ASTOR on the State of Progressive House, Genre-Bending, and Balancing Careers in Music and Finance [Interview]

Fresh off the release of his electrifying new single ‘Poison’ on May 30th, ASTOR is an artist worth having on your radar. Known for fusing festival-sized energy with emotionally charged melodies, the New York City-based artist has already racked up over 2.16 million streams and landed high-profile support slots at NOTO in Philadelphia and The Summer Club in New York City, opening for the likes of Nicky Romero, Hardwell, Sam Feldt, Loud Luxury, and Julian Jordan. A finance professional and political analyst, ASTOR pivoted into music during the pandemic, drawing influence from heavyweights like Martin Garrix, Alesso, Third Party, and DubVision. Following standout releases like ‘Fly Alone’, ‘Storm’, and his Revealed Radar debut ‘Holding Tight’, ‘Poison’ marks his boldest statement yet: a high-octane blend of introspection and mainstage euphoria, poised to cement ASTOR as a rising force in the next wave of electronic talent.

Listen to ‘Poison’ and read out interview with ASTOR below:

Paint us a picture: what sparked your passion for the arts in the first place? Was there a single moment or experience that solidified your decision to pursue this path?
I’ve always gravitated toward dance music. Back in the LimeWire days I was downloading Rhythm is a Dancer and All That She Wants, and in high school I was buying compilation CDs with names like Dance Hits 2008 vol. 2. But the golden era of progressive house – Avicii, early Martin Garrix – was what really pulled me into EDM while I was in college. Years later, after grinding through the CFA exams while working full-time in finance, I made myself a promise: once I passed, I’d pick a hobby I actually enjoyed. I picked DJing as that hobby because I always wanted to know how these legends did it. It snowballed fast—small gigs, club shows, and then I opened for Hardwell—which is when I realized I wanted more. I dove into production, taught myself Ableton, and in 2023, before releasing anything, I went to ADE. I was nervous, battling imposter syndrome. But after a demo drop where A&Rs gave really strong feedback and then seeing Martin Garrix live at RAI that night, I turned to my wife and said, “I want to do this for the rest of my life.” That was the moment everything shifted.

When you create, what leads the way – a feeling, a story, or the sound itself?
For me, it almost always starts with the emotion behind a vocal—not even the lyrics, but the feeling in the vocal. I’ve built a huge folder of vocals I’ve collected over time, and when I’m ready to start a new track, I’ll dig through it until something sparks that emotional pull. That usually sets the tone; if the vocal feels raw or dark, I’ll build a moody break and an intense drop, like I did on ‘Poison’. If it feels bright and upbeat, I lean into that energy instead. Once the emotion’s locked in, I start shaping the production around it to create a holistic sonic world.

What’s in your toolkit? Share the gear, gadgets, or software you can’t create without.
I produce in Ableton—I think it’s the best fit for how I think and create. In terms of synths, Serum and Sylenth are my go-tos. Serum is where I go most of the time, but Sylenth is my old faithful—I’ve built a bank of reliable patches that always hit. Nexus is another essential, especially for getting quick ideas down. I’ll use it as a placeholder and often end up keeping the sound because it just works. But the one tool I absolutely can’t live without is the Hans Zimmer Strings package from Spitfire Audio. I’m obsessed with cinematic string sounds—violas, cellos, all of it—and this plug-in delivers that emotional, human texture I love. I listen to film scores constantly, and pulling that influence into my productions helps me create tracks that feel bigger than just a drop.

What’s your go-to ritual or trick for getting into the creative zone?
Listening to DJ sets is my gateway into the creative zone. Whether it’s Ultra sets or something from a recent festival, hearing new drops, transitions, or standout moments puts me in that curious, energized mindset, trying to understand how they made that sound. During the workweek, time is tight and I only have 30–60 minutes to create, so the energy from live sets helps me shift gears quickly. On weekends or full production days, it’s the same—I’ll throw a set on in the background, and pretty soon I’m inspired and fully immersed.

What’s the one item you always keep within arm’s reach while creating or performing?
If I’m on the move, it’s one of my external drives—either my compact Samsung T7 Shield or my heavier Lacie. But in my home studio, the one constant is my dog, Rooney, my unofficial ghost producer. She’s always nearby, usually asleep in her pillow to my right while I work. I like to think her calm energy keeps the vibe right in the room.

