Words by Andrea Gombalová, Photography Chad Park

Music tip: From Game Worlds to Galactic Dance floors and Shubostar’s new single release Stardance

The Korea-born, Berlin-based DJ and producer has developed a sound often described as cosmic disco rooted in movement, earning her a presence on international stages such as Panorama Bar, Circoloco, Burning Man, Fusion, and Kappa Futur. Beyond the booth, she channels her vision through uju Records, cultivating a space for creative freedom and collaboration.

In this interview, Shubostar speaks on her evolution as an artist, the influences shaping her musical language. Drawing from her early background in computer game design, her new track Stardance translates digital worlds into physical experience. Inspired by moments of collective motion, particularly on the dance floor. Stardance reflects Shubostar’s ability to bridge virtual imagination with real-world connection, offering a glimpse into the universe she continues to build as an artist.

You didn’t start out planning to become a DJ or producer. What was the moment when music began to feel more than like a side interest? Did you hesitate before committing to it?

Music has always been very close to me. In high school, I was in a band, and around that time, I also learned how to make MIDI music. But I didn’t really want to be an artist. I was scared of the pain of creation. Even later, when I played classical guitar at university more seriously than just a hobby, I still hesitated. Then I entered a DJ circle and started playing as a DJ, just for fun. After that, I began making electronic music, and at some point it became very clear to me: oh, I have to be a musician.

You’ve spoken about early computer and game music as an influence. What defines this music, and what about it fascinated you?

In computer games, background music is no longer just background. It changes where you are. You’re sitting in front of your computer, but once the music begins, you’re completely inside the virtual world. Someone once told me, “Good audio mixing changes the atmosphere you’re in.”

Game music felt the same to me, it’s not just for listening, it’s immersive. That’s the kind of experience I want to create.

You’ve played a key role in shaping what is now known as cosmic disco. How does it differ from other electronic genres, and what kind of atmosphere or emotional state does it carry?

For me, cosmic disco isn’t really about defining a genre. It’s more about the journey. While you’re listening, you travel inward, and at some point you realize that you are the universe, and the universe is you. That’s why a cosmic disco journey can include many different genres: tribal, indie dance, disco, house, and more.

Does that label feel accurate to you?

I started using cosmic disco for practical reasons. People often ask what genre I play, and I wanted to give them a clear idea. The combination of the words cosmic and disco leaves space for many styles. I play music that truly resonates with me, and interestingly, the tracks I choose always share a similar feeling. When I call that feeling cosmic disco, people understand it right away so yes, I like the label.

When you first started DJing and producing, what were you trying to express and do you feel that’s changed now?

Since I started DJing and producing, I haven’t really tried to express anything in a particularway. I simply searched for sounds that made me happy. Looking back, playing and creating the sounds that truly move me was already a way of expressing my authentic self. And I believe that’s the role of an artist.

That’s why I love the phrase, “the most personal is the most creative.”

You once described your way of DJing as a ceremony and attributed a spiritual value to it. Could you elaborate on what you mean by that

When I look at a dancefloor, it feels like a ritual. Like I’m guiding a ceremony, and everyone is moving together through sound. After I joined a 10 days Vipassana silent meditation course, I learned Metta meditation. It means sending loving-kindness and wishing peace and freedom for all beings. At my first gig after the course, I practiced Metta while DJing. The lights looked brighter, and people’s faces felt softer, almost in slow motion.While playing, I repeated silently: may all beings be happy, peaceful, and free. Since then, this has been part of my ritual every time I play.

When you look at the underground scenes you’ve been part of, from Asia to Europe, what do you feel these spaces have offered you in terms of inspiration, and how do they show up in your music now?

Oh, you forgot to mention Mexico, or should I say the Americas? Mexico has actually been the country that has inspired me the most as a DJ. In Korea and Thailand, I learned DJing in a more technical way, but in Mexico, I learned how to resonate with people. I’m currently on tour in Mexico, and returning to venues where I’ve played more than five times before has been very meaningful. Dancing again with audiences who remembered and missed memade me realize how valuable what I learned here truly is. The crowds here are incredibly open-minded. When I bring something new, they don’t stand there with their arms crossed, they stay curious and follow the journey. Because of those reactions, I was able to clearly find my own sound. And playing gigs in Europe has helped me refine everything I’ve learned in a more professional way.

Do specific cities ever influence how you think rhythmically, melodically, or energetically?

Yes, definitely. For example, in Mexico City I usually play at a lower BPM than usual, people there really enjoy groove. In Berlin, I tend to raise the BPM, because the crowd enjoys deep immersion. In coastal cities, I play music that includes more natural sounds, a wider range of analog instruments, or more vocals. People’s minds feel more relaxed there, and that shows in the energy on the dancefloor.

Do you struggle more with starting tracks or finishing them?

Honestly, neither. Starting a track always comes with excitement and anticipation. I dive into the process with a lot of energy, but at some point I listen back and feel that something isn’t quite resolved, maybe there’s not enough tension, maybe it’s too intense, or maybe it starts to feel repetitive. That moment is the hardest part for me. Once I solve that, finishing the track usually happens very quickly.

You started uju Records to release music on your own terms. What kind of freedom did that give you that you didn’t have before?

uju Records started in a very natural way. There was a time when I was producing non stop, and I ended up with a huge number of demo tracks. Back then, I hadn’t released music on any notable labels, and getting replies from the places I sent demos to felt almost impossible. One day, my roommate said, “If you have so many demos, why don’t you just release them on your own label?” So I started it almost without thinking. The biggest freedom of having my own label is being able to release music whenever I feel ready, and also being able to personally ask artists I love to do remixes.

How do you decide what fits the label?

uju Records usually releases EPs built around one of my original tracks, accompanied by remixes from artists I personally admire. From my own productions, I choose the tracks that carry a stronger cosmic disco feeling, more lyrical melodies, a slightly nerdy atmosphere, and more retro-leaning sounds. That direction guides what fits the label.

Has running a label changed how you see the industry? In what way do you experience this as an act of empowerment for yourself as a woman in a field that is still largely Male-dominated?

Running a label made me realize how difficult it is for a small independent label to actually make money. Keeping a label alive is almost impossible without pure passion. Personally, I haven’t strongly felt the industry as male-dominated through running my label, although my label is very small. A lot of the work happens through emails rather than face-to-face meetings, so gender doesn’t really come into play in the same way. I actually feel male-dominated structures much more clearly in the DJ scene than in label work.

What do you hope people take away from your sets?

I want people to join the whole journey of my set. I don’t play track by track. I try to create a continuous journey. It moves through moments of darkness and loneliness, but always with the feeling that you’re not alone. And in the end, there’s euphoria, and the idea that love is the most powerful thing. For me, it’s very similar to our life journey.

t this point in your journey, what is an area that you'd like to explore as a musician and what draws you there?

As a minimalist and a computer-game geek, I’ve mostly worked with digital synthesizers. The world of analog synths has always felt like unknown territory to me. That’s why I want to explore the analog world, even if one day I end up returning to digital. I also want to expand the journey I create while playing. Lately, that’s led me to listen to many genres I’d never explored before.

At this point in your journey, what is an area that you'd like to explore as a musician and what draws you there?

As a minimalist and a computer-game geek, I’ve mostly worked with digital synthesizers. The world of analog synths has always felt like unknown territory to me. That’s why I want to explore the analog world, even if one day I end up returning to digital. I also want to expand the journey I create while playing. Lately, that’s led me to listen to many genres I’d never explored before.

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