From early influences to Ibiza moments, Marian (BR) reflects on the journey so far.
Marian (BR) is part of a new wave pushing groove-led house back to the centre of the dancefloor. Rooted in Chicago house and driven by percussion, his sound is simple but effective – rolling basslines, sharp sampling, and rhythms that lock in from the first bar.
That approach has quickly translated globally. Tracks like “Pakit Ban” and “Swing Bom” put him on the radar, with the latter becoming part of the Music On season at Pacha Ibiza – a key moment in his rise.
House music royalty can be found including his tracks in their sets from from Jamie Jones and The Martinez Brothers to Joseph Capriati and Franky Rizardo with releases following on Hot Creations, Hottrax and Elrow Music. With a new EP on Deeperfect and a growing international schedule, his trajectory is firmly upward. We caught up with him to find out more.
Attack: Your music is rooted in Chicago house, but feels very current. What elements of that classic sound are most important to you when producing today?
Marian (BR): I spend most of my time listening to old house music, and Chicago house has been a major influence on my sound. The way samples are chopped, the character of the vocals, the use of piano and classic organ tones, and those saturated, crisp drums – those are the elements that continue to inspire me the most.
Your tracks are described as simple in intention but powerful in execution. How do you decide when a track is finished without overcomplicating it?
I always come back to a simple idea: a painter never truly finishes a piece – they just sign it and move on. There’s no real endpoint in production, so for me it’s about knowing when to step away. I try to listen without looking at the project, so I can respond purely on instinct. That helps me focus on what the track feels like rather than on its technical complexity.
Your music clearly prioritises the dancefloor. When you are in the studio, are you imagining specific moments in a club or reacting more instinctively?
It’s always connected to the dancefloor. I tend to visualise very specific moments – a particular club, a certain time of night, even how the track would land in a set. That mental picture plays a big role in shaping my decisions in the studio.
[quote align=right text="Study the roots of house music, spend time in clubs, learn from those who came before you, and be prepared for rejection"]
Your tracks often revolve around groove and percussion. There’s a lot of narrative lately that groove is making a return. Did it ever go away though?
I don’t think it ever disappeared. Trends come and go, and certain genres take the spotlight, but groove-driven tracks have always been there. For me, they’ve always been the most effective on the dancefloor – percussion is a fundamental part of that.
Artists like Jamie Jones and The Martinez Brothers have been playing your tracks. At what point did you start to feel that momentum building around your music?
It really started towards the end of 2025. That’s when