When it comes to house music in Argentina, few names carry as much weight and longevity as Manuel Sahagun. A true pillar of the scene, Manuel has earned the respect of multiple generations of DJs and producers, thanks to a career defined by consistency, innovation, and an unwavering dedication to the groove.
With a sound that bridges classic house influences and cutting-edge club textures, Manuel has taken his music far beyond Buenos Aires, performing in some of the world’s most respected venues—D-Edge in São Paulo, Tresor in Berlin, EGG in London, TBA Brooklyn, Housepitality in San Francisco, and many more.
His discography is equally far-reaching, with releases on standout labels like Freerange, Lazy Days, Blind Vision, Get Physical, Salted, and Stil Vor Talent. Supported by global heavyweights including Laurent Garnier, Danny Tenaglia, DJ Sneak, Miguel Migs, and Claptone, Manuel’s productions speak to both the heads and the dancefloor.
Off the back of his latest offering ‘Mermelada’ on Fortunea Records, Manuel Sahagun stops by to chat about his journey through sound, his roots in the Argentine scene, and what continues to drive him after years of pushing boundaries in house music.
WWD: ‘Mermelada’ is a colorful title—can you tell us what inspired the name and how it connects to the vibe of the tracks?
‘Mermelada’ means marmelade or jam. Most of these tracks have synth sounds designed to create evolving atmospheres and hypnotic textures. I usually record my synths and tweak the sound in real time giving an irregular behaviour like jam on toast.
WWD: Were there any particular synths, samples, or production techniques that shaped the sound of ‘Mermelada?’
The synths have an important role in this EP. I usually start with samples on my tracks and you can notice that on “September Strike” or “I’m in love”. I find it way easier to start with a sample and then once I know the key I’m working on, I layer synths on top. When I start with the synths, adding samples is a little harder.
WWD: Deep house can mean a lot of things these days—how would you personally define your approach to the genre?
Deep House has had so many variations and schools over time it can be a little confusing, especially for the new kids that start DJing. To me, Deep House is a matter of sensuality and sophistication that you can’t find in other house genres. The harmony content, use of samples for textures, variety of rhythm patterns and role of the bassline are the areas where I put all the attention when I write music or when I DJ.
WWD: Is there one track on the EP that feels especially personal or significant to you?
There’s something about “Kerry B” I’m very happy with. The use of very basic tricks like subtle modulation on the timbre of some elements made an impact on me when I was writing it. I remember adding a couple of phasers and a ring modulation over bassline, hi hats and percussion and suddenly I was dancing in my studio in a loop for a while… I thought, “there’s something great here going on” and that is how an idea became a track.
WWD: You’ve released music on several respected labels — how do you choose where to release your work?
Releasing music on strong labels is the best for any artist but it’s very hard as well. But sending music to smaller or new record labels is gratifying too. I have a rule where I prioritize format initially: I prefer to release my music on vinyl. If it is digital format then it has to be a record label with solid promotion or communication work.
WWD: How do you see the current state of deep house, especially in Latin America or your home scene? Any emerging artists you’re excited about?
The scene in Argentina has changed completely since the pandemic in 2020. A lot of new artists emerged in different genres but mostly techno. Fortunately, there’s a new generation of djs and producers exploring house and deep house, researching the genre, buying vinyl records and promoting events in different cities. I’m very lucky to be connected with many of these new artists. Some started studying music production in my studio, others requested my mixing and mastering services. I’m happy to be part of this new era.
WWD: What keeps you motivated creatively after all these years in the industry?
The feeling that “I’m just starting” that I have with every new release. I believe there’s so much I can still do and learn.
WWD: What’s next for you—more studio work, collaborations, or other projects on the horizon?
In the past few years I’ve put all my energy building a reputation in the studio. So I’ve been working hard learning new skills for writing, composing, arranging, mixing, etc. I’ve started growing a business out of that and that’s where I’m headed.
WWD: Couple of quickfire qs for you! Analog or digital?
For most things I use digital but adding something analog to the track, like a synth, vocal or maybe some EQ or compression to the mix, I can get a difference to the overall sound. It’s not that big but for me it’s pretty fun to do. As a DJ I prefer vinyl, but I cannot deny how convenient USB sticks are.
WWD: Sunrise set or late-night basement club?
I’m 43 years old. I prefer earlier shows. Lol.
WWD: Hahah, very fair! Favorite piece of gear in your studio right now?
Novation Peak never disappoints me.
WWD: One track you wish you had produced?
I never thought of that…but maybe Mr Oizo’s “Lambs Anger” album is a masterpiece.
WWD: Great answer! Thanks for the chat 🙂
‘Mermelada’ is available here