Warp Brothers have launched Rave To The Grave, a new hard techno label created in partnership with their own Goldroom Agency. Rave To The Grave went live in January 2026 with a focused objective: keep old school rave energy alive while adapting it to the pace and structure of today’s hard techno landscape.
The label debuted with “Phatt Bass (Rave Rework)”, revisiting one of the most recognizable rave records of the era. Running at 155 BPM and catalogued under Hard Dance / Hardcore / Neo Rave on Beatport, the track dropped January 23, 2026 and set the tone for everything that followed. Since then, releases have continued at a steady pace, with at least two tracks dropping each week, and the label has started attracting interest from increasingly prominent artists, including releases from DJs featured in the DJ Mag Top 100.
Rather than positioning the project as nostalgia, Warp Brothers frame it as continuation. The foundation is rave. The execution is current.
Hard Techno Hub had the opportunity to speak with one half of the Warp Brothers, Peter Sildegren, who shared insights into the label’s launch, its goals, and how they plan to shape its direction moving forward.
What Rave To The Grave Is Looking For in Demos
HTH: What are you looking for when listening to demos for Rave To The Grave?
“Simply put, we’re looking for good-sounding, banging tracks that grab attention quickly and that other DJs can actually use in their sets.
I know a lot of labels say they’re looking for uniqueness or something completely new, but in my opinion, that’s a bit outdated thinking. While they’re waiting for something never heard before, in the same time we can actually help DJs and producers achieve what they dream about.
It’s the 21st century. Everything has already been invented. What’s new today is about blending existing ideas in fresh ways. That applies to everything in life, including music.
When I receive a demo, I just listen. It doesn’t matter who made it, how big the DJ name is. A good track is a good track, and a bad track is a bad track. If I hear something with a great idea and real potential, but it’s not fully there yet, I’ll reach out to the producer. I want to understand where the issue is. If it’s about production skills, I always try to help find a solution, whether that means working on it together or connecting them with another producer for collaboration. That’s how I believe today’s world should work: helping each other grow.
We’ve done a lot in our careers, and we’ve always supported young producers, both in music production and in building their careers.”
Phones vs No Phones at Raves
HTH: What are your thoughts on phones vs no phones at raves?
“For me, it’s almost like asking what came first, the chicken or the egg.
We come from a time when people raved without phones. It was all about the music, the energy, and the connection on the dancefloor. People could name almost every track the DJ played. So a part of me still says: no phones, just dance.
But at the same time, it’s the 21st century. Some people don’t want phones at all, while others rely on them. Phones allow people to share moments from events they couldn’t attend. They help underground DJs gain exposure and help others discover new music through social media. A lot of tracks got hype with the help of phones on socials. Entire careers and businesses have been built this way.
There are also events where people come more to watch than to dance. A perfect example was the early ANYMA shows. The visuals were incredible, something new with a real wow factor. People were filming the experience, but not really the DJ. The DJ became just one part of a bigger show.
So from one side, I still believe in no phones and pure dancefloor energy. But from the other side, the reality is that the crowd mentality has changed, and whether we like it or not, that’s where we are today.”
The Rave Era vs Today’s Dance Scene
HTH: What do you think is the biggest difference between the dance scene today and the rave era in the past?
“The biggest difference isn’t just the music. It’s the culture around it.
Back in the day, events were hidden. Illegal warehouses, forests, secret locations. You found them through flyers or word of mouth. It felt like a real subculture.
Today, electronic music is fully mainstream. Festivals like Tomorrowland or Ultra Music Festival are massive, highly produced, and globally marketed. It’s no longer find the party, it’s buy a ticket months in advance.
Raves used to be about connection. People often talk about the ethos of PLUR: Peace, Love, Unity, Respect. The DJ usually wasn’t a star. People came for the music and the vibe.
Now the scene leans more toward spectacle. Big-name DJs, huge stages, visuals, fireworks. It can feel more like a concert than a shared experience. But promoters very often call this rave.
The rave era was about escaping the system. Today’s dance scene is largely part of the system.”
The Biggest Mistakes Producers Make Breaking Into Hard Techno
HTH: For producers trying to break into the harder side of techno right now, what are the biggest mistakes you hear in demos or early releases?
“The biggest issue is that there’s too much of the same. For the last few years, as home studios became more accessible, everyone started copying everyone else.
Instead of copying, producers should use inspiration from tracks they like and turn that into something personal, something that sounds like them.
Another common mistake is thinking hard means everything has to be loud. I often hear over-distorted kicks, harsh highs, and no breathing space. Hard techno still needs clarity and groove, not just aggression.
Low-end problems are also very common. The kick and bass often clash, are very weak, or are overly saturated. In harder techno, the low end is everything. If it’s messy, the whole track falls apart.
Another trend is producers coming from an EDM background trying to make hard techno or neo-rave. They approach it like an EDM track, without understanding that each genre has its own rules and structure. Using EDM-style kick and bass or build-up before a break simply won’t work. It ends up sounding like a cheap imitation trying to fit into the movement.”
What Role Will Rave To The Grave Play in Shaping the Scene?
HTH: What role do you see Rave To The Grave playing in shaping the scene over the next few years?
“As you know, Warp Brothers and our Goldroom Agency founded Rave To The Grave as both a label and an events brand.
Our mission is simple: keep the old-school rave energy alive while adapting it to today’s reality.
With 30 years of experience, we’ve seen how much the industry has changed. Everything today is about the here and now. Producers often wait months for releases, and by the time the track comes out, the sound is already outdated. Waiting kills creativity. The hype is gone before the track even drops.
We want to change that. We support the new generation of artists by giving them real credibility, visibility, career guidance, production support, and fast releases that match their momentum.
In just a few months, some of our releases have already charted on Beatport or been added to major Spotify playlists. That shows the noise we’re making is being noticed.
The next step is Rave To The Grave events, where our artists can perform alongside established headliners. For many of them, this could be a powerful start to their careers.
Rave isn’t retro. Rave evolves. Rave To The Grave: for the rebels, the ravers, the new generation.”
