After more than a decade away from the spotlight, Giom returns with a statement, not just a comeback, but a celebration of a sound that helped shape a generation of deep house. With ‘Giom Classics Part.1’ on Supremus Records, long-time fans finally get their hands on fully remastered versions of essential cuts like ‘The Message,’ alongside underground favourites that defined his early catalogue. As the label marks over 10 years, this release bridges past and future, with more classics, new music, and fresh energy on the horizon. We caught up with Giom to talk about the comeback, the evolution of the scene, and what’s next.
WWD: After stepping away for around 10 years, what sparked the decision to return now and why did this feel like the right moment?
Honestly, I just missed making house music. Over the past few years I kept trying to get back into it, but something was always off — I had burned out and had zero inspiration. That changed in the summer of 2024. I’d just come off tour with my band PREP and suddenly had a lot of free time. I spent that summer in my new garden studio, working alone, and slowly the music started flowing again.
As for whether it’s the “right” moment — I’m not sure that’s something I can really judge. What I can say is that it feels fun and fresh, and I’m genuinely enjoying making music again. That’s enough for me.
WWD: The ‘Giom Classics’ series is something fans have been asking for for years, what made you finally bring these tracks to vinyl?
It came together quite naturally. My good friend Steve Littlemen told me he was relaunching his label Mobile Trax on vinyl, in partnership with Juno Records. And so I reached out to Juno suggesting the idea of re-releasing some of my older material, and to my surprise they were super enthusiastic from the start. They handle all the manufacturing and distribution, so I felt in safe hands. It’s been doing OK too from what I can gather, which is super nice.
WWD: Listening back to records like ‘The Message,’ how do they feel to you today? Do you hear them differently now compared to when you first made them?
I’ve always been proud of that track. It’s simple, built around a great spoken word sample, and to me it still holds up. Technically, the mixdown could always be better — but I’ve always believed that what matters most in music is the song itself and the story it tells, not technical polish. With that in mind, I don’t think it’s aged badly at all. That said, I’m not quite as generous about all of my older tracks!
The remastering process can really reshape a track – what was important to you in updating these classics without losing their original soul?
Since these tracks were originally digital-only releases, they needed proper remastering for vinyl. I brought in Rob Small for that, which felt like an easy choice – I’ve been a fan of his work for years, and he’s handled pretty much all of my music going back to before the label even launched.
WWD: Back in 2015, ‘The Message’ got support from some huge names – how did that early recognition impact your career at the time?
Genuinely? It didn’t change much, at least not for me. Getting shoutouts from well-known names is always flattering, but it didn’t translate into more bookings or a noticeable bump in sales. That’s just my experience – I’m sure it works very differently for others.
WWD: A lot has changed in the electronic music scene over the last decade – what are the biggest differences you’ve noticed since you were last fully active?
The role of social media is no joke! I used to be reasonably good at that side of things, but the expectations around content creation today are on another level entirely. There’s a lot to learn. I’ve posted a few studio clips on Instagram, but I’m now thinking about going deeper – maybe full Ableton tutorials. Honestly, who knows what will trigger the algorithm? If tutorials are something people would be interested in, let me know – feel free to slide into my DMs.
WWD: Do you feel the core essence of deep house has stayed intact, or has it evolved into something completely different?
I genuinely don’t know, and it’s not something I lose sleep over. I’m not a purist, and I’m not too concerned with whether my music fits neatly into a genre box. I’ll leave those debates to the deep house diehards. If it connects, that’s what matters.
WWD: As the head of Supremus Records, how do you see the label’s identity today compared to when it first launched?
It’s much simpler now. The label exists purely to release my own solo electronic music – deep, funky, whatever it ends up being. Full creative freedom. Much easier to run too.
WWD: You’ve mentioned that new music is on the way – how does your current sound compare to your earlier productions? What can fans expect?
I try not to overthink that question. I don’t have a fixed idea of what “my sound” is – I just follow what feels right when I’m in the studio. What I can say is that I have an EP coming out this summer on Anjunadeep, which probably signals some evolution from where I started. I think fans will enjoy it. I’m also about halfway through an album that I’m planning to release on Supremus, along with some remixes. Whether it ends up as an album or a run of singles and remixes, I haven’t fully decided yet.
WWD: With Parts 2 and 3 of the series coming and fresh releases ahead, what does the next chapter of Giom look like – both in the studio and on the dancefloor?
The thing I’m most excited about is putting together a live show – performing a selection of my tracks, old and new, with controllers, drum pads and possibly more. I’m aiming to have that ready by summer. On the vinyl side, I’m happy to confirm that the lead track on Classics Part 2 will be a remaster of my remix of Vernon & Dacosta’s As Darkness Falls (feat. Apple Rochez). It’s currently in production with a planned release date of July 6th, which you can preorder now on Juno.
WWD: We can’t wait! Thanks for the chat 🙂
‘Giom Classics Part.1’ is available here