Hatiras Breaks Down “Hypnotized,” Festival Firepower, and the Art of Longevity (BEATPORTAL)

Hatiras has been lighting up dance floors for over 20 years, and he’s still going full throttle. The Toronto house music hero, known for his prolific studio output and his unstoppable Spacedisco Records label, is behind some of the funkiest, most floor-filling house tracks of the last two decades. This summer, his latest heater “Hypnotized” on Toolroom Records became one of the top 10 most-played tracks at Tomorrowland 2025.

We caught up with the two-time Juno winner to talk about the story behind the track, how Toronto’s underground has changed since the Liquid Adrenaline days, what keeps him fired up after 500+ releases, and his vision for Spacedisco moving forward. Plus, he drops some seriously solid life advice involving clowns, patience, and putting in the work.

Hey HATIRAS! Thanks so much for joining us. How has the summer of 2025 been treating you?

It’s been amazing so far! Nonstop music releases, parties, and events all summer long. I’m based in Toronto and it’s a special place with a very strong scene – especially in the summer. 

“Hypnotized” was one of the most played tracks at Tomorrowland this year – a massive achievement. What inspired the track, and why do you think it’s resonated so hard with DJs and dancers around the world?

It feels great to see such an incredible response to “Hypnotized”.
A few different things inspired me to create the track:

I wanted to revisit the vibe of my first big hit, “Spaced Invader” that released 20+ years ago. That track has constantly rising elements, an extended build, high-energy ragga vocals, and over-the-top synths and risers that really make it stand out and feel like some sort of alien rave spaceship abduction. “Hypnotized” is a nod to “Spaced Invader” in many ways.

I was also inspired by a lot of the events I’ve attended recently including various techno parties in Detroit, Amsterdam, and Toronto. I wanted to bridge the gap between House and Techno by bringing elements of both genres into one tune.

I think the track resonates with DJs and dancers because it’s a very physical track that captures the feeling of repetition and escalation – something that really moves a dance floor. It also features a bunch of subtle, almost-subliminal sounds in it that are both jarring and moving. Those sounds make the track very recognizable, distinct and effective. 

When working on “Hypnotized” in the studio, at what point did you realize you struck gold? Tell us a bit about the production process behind this one.

Every time I make a new tune, I try to think outside the box – whether it’s experimenting with a new plugin or taking a different creative approach. With “Hypnotized,” I started with a chunky bassline and fat drums. After that, I experimented with layering a ton of subtle riser sounds. I accidentally applied a strange, metallic flanger effect to one of the risers, which created the distinct growling sound in the tune.

I then tested the track at an intimate event I organized at a venue called AndThenYou in Hamilton (near Toronto). That very first time I played it, the energy in the room shifted – people surrounded the DJ booth, the room locked into a hypnotic frenzy, and everyone exploded when the drop hit. I remember that moment so clearly.

It was after that night that I sent the tune to Mark Knight and Toolroom Records. He immediately felt the energy of the track and suggested I add a ragga vocal over top of it to take it to the next level.

Are there any other tracks in your arsenal that you remember being as massive and gratifying as this one?

I’ve released so many tunes over the years and love them all equally. It’s hard to pick favorites but, in terms of global impact, I’d have to say 

“Spaced Invader” (2000) was my biggest tune overall. 

Since then, I’ve been relentlessly releasing music. Here are some other notable tracks:

• “Money Shot” (2004)
• “Something About You” (2006)
• “Just The Tip” (2008)
• “Bass Monkeys” (2008)
• “No Worries” (2016)
• “In The House” (2018)
• “Starlight” (2023)
• “Miamimita” (2024)

You’ve been a key figure in the North American scene since the Liquid Adrenaline rave days in Toronto. How would you describe the evolution of the Toronto underground from the ’90s to now?

The scene was still in its infancy in the early ’90s but exploded by the mid-’90s. You could go out any weekend in Toronto and find at least a few parties with hundreds – or even thousands – of people in attendance.

The scene has matured over the years, but it remains the same in essence: people gathering together to dance to fresh, underground electronic music.

Toronto has grown as a city and the number of events and attendees has increased – but it’s always been a world class place with a lot of open-minded partiers here that are very supportive of the scene.

We are very lucky in Toronto to have such a big scene – this weekend that just passed was another huge one: I played at the Toolroom Records party with Mark Knight and Crusy. The very same day, deadmau5 organized a festival called Veld. Green Velvet played at a venue called Vertigo and John Summit played at Rebel. All of the events were packed and well attended.

With over 500 releases, five albums, and countless shows around the globe, how do you keep your creative fire lit after all these years?

I was born for this. It all comes very naturally to me. I’m obsessed with sound – creating it, manipulating it, and exploring the craft.

It’s also very important to stay in touch with the scene. Go to events, watch other DJs live or on YouTube, and listen to new music across different genres. I’ve seen plenty of so-called “big” DJs and artists fall behind because they drown in their own egos and lose touch with the scene and the people who attend the events. It’s important to get out there and be a part of the scene as not only an artist, but also as a punter. Stay young-minded and dialed in – that’s the key to longevity and inspiration. 

Spacedisco has become one of the most respected labels in house music. What’s your mission with the label today—and how do you choose the artists you want to champion?

When I launched the label back in 2016, I wanted to create a recognizable brand that consistently released really well-produced, DJ-friendly, ‘90s / jackin / Chicago / filtered / French-inspired house music. Organizing label-branded events was also an integral part of the mission – to promote both the label and the artists on it.

We just hit the nine-year anniversary of the label and our 500th release. I want to make it to nine more years and 500 more releases. My goal is to grow Spacedisco Records into an even larger global label and party brand while maintaining its core sound: funky, jackin’, authentic, underground house music.

In all these years, I’ve never once asked any artist for a demo. I want things to happen organically and naturally. I don’t care if an artist is well-established or brand new – what I look for is producers who create this style of music meticulously, authentically, and with the highest attention to detail and respect for the roots of the genre. 

For up-and-coming DJs and producers trying to break into the scene today, what’s one piece of advice you wish someone had given you when you were starting out?

I got great advice when I was a little kid… I remember my father asking me what I wanted to be when I grew up. I told him I wanted to be a clown (I was 5 or 6 at the time, lol). He said, “Son… go ahead. BE a clown. Be whatever it is you want to be. But be the BEST clown. Put everything into it and do it to the highest level. Be great!”

With that said, I recommend that anyone who wants to be successful at something needs to actually put the work in. Learn the craft. Keep growing every day. Stay calm. Don’t burn bridges. Be patient.

The path might not unfold exactly the way you expect it to – but embrace it and try to enjoy the journey. Don’t compare yourself to others. You only have one life to live – YOUR life – so make the most of it and have fun.

Listen to Hatiras’ Summer Anthems ’25 chart below.