Introducing: Autow Nite Superstore

Meet Autow Nite Superstore: the Athens-based electronic music producer and DJ who’s redefining the boundaries of sound. Known for his genre-blending style, Autow Nite mixes garage, techno, bass, and jungle, crafting raw, powerful textures alongside evolving emotional landscapes. His work has caught the attention of BBC Radio6, XLR8R, VICE, and Bandcamp’s New & Notable, among many tastemakers, and has even inspired remixes from electronic icons like 808 State’s Andy Barker. Whether he’s headlining European festivals or playing intimate venues, Autow Nite’s high-energy sets are an immersive journey through techno, UK bass, and rave, taking listeners straight to the dance floor and beyond. We caught up with him shortly after the release of his latest album

1. Your new album blends diverse influences, from techno and ambient to alt-rap and dubstep, creating a soundscape that feels both experimental and accessible. What sparked your desire to explore such a wide range of styles, and how did you balance these elements without losing your own unique voice?

I think it’s more like following what’s around you rather than sticking to rules. I don’t think about fitting into any genre. Every time I tried being strict about it, I felt super restricted. That was actually something holding me back during the creation of this album, like an inner thought of, ‘oh, you have to make more danceable music, this is not techno, this is not garage, wtf is this.’ I’m glad I didn’t get stuck in that loop, in that restrictive mindset, because in the end, that’s not

what I want to do. And I’m also happy that you find it accessible - it feels like a huge win.

2. You've described this album as a narrative-driven work that’s more than just a dancefloor record. Could you share how storytelling plays a role in your music, and were there any particular stories or personal experiences that shaped the album’s direction?

Yeah, like I said, I don’t prioritize making a track dancefloor-ready over actually making you feel something. I like creating vulnerable music, music that could feel like a moving image - that’s narrative to me.

3. "Your collaborations on this album are both local and global, with artists from Athens to Durban. How did these collaborations come together, and how did each artist’s background influence the textures and moods of the tracks they worked on?"

Some of the collabs came up from doing sessions together with artists for other records, some from mutual connections, and others from discovering music online and reaching out via Instagram. I really enjoy working with people who are different genre-wise, but who share the same vision for how we want our music to sound.

4. "In 'Crawling on Hands and Knees,' you shift between trap, drum 'n bass, and ballroom sounds, making it a standout example of the album's genre-blending approach. How do you approach combining these distinct genres to create such cohesive yet unpredictable tracks?"

For that track, I’d started on an MPC, sampling some voices, and was actually planning to make it a super fast techno track. But it just felt ‘ok,’ so I started throwing stuff out to keep exactly what I liked and ditch the rest. I think I only kept the bassline and the voices. I added some Mike Dean-inspired synths, a rowdy drumline, and heavy front-row kicks. Later, I was in a session with Alex Kozobolis for another project, and when he listened to the track (having me saying,

‘I’m not sure where this should go’) he replied, ‘no pressure, just make it a fucking banger’ haha. And that was it - I recorded it and went down on an atmospheric, weird dnb blend. It’s not really a banger, but it kind of sums up what you’re about to hear in the rest of the album, I guess.

5. "You’ve mentioned drawing inspiration from films like those by Sean Baker and Charlie Kaufman. How do their narratives and visual styles resonate in your music, and are there specific cinematic techniques you translate into your production process?"

Baker and Kaufman, although quite different, have this way of making you feel like you’re eavesdropping on something raw and unfiltered. There’s always this sense of closeness and intimacy, but also detachment, which resonates a lot for me. I’m drawn to that kind of vulnerability. I feel really moved by Baker’s ground-level view of things and, at the same time, by Kaufman’s complex maximalism. And this stillness, contrasted with a sudden extreme motion, where you’re just an observer—that’s often my POV while I’m making a record.

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