REVAX.
From motif to dancefloor.
Revax on his cello roots, Finite Curve on MORBIT EXILE and seeing the whole night through River Resonance.
In conversation with Xaver · REVAX
A small motif in a buildup becomes a bridge melody. A conversation behind a theatre stage leads to a first label release. And an empty floor does not always mean a set is failing. Xaver, who produces and DJs as Revax, talks about the connections between playing an instrument, making tracks and putting on nights – and why fewer layers can create more room.
Revax is a Vienna-based drum & bass producer, DJ and cellist who also puts on events through River Resonance. His EP Finite Curve came out on MORBIT EXILE in 2025. In this written interview from October 2026, Xaver discusses musical decisions and experiences on both sides of the DJ booth.
What stays with you from the cello
You come from the cello and also play piano. What experience from playing an instrument still finds its way into your productions?
I don’t know if I would really call it a habit, but one thing I definitely take from playing the cello is working with melodies. Almost every track I make is strongly shaped by melodies, motifs and variations on them.
I could probably find examples in any of my tracks. Looking at this EP, I can start with the title track, “Finite Curve”. In the first buildup, you hear a pluck that also appears in the bridge. Initially, I only had this very small motif for the buildup, creating tension. To keep the bridge from sounding too repetitive, I developed that little motif and supported it with a bassline.
Developing melodic fragments into fully independent melodies – or doing the reverse – is something I generally really enjoy.
Meeting behind the scenes
Finite Curve was your first label release on MORBIT EXILE. How did the collaboration with Georg begin, and what changed through that exchange?
At the time, I was working as a lighting technician for a touring theatre company that stages children’s musicals. Georg worked as a sound technician at one of the venues we played regularly. We got along straight away, but it took a little while before we got onto music and I mentioned that I produced tracks myself.
Georg was immediately interested and asked me to send him some tracks to see whether they would fit his label. I had a few sitting around at the time, so I sent them over.
We then worked on refining the mixdown. I clearly remember Georg being surprised that I had already mixed the tracks so loud. In later conversations, we realised how much drum & bass – and almost the entire EDM scene – revolves around loudness, and how differently it is approached and viewed in many other genres. We had a good laugh when it finally clicked why we had initially been talking past each other.
The solution, as often happens for me, was to reduce the layers and be more deliberate about where I placed instruments and synths.
Finishing by taking things away
Can you walk us through the title track, Finite Curve? What came first, and what finally made it feel finished?
As far as I remember, the idea began with the chords in the intro. That led quite quickly to the first drop. The basic structure and arrangement came together very fast, but I had some trouble finishing the track. It is one of the few tracks for which I needed several project files.
The solution, as often happens for me, was to reduce the layers and be more deliberate about where I placed instruments and synths.
Seeing the whole night
You also put on events through River Resonance. What have you learned about a dancefloor as an organiser that you had previously missed as a DJ?
I can’t point to one particular experience, but you definitely learn a lot! For example, how volatile dancefloors are. They can empty or fill up within moments: sometimes for an obvious reason, sometimes seemingly at random, with no clear pattern – and several times in the same night, haha.
As a guest or a DJ, I don’t think you really notice that in the same way. Partly because you are so involved in what is happening yourself, and partly because you don’t have the whole night in view.
A good example is everyone heading out for a smoke just before or after a DJ changeover. At those moments, lots of guests simply go outside for some fresh air or a cigarette. It rarely takes long for everyone to meet back on the dancefloor, though, haha.
Knowing that as a DJ, and having gathered those experiences and observations as an organiser, definitely helps me feel more confident.
Pressure meets weightlessness
Which two tracks would you currently like to connect, and what interests you about that transition?
One combination I found recently is “Short Stop” by Misanthrop – my absolute favourite producer – and the Signal remix of “Step by Step” by DROELOE. Signal is an old alias of IMANU, iykyk.
The strong, rhythmic bassline of “Short Stop” and the calm, almost cloud-borne vibe of “Step by Step” complement each other beautifully. It also works as a nice double ;)
REVAX
Interview by email · Editorial and image art direction: SCENE:ID. Manuel Vlasic · Bildgestaltung: SCENE:ID