Lady Maru, you have a very different background in music, with punk bands. How have you translated the love for this genre into techno?
Yes it’s true that it’s totally different but on the other hand I think it’s also complementary Playing a real instrument, even if in a punk way, is still important for producing your own music, and dealing with the stage energy and with the audience by playing live music teaches you a lot too.
In my case I think I approached it naturally and slowly,from punk to electronic music, following my passion and curiosity, but it took me many years of DJ’ing only before creating my own tracks!

Your hometown of Rome is known for its underground scene, what do you miss most about the early days of raves in Italy and beyond?
Yes, growing up in Rome has been very important for me, but just because I knew where to go. I used to go out from the age of 12, by 14 I already went to illegal raves and hung out in concerts and squats almost every night. It’ s true that with the use of no socials, the scene felt more unknown and exciting. You could enjoy something that no one else could see unless they were there. We usually went to certain clubs and squats that made music we liked, and from there, once entered in the scene, we could discover almost every underground night. For illegal raves there was the info send out on illegal radio stations or through old school flyers around the city. The thing I absolutely don’ t like of the roman scene is the patriarchal system. unfortunately, the scene is very unfriendly when it comes to women. I had various issues during my career, and I still have some open issues with certain people. I think nowadays the situation is getting slowly better, but it’s still not good enough at all.

Do you feel being multi-talented when it comes to playing instruments helps your DJ career and gives you a better understanding of music as a whole?
Yes, I think it’s important to play an instrument, of course if you play piano in a “traditional” way it’s even better, but using it for the punk and noise styles teaches you how to deal better with distortions, how to deal with the “red” and loudness. It teaches you how to build a simple PA, and how to be also your own sound technician when needed.
It’s so important to understand music, but of course it’s not possible to be good at everything, so the challenge is probably to discover your own strengths and weaknesses.

Your next release ‘No Conventions’ marks your debut to TechnoMind Records. Can you walk us through the tracks and the remixers on the release?
The tracks are all around 160-165 bpm, and I have been changing the mix and some arrangements since November 2025. I have been playing them in my own sets often, and decided to make a longer EP of 4 “similar attitude” tracks, so I asked RemPhase the owner of Technomind if he could be interested in releasing them and eventually also in remixing a track and both said yes.
They asked Michael Katana and Anita Kaye if they wanted to remix the same track too, in a different way… so we had a more schranz version and acid industrial one.
I think this EP can be regarded as an expression of the underground hard techno Italian scene that was born after covid.

Can you give us your top 3 releases at the moment with a short reason as to why? (please do not list your own)
I really love the most recent acid compilation of Mokum, it has a variety of old school and new acid hardcore vibes, it always cheers up the dancefloor atmosphere.

I always play Ercan Ates in my sets. Most recently this EP, it’s always solid, with amazing kicks and a “slow gabber“ approach, always raw, never mainstream.

And of course I support the work of my friend Sonico/Sonicore for hardcodelia, he works with old school hardcore techno vibes, but modern, too. I think he represents Colombia’s intense and solid culture. The colombian producers and dancers are curious to discover, but I feel they have very solid roots too, almost in every techno genre!