?

Being in Colombia was a completely new experience for me. I spent six weeks there on my own, on the other side of the world. surrounded by new people, a new culture, and a very different rhythm of life. It was both intimidating and exciting at the same time, but sometimes you have to take that leap into the unknown. You never know what’s waiting on the other side of that uncertainty. I believe it’s essential to step outside of our comfort zones that’s often where the most transformative experiences happen. Colombia was exactly that for me: one of the most incredible journeys of my life. Overcoming my initial fear of being so far away for so long turned out to be crucial; if I hadn’t taken that risk, Culture Shock might never have existed.

Music, to me, only happens in the present moment it can’t truly be recreated and by pushing myself into unfamiliar surroundings, I was able to create from a completely new perspective. In the end, all my doubts proved unfounded. The promoters I worked with took amazing care of me, and despite certain areas being less safe for tourists, I always felt protected thanks to the kindness and hospitality of everyone I met. Colombia has a vibrant, passionate scene, and I’d highly recommend it to anyone, it’s a place that left a lasting impact on me both personally and artistically.

What are you currently working on? What can you anticipate about your future projects?

There are several projects in progress at the moment. I’m currently finalising my first Masterclass and Interview with Home of Sound Berlin, which I’m very excited to share with the world early next year. Looking ahead to 2026, I have a series of international debuts planned, including live shows in new countries. I’ll also be making a comeback on R&S Records with a new EP after three years, followed by another release on Mutual Rytm. My focus now is on quality over quantity—I aim to give each release the time and space it deserves. Releasing two thoughtfully crafted EPs per year feels more meaningful and allows me to select only the strongest tracks from the hundreds I produce. Once again, a big thank you for having me, it’s been an absolute pleasure!