On the day of the “Odd Ones V2” mix compilation release, Yotto joins Super Progressive for an interview about what it’s like to be a superstar DJ, producer, and label head in 2022.
Super Progressive (00:00): Super Progressive. What’s good today? We have such a special and fresh type of interview. If you’re a subscriber to the channel and have been watching the videos, you know that Super Progressive is all about the history of underground dance music and the progressive sound. Many of our interviews have been with legends like Paul Oakenfold, Anthony Pappa, Danny Tenaglia, Dave Seaman, Steve Lawler, Nick Warren, Hernán Cattáneo—all pioneers of the early progressive sound and underground scenes worldwide.
But today, we’re bringing it to the present because we have Yotto joining us. Thank you so much for being here. How are you doing, bro?
Yotto (00:54): I’m good, man. Thanks, Gloria. Thanks for having me. That was quite the list of idols there.
Super Progressive (01:02): For sure, man. And I have to thank you for all the support on the channel too. Seeing you engage with posts and leave comments, like on one of my earlier videos—I forget which one—was really cool. Then setting up this interview was just perfect timing because, as of today, your Odd Ones V2 mix compilation is officially out. Congrats! How are you feeling, bro?
Yotto (01:49): Thanks! I feel really good about it. It’s interesting timing since my artist album is coming out in February, and we’re already mid-campaign with singles. But we wanted to do something for the clubs in the meantime. Projects like this are so fun. It’s 16 tracks, more club-focused. We haven’t done something like this before—just extended EPs. So this feels like an evolution. I’m pumped it’s out.
Super Progressive (02:28): Oh yeah, I’m sure your socials are buzzing. Even when I posted it on my story, I had so many people reach out excitedly. Before we started recording, I mentioned that my audience leans toward Progressive House classics—people who went clubbing in the 90s and early 2000s and now, I don’t know, are parents. But when we talk about contemporary artists carrying the torch, they point me to you. They were hyped about this compilation. Just had to share that.
Yotto (03:15): That’s amazing to hear. I actually started following your channel because of the content you share. A lot of it is music I grew up listening to as a teenager. It was formative for me musically and shaped my interest in this genre.
Super Progressive (03:48): That’s awesome. So with DJs and producers I’ve spoken to, I have a solid grasp of how compilation albums came together in the 90s and 2000s. But what’s the process like in 2022? Could you walk me through how Odd Ones V2 came to life and whether creating a compilation album today is tedious?
Yotto (04:26): One thing that helped was starting with demos we received through the label. We didn’t have to chase existing records or negotiate with other labels, which I imagine was a huge time sink back in the day. These were tracks people genuinely wanted to release with us.
Some tracks I’ve had for over a year, testing them during live sets and tweaking based on feedback. The process involved narrowing down the selections, reaching out to artists to confirm exclusivity—sometimes artists send the same track to multiple labels, which creates delays—and then finalizing deals.
The mixing and tracklist assembly came after. We were fortunate; all the artists were enthusiastic and easy to work with. Overall, it could’ve been much more challenging, but it turned out great.
Super Progressive (06:36): What stands out about this compilation is the balance between established producers—those you’ve worked with before or who have big followings—and emerging talent. Was that balance intentional? Are you aiming to highlight up-and-coming artists with bright futures?
Yotto (07:17): Yeah, it’s definitely something we considered. If we only received brilliant records from completely unknown people, we would have built the compilation entirely from them. But fortunately, there were also submissions from some established artists who have been producing great music for a while. Of course, as a label, working with artists who already have a following makes it easier to promote the records.
That said, I get particularly excited when I hear a track from someone unknown, someone without a big social media presence or existing reputation. Discovering something brilliant from such an artist feels more personal, like a hidden treasure. Those moments are special because established artists often find homes for their tracks. But with unknown artists, you never know if their music will ever reach anyone.
Finding those hidden gems is incredibly rewarding. There’s a thrill in knowing you’re playing something that might be completely unique in that moment—tracks that no one else is spinning.
Super Progressive (08:43): Oh, that’s awesome. Speaking of the mix album, the compilation is streaming on Spotify right now. I don’t want to put you on the spot, but is there a track on it that stood out as a surprise—one of those hidden gems you’re really proud to have included?
Yot to (09:10): Yeah, definitely. There’s this track by a guy called Daniel Mehes —I’m not sure how to pronounce his last name—called Mylo. It took me back to the early days of progressive house, something I hadn’t heard in a long time. I didn’t dig too deep into his background, but it wasn’t easy to find much about him. That mystery made it even cooler.
