UGENIUS x FLOW MUSIC x CIOZ
UGENIUS reaching its 100th release is one of those moments that feels bigger than the number itself. Thirteen years, hundreds of records, and a catalogue shaped by artists who weren’t afraid to follow their instincts rather than trends. UGENIUS 100 celebrates exactly that – personality, experimentation, and music that feels alive.
Cioz fits naturally into that story. His productions sit somewhere between playful and emotional, technical and surreal. They don’t rush to explain themselves, and they don’t need to. We caught up with Cioz to talk about creativity, humour, anger, experimentation, and what it means to be part of this milestone release.
UGENIUS 100 celebrates artists who’ve shaped the label’s identity. What does being part of this milestone release mean to you personally?
I’m really happy I could contribute.
The fact that UGENIUS believed in Sneaky says a lot about the label. It’s not chasing trends. It leaves space for experimentation and lets artists express themselves.
And I also love keeps strengthening my connection with Australia.
Many fans describe your sound as both technically intricate and deeply human. How do you balance experimentation with emotional storytelling in your tracks?
Thank you! I think I always try to make things as human and relatable as possible.
And to do that, you need stories inside your tracks, like in a movie.
I don’t like films where, after five minutes, you already know how it will end. I want surprises, changes of colour, plot twists.
Something that leaves you at the end like: “Well… that was something.”
Your music often incorporates unexpected twists – unusual percussion, surprising drops, or dreamy melodies. Do these ideas come from planned concepts or spontaneous creative accidents?
Usually, I roll the dice: if it’s a si,x I play chess for the rest of the day. If it’s a five, I write a melody that starts with F. Any other number I won’t eat for the rest of the day… 
Jokes aside, if you are really interested, I usually start with a clear idea of what I want to achieve (a mood, a story, a direction) and then I keep my mind completely open while I’m working.
I synthesize my own synths, and I often end up finding something better halfway through the process. Ah, and if it is a sound I never used, I will use it 100%.
Creative process is a mystic thing, though, and changes always. In one year, I will reply for sure in a different way.
You’ve released on labels like Monaberry, Stil vor Talent, and now UGENIUS again. What draws you to a label, and what makes UGENIUS feel like ‘home’ for certain tracks?
I think it’s actually the other way around.
I’ve always focused on making music, not on chasing labels.
When a label connects with what I do, then I know it’s the right home for that track.
As someone known for blending humour and heart into electronic music, how do you feel the global scene is shifting in terms of creativity and risk-taking?
I feel like there’s a lot of standardisation right now. One person takes a risk, and thousands follow.
Like when someone crosses the street on a red light and suddenly everyone goes with them.
If you want to cross, cross. If you want to cross backwards, do it.
It’s crazy how we all start with a blank canvas and end up doing the same thing, me included.
Social media is killing individuality. But I think (and I hope) that in the end, the brave ones will be rewarded.
Can you talk about the track you contributed to UGENIUS 100? What was the feeling or story behind it?
I was very, very angry when I made it.
So instead of venting on someone, I went into the studio and turned that rage into a track (studio as therapist is a nice concept)
At first, I wanted to call it “Ti spacco la testa e ti apro in due”, which means “I smash your head and split you in half”, but it felt a bit too bloody.
So I changed it to “Ti spacco la siesta” – “I smash your nap” – which I thought was genius.
I even imagined the video, a bit horror style: a guy lying in bed with a Mexican hat on his face, trying to sleep, while someone like Jack Nicholson in The Shining approaches in slow motion with a chainsaw, just to wake him up.
In the end, I chose Sneaky because it works better internationally… but honestly, Ti Spacco La Siesta was way better.
If listeners could walk away from this compilation with one message about Cioz, what would you want it to be?
If you’re angry, make something, make music. Worst case, you feel better. Best case, you end up on a compilation.
Cioz’s approach feels like a reminder of why UGENIUS has lasted as long as it has – not by polishing away the rough edges, but by letting artists stay strange, emotional, funny, and real. There’s humour here, but also honesty. There’s experimentation, but never at the cost of feeling.
UGENIUS 100 isn’t about playing it safe. It’s about trusting instinct, following curiosity, and letting music be human. Cioz does exactly that – and if Sneaky is any indication, a little anger, a little humour, and a lot of freedom can still go a very long way.
