From Generation X to Generation Z, it seems like every clubber in the capital knows of Marijan Felver. With his career spanning over three decades, Felver left a significant imprint on Zagreb’s scene with his immersive approach to the clubbing industry and event conceptualization. His approach to events always remained the same – it’s about creating a synergy of emotion and artistic expression that blend from constant exploration of music, clear vision of all aspects of communication and lineups of DJs who don’t have a fear of breaking boundaries.
In anticipation of his Planet Srijeda event happening today at Zagreb’s Kontesa club, we had an in-depth conversation about the development of Zagreb’s scene, his musical journeys, the power of graphic design in promotion, the nowadays importance of social media and the position of Croatian artists on international level.
You have been on the scene for three decades, and through your work, you have become synonymous with the Zagreb club scene. How has your musical style evolved over the years? Do you feel you have remained consistent with a similar sound, or have you often changed your genre and subgenre preferences?
All this time, from the ’90s until now, I haven’t been able to define my style, but I am certain that from the beginning, in everything I do – including music – emotion has been the most important thing. A constant that has always been present in my work and has kept me going all these years is doubt. So, whether I wanted to or not, I was constantly changing. As soon as what I was doing started to feel trivial, I sought out new, unexplored territories. While exploring music, I used to think I was moving forward, but lately, it seems more like I am in some way progressing backward. I am inspired by music I missed out on or that I once heard in a different way.
When you appear on the lineup, including your own or other people’s events, it attracts multiple generations—from old-school partygoers to new kids on the scene who see you as a musical role model. You appeal to a diverse audience, and it seems like your musical selection reaches a wide range of people. What do you think is the primary reason for this? How to cultivate new generations of clubbers?
I never set out to cultivate anyone, and I must admit it took me a long time to realize that in all of this, I am actually educating myself the most. First and foremost, it’s important to find your own place—something that often feels like walking a tightrope between the past and the future, between what has already been seen and what is yet to come. Music is a universal language, but its power lies in its ability to be reinterpreted. What resonates under the club lights today will become a memory tomorrow and, the day after, an inspiration for some new kid who will shape that sound in their own way.
New generations of clubbers shouldn’t be raised through nostalgia or by forcing old patterns; rather, they should be given the space to discover what moves them. The key is to offer experiences, guidance, and the opportunity to perceive music not just as a fleeting sound but as a tool for expression, exploration, and connection.
Electronic music in Zagreb has gone through various phases over the decades—from its emergence in the ’90s, the techno boom of the 2000s, the decline in popularity in the early 2010s, and its revitalization in the last ten years. Musical trends have changed, as have audience habits. What do you consider the best period for the Zagreb scene, and what were the key turning points for you? Why?
I’m not one of those people who thinks everything used to be better. Each era had its own special moments and energy, and both then and now, I have encountered amazing new music from all genres on a daily basis. Music has always been and remains the most important thing to me—a constant, regardless of how times, trends, or the formats through which we experience it change.
Perhaps things were more romantic and reckless before, and that recklessness brought courage. Today, things are more structured, more defined, with clearer rules of the game. Sometimes that helps, but other times it leaves less room to dive deeper.
Personally, every period has been equally important because, along with the audience, I have changed as well. In this journey, we have built our own narratives, our own micro-worlds—spaces where time flows differently, where the past and future overlap in the present moment. That is not an illusion; it is an alternative—a chance to shape the world by our own rules for a few hours, to create a space where anything is possible, and to be free to live uniquely.
Besides music, from the very beginning with Stereo Studio, you have paid special attention to the graphic design of posters and visuals for events, collaborating with the Numen collective, with whom you’ve won awards. In your opinion, what makes an ideal visual for an event? What elements must it have, and how do you develop concepts with designers for each event?
Music and imagery share the same logic; both are built from layers, rhythms, and the spaces in between. A good event visual isn’t just informative or aesthetically pleasing—it is a window into what’s coming, an introduction to a moment that hasn’t happened yet but is already present somewhere.
Just as sound can be seductive in its unpredictability, a visual must leave room for anticipation. It doesn’t necessarily have to explain everything, but it must carry a feeling—one that intuitively guides us, giving us a glimpse of the atmosphere before we even step into the event space. It’s more than just design, logos, or typography. It’s something that resonates with the vibrations of the event and the people around it.