How did you ultimately end up defining your sound?
My sound is rooted in that euphoric, pre-COVID mainstage energy—the golden era of progressive house and big room that guys like Martin Garrix, Alesso, and Nicky Romero helped define. But after COVID, when I went back to Ultra, I noticed the shift—the music had gotten darker, moodier. And that’s valid, but I missed the euphoria. So my goal is to honor the past without sounding stuck in it. Artists like Third Party, Matisse & Sadko, and DubVision are doing that beautifully. That’s where I’m trying to live: high-energy, emotional, euphoric music that pushes the genre into its next chapter.

How has your creative process or perspective shifted since you started your journey?
The biggest shift has been how much more open and curious I’ve become. I began hearing music differently. I’ll listen to a hardstyle or drum & bass track now and start wondering about sound design. Now, I’m more adventurous—not just in what I listen to, but in what I make. My first release this year is a great example: it starts as a progressive house track but the second drop goes full drum & bass. A year ago, I wouldn’t have even considered that. But now, blending genres feels exciting and natural.

Walk us through a recording session: what’s the most memorable moment you’ve had in the studio?
Last year, during a chaotic stretch of work—I’m a political analyst by day—I booked an Airbnb upstate in New York, just me, my dog Rooney, and my portable studio setup. I gave myself a challenge: for three days, one vocal per day, one track per day. I walked away with three complete ideas. One became ‘Icarus’, another ‘You’re the One’, and the third ‘Holding Tight’, which got signed to Revealed Radar, a sub-label of Hardwell’s Revealed Recordings. That trip shifted my mindset. I stopped seeing myself as someone who just makes music on nights and weekends. I came home thinking, “No, this is what an artist does.”

Are there any unexpected or dream collaborations hidden in your work?
I haven’t done many collaborations yet—I’ve been focused on defining my sound. That said, the dream list is pretty clear: Martin Garrix, Nicky Romero, DubVision, Matisse & Sadko, Third Party. In the U.S., I think Telykast is absolutely killing it. Their tracks are euphoric, beautifully produced, and feel true to the roots of progressive house.

Any side projects you’re working on?
No side projects at the moment—everything is under ASTOR. I’m still exploring and refining my sound, mostly in the progressive house and big room space. I’ve also started to lean into a progressive D&B vibe, like on ‘You’re the One’. So while I’m experimenting, it’s all still part of one evolving project.

Who’s an emerging artist you think deserves more recognition right now?
First, Mannie Sapra—he’s making insane mainstage techno. His track Solus is unreal. The other is Zay, a Latin tech house producer out of NYC. His drum work is next level. Both of them are pushing boundaries in their respective lanes.

What’s the strangest or most surprising song currently on your playlist?
If you dig into my work playlist, you’ll find a lot of film scores. My favorite composer is Hans Zimmer. I also regularly listen to the Hamilton soundtrack and the score from 1917.

Which song, album or playlist do you never get sick of no matter how many times you listen to it?
There’s a set I’ve played more times than I can count: Third Party B2B Matisse & Sadko in Brazil, December 2024. In terms of songs, ‘Carry You’ by Martin Garrix & Third Party, ‘Lions in the Wild’, and ‘Better Now’ by Telykast still hit every time.

Are there any unexpected hobbies or projects you’re exploring outside of your main work?
Honestly, not really. Between working full-time and pouring everything into music, there’s not a lot of extra space. Any free time I do have feeds straight back into creating or learning.

If your life and career were an album, what would its title be, and what’s the hidden track only your fans would know?
‘If We’ll Ever Be Remembered’ by Martin Garrix is that song for me. The line “If We’ll Ever Be Remembered, I know it’ll be for the way that we loved” hits hard. That’s the kind of emotion I hope to spark in my own music.

Give us a glimpse into the future – what surprises or milestones are coming up for you this year?
I’ve got a handful of unreleased tracks I’m really excited about—some dive deeper into euphoric progressive energy, others explore the progressive D&B space. It feels like I’m finally hitting a creative rhythm.

Famous last words?
First, thank you—truly—to anyone who’s streamed or supported the journey. It blows my mind that something I make in my small NYC studio is connecting with people around the world. As for parting words, I guess I would leave with the advice I wish someone gave me 10 years ago: if there’s something you’re curious about—no matter how unrealistic it sounds—try it. I was in my 30s, full-time job in finance, no formal music background, and all the signs said, “don’t do this.” But I started anyway. And little by little—my first release, first 100K streams, first label signing—I proved to myself that showing up matters. Don’t wait for the perfect moment. Start, and let the process transform you.

Follow ASTOR:

Website – Instagram – Facebook – X – Soundcloud – Youtube – Spotify