Super Progressive (09:49): That’s amazing! Can we dive into Odd One Out? You’re a producer, DJ, and now a label head. How did you know it was the right time to take on the responsibility of launching your label? What inspired you?
Yotto (10:25): Starting a label was always a dream for me. Growing up, I looked at legends like Bedrock with Digweed or labels like Marcello’s Alternative Roots. These labels connected fans to DJs in such a personal way. If a DJ supported a track, it felt special, almost like an endorsement.
When I saw a release on one of these labels, it made me think, “If they like it, I probably will too.” It even made me imagine friendships with those DJs. That idea inspired me.
Initially, Odd One Out was just an outlet for my own tracks. I’d been closely tied to Anjunadeep, but I wanted my own space to experiment. As the label grew, people started recognizing it and sending in music. We’re still in the early stages, but it’s been an exciting journey so far.
Super Progressive (12:08): That’s fantastic! On a slightly different note, you’re 36 now, born in 1986, and I was born in 1994. So while I’m revisiting iconic CD mix compilations from the ’90s, you were a teenager during their golden age. What were some of your favorite compilations?
Yotto (13:08): Oh, there are so many! One that stands out is Balance 008. It might be my all-time favorite—clubby and fun. I was around 16 or 17 when it came out. I vividly remember working a terrible summer job at a sausage factory, saving up to buy it.
The day it was released, I took the train into the city to pick it up. It came in this unique plastic case, and I couldn’t wait to play it on my portable CD player. Those were good times.
This was after iconic compilations like Northern Exposure, which had been out for a decade. It felt like a perfect halfway point, bridging history and exciting new releases. Back then, downloading music with our terrible internet was a nightmare, so I’d always buy the CDs. Having that tangible album in hand—reading the liner notes—was magical.
Super Progressive (15:12): That sounds incredible.
Yotto (15:17): Yeah, and what was so educational about those CDs was their diversity. Whether it was Mixmag, DJ Mag, or even the UK magazine Muzik, you’d find mixes spanning genres—Electroclash, Hard House, Funky House, and more. They weren’t limited to Progressive House, and that variety broadened my perspective. The CDs were the main draw of those magazines, and they were incredible.
Super Progressive (16:09): Really, really cool. You touched on this a bit earlier, but I’m curious—did you grow up in Finland, Helsinki?
Yotto (16:26): Yes.
Super Progressive (16:26): Okay, cool. So, my question is: you mentioned going to the record shop and getting that tangible experience. Record shops often serve as the heart of a local scene, but I’m curious, in Helsinki, were you also a club kid? Were you going out and getting hyped for DJs coming to town?
Yotto (16:52): Yeah, not on a weekly basis, but I would go out when there was someone I really wanted to see. I wasn’t one to just go out exploring for the sake of it. I also played a lot of sports, so weekends were often busy for me.
Super Progressive (17:04): Oh, cool, cool.
Yotto (17:05): So, I couldn’t go out every weekend. But when a DJ I was really excited about came to town, I’d make an effort to go. As I got older, especially after turning 20, I started going out a bit more.
Super Progressive (17:26): Who were some of those DJs that made you say, I have to go to this?
Yotto (17:33): Marcello, definitely. He was probably my favorite DJ ever. Another standout was when Eric Prydz came in, back around 2005. That was a great show. At that point, he was still transitioning from being this relatively unknown producer to someone who had a big following. He had just put out his first proper releases, and his whole set was centered around them. I remember thinking, This guy’s really good. He’s going places. There were so many memorable moments like that. And the local DJs were incredible too—they had such artistic integrity and a deep connection to the scene.
Super Progressive (18:39): Cool, man. Thanks for sharing that. It’s so fascinating to learn about local scenes from different times and places through interviews like this. I could talk about it all day—I love getting nerdy about it. But let’s switch gears a bit.
One of the most refreshing things about you, beyond your sound (which is amazing), is your approach to the industry. It might just be you being yourself, but it feels so refreshing. A lot of top DJs and producers in the world—like, I’ve had the chance to work with Danny Tenaglia, helping him with social media and projects—there’s this perception that it’s all glamorous VIP stuff, but when you’re behind the scenes, you see the grind: creating under deadlines, spending endless hours in airports and planes, and constantly keeping up with social media branding. It can be intense, especially in underground music. What’s cool about you is that your social media approach is hilarious. I laugh out loud at your posts. Is that just you having fun in this world you’re a part of?