A visual doesn’t have to speak loudly, but it must have a clear whisper—that subtle tension that draws you in. And when you finally enter that world, you realize it was around you all along, in the subconscious, in a hunch, in that invisible transition between image and sound.
Maybe that’s the key—to create a bridge between what is real and what is yet to become reality.
In previous interviews, you mentioned that Planet Srijeda is a project of Stereotip and the Utorak agency and that your selection of performers focuses on the “punks” of electronic music. What exactly does this sound refer to?
The punk spirit in electronic music isn’t necessarily about distortion, aggression, or a fast tempo. I was referring to an attitude and a way of thinking—a rebellion against the spirit of the times.
How do you view trends in the electronic music scene and the impact of social media on the industry? How has the development of social media affected bookings and the music business?
I’ve always struggled with trends, but I’ve never completely dismissed them either. Over the years, I’ve listened to them all—some inspired me, some barely touched me, and some left no trace on me at all. Trends are interesting because they create recognition, bring structure, and offer a sense of security—but that very security can also be a trap. There’s always some kind of stagnation within them, a loop within familiar frames. Perhaps that’s why I’ve always felt an inner hunger, a desire for something unattainable. That search, that feeling that there’s always something just beyond reach, something lingering on the edge of perception—that’s what drives me forward.
The rise of social media has significantly transformed the entire industry and bookings. Clubs and promoters now often evaluate bookings not only based on an artist’s quality but also on their digital presence—the number of followers, engagement on posts, and video virality. This has created opportunities for talents in areas beyond music, but it has also put pressure on artists to be their own managers, content creators, and marketing experts.
On one hand, social media has democratized the scene—an artist no longer has to be tied to a specific city or collective to be noticed. On the other hand, algorithms dictate visibility, meaning quality sometimes takes a backseat to aesthetics, trends, or simply the ability to “play the game.”
This shift has also changed how audiences approach clubbing—people used to attend events for the music and atmosphere, whereas today, hype often plays a bigger role. Party footage sometimes becomes more important than the party itself, and the event’s aesthetics are often shaped by how they will appear on social media.
Yet, despite these changing rules of the game, the essence remains the same. The real moments still happen on the dance floor, in the darkness of the club, where likes and numbers fade away, leaving only the energy of the music and the crowd’s response to it.
Do you think local producers and DJs receive enough recognition internationally? Is there a lack of them on lineups in other European countries and around the world?
Local producers and DJs certainly have the quality and creativity to compete on the global scene, but recognition depends on many factors. Talent is only one part of the equation—networking, strategy, opportunities, and a bit of luck all play a role.
Some of our artists have already managed to establish a presence beyond the region, but broader visibility is still not at the level it could be. This is partly a matter of market size—a smaller scene means less infrastructure, fewer resources, and a slower path to reaching an international audience.
Lineups at major festivals and clubs often operate on the principle that already well-known names secure bookings, while lesser-known artists have to work much harder to get noticed and recognized.
Every scene, including ours, has its own growth dynamics. What matters most is having a supportive community and creating opportunities for talent to step onto bigger stages. Recognition comes with time, and the key lies in consistency, authenticity, and developing a unique sound.
What would your dream lineup look like? If you had the chance, who would you like to bring to Croatia?
What’s happening at Kontesa this Friday is one of those dream lineups. We’ll hear the promotion of three albums from my current favorites: Skelesys will perform Fading Echoes live, Curses will join him with tracks from their upcoming album Silver Tears, and later, Curses will play selections from his fantastic Another Heaven record.
From my point of view, this conversation is not just an interview regarding one’s story of success, it is a friendly reminder of what this industry essentially should be about. While conducting this interview and noting Felver’s answers, pure emotion remains the key factor throughout the whole narrative; the most important dimension that many tend to forget while speaking about their club, festival or event brand concepts.
If we put the theory besides, there is still a chance to experience Felver’s Planet Srijeda tonight in Kontesa bar, therefore my final question was regarding the expectations while counting down the hours to the event. “An orgy with muses, a surrealist ode to joy, surrendering to dreams, and discovering the speculative power of Eros and Thanatos, while our future glows in the distance!”, he announces in his distinct, almost poetic style.