Yotto (21:00): Pretty much, yeah. I don’t think there’s anything wrong with having a polished, consistent brand—some people do it so well. Take Afterlife, for example. They’ve nailed their visual identity. It’s structured, beautiful, and works perfectly for them. I never had that strict lane, though. A good friend of mine who travels with me and has been doing video stuff for years played a big role. We just decided not to overthink it. The music is serious—that’s the part I pour all my energy into. So, the other stuff can be lighter, more personal. It wasn’t a deliberate choice; it just happened naturally. When people started enjoying it, that encouraged us to keep going. Now, when we’re on tour, we don’t stress over perfect shots. It’s more about capturing real, funny moments—like me going to the bathroom or whatever.
Super Progressive (27:10): So, have you met Ned Shepherd? My cousin said to mention him—he was stoked about your project. He makes music with Sultan as Sultan & Ned Shepard. He really opened my eyes to the lore of underground dance music and the culture, like how people like Dom Phillips used to write liner notes that captured these amazing stories. You don’t see that much anymore with digital releases, but it’s those stories that make the culture what it is today.
Yotto (27:45): Yeah.
Super Progressive (27:10): Okay, last question. I’m learning from our conversation that DJs have passions outside of music. You posted something about skiing in Finland, and it looked like a literal northern wonderland. What are you passionate about outside of music? Or is it all music, all the time?
Yotto (27:45): No, it’s not all music. My studio time is during daycare hours for my boys—kind of nine-to-five. Surprisingly, it works super well for me. Outside of that, I’m into sports and trying to stay healthy.
Super Progressive (28:14): Dude, jacked! You must be working out.
Yotto (28:19): I’m trying! I swim and I promised a friend I’d do a triathlon. I’m screwed. But yeah, I aim for a balance: a relatively normal life at home and the craziness of touring—loud places, no sleep. They feed into each other. Coming back home to Finland grounds me. It’s quiet and calming—it’s home. Even with two weekends in the U.S., I’ll still fly back in between. It’s not the greenest thing, but it recharges me differently.
Super Progressive (29:38): Definitely.
Yotto (29:41): Kind of trying to take holidays as often as I can.
Super Progressive (29:45): Yeah, it’s cool, bro. And do you have time for—
Yotto (29:47): Once a year?
Super Progressive (29:48): Do you have time for one more question? I just had one that popped into my head.
Super Progressive (29:51): Okay. So you come out because people are interested in what’s next, but then I catch myself—you’ve just spent so much work as both a producer and a label head bringing this compilation together. How do you, as a producer and a label head, think about incorporating elements into a project so that it’s not just a fleeting thing that comes and goes in the endless flood of releases? With thousands of songs being released daily, we’re at a point in history where there’s more music than ever before. How do you approach ensuring that your projects have a lasting connection with the audience and don’t just fade into the noise?
Yotto (30:57): I wish I had a magic bullet for that, but you never really know. One thing I do is keep playing records long after they’re released. That’s something concrete I can do. I remember there was this trend, and I think it’s fading now, where people focused on playing unreleased stuff—tracks no one’s heard before. It’s cool and feels special, but some records are just so good that they deserve to be played even after everyone has them.
I’m also lucky to work with my manager and others involved in the label who have great ideas for keeping the momentum going after a record’s release. Typically, there’s an initial surge in streams and purchases, and then things tend to slow down. But sometimes, tracks get picked up again, maybe because they’re genuinely good. At least, I hope that’s the reason.
Recycling the catalog can help, like getting remixes done. For example, with the Odd Ones project, I’m considering making it an annual thing. This time, we had amazing contributions, and they did a ton of work. In the future, we could also start including older tracks from the back catalog—maybe those we released five years ago. Our label’s been around for about three and a half years, so it’s not quite five yet, but when it is, we can revisit and reintroduce earlier tracks to the audience.
Super Progressive (33:38): Cool, man. Very cool. Well, I really want to thank you for joining me today. I know this is probably one of your busiest and most celebratory days with your project out—it’s so lit. Thanks so much for taking the time to speak with me. I know the followers are going to lose their minds when they hear this, and they’ll be stoked to listen to the compilation.
Yotto (34:41): Oh, thanks so much. That’s awesome to hear. It’s funny—I started out following the rigid lines of progressive house I loved growing up, and now I’m making all kinds of music. This year, I did an ambient album. Some of my tracks are more radio-friendly compared to the gritty stuff I play in sets. It’s really cool to get support from people like you. I love what you’re doing—spreading the gospel of progressive music. Thanks for the interview.
Super Progressive (35:40):
Yeah, bro, definitely. Hope you guys enjoy this one. Peace out.
