Nick Stoynoff is a Chicago based DJ, producer and founder of NOFF!, an independent label built around forward thinking electronic music. Over the past decade he has carved out a sound that sits between progressive house, deep techno and ambient electronica, drawing as much from film scores as from the club records that shaped him.
His productions carry evolving textures and a clear sense of storytelling, and have earned him releases on Bedrock, Balance Music, Selador, Sudbeat, Alola and Global Underground Select, with support from John Digweed, Sasha, Hernán Cattáneo, Nick Warren, Dave Seaman, Guy J and Laurent Garnier. As founder of NOFF!, Stoynoff has built a home for artists who prioritise creativity over convention, with a roster including Vince Watson, Funk D’Void, Legowelt, Pole Folder, Aubrey Fry, Danny In Space and Raica. Running an independent label today, with thousands of releases competing for attention each week, is no small undertaking.
That patience carries through to his DJ sets. Having performed across North America, Europe, South America and Asia, including recent dates in Argentina and an appearance at Balance Croatia, he has built a reputation for sets that favour journey over immediacy. His latest single, Changement, is out now on Audioholics Records, Mariano Mellino’s imprint, featuring an official remix from Pig&Dan. It follows Delta / Vista with Danny In Space, and the Panama Red project with Randall Jones on NOFF!, which brought remixes from Pig&Dan, Pole Folder, Legowelt and Raica.
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Terminal V has revealed Clydeside Live, a new dedicated open-air event space, as the home of its landmark 10th anniversary festivalHe has featured on two of the scene’s most respected radio platforms, John Digweed’s Transitions and Hernán Cattáneo’s Resident, a mark of the regard in which his work is held. This year he plays Balance festival, on a line up that brings together many of the artists who have supported his music over the years.
I sat down with Nick Stoynoff to talk through the realities of running an independent label in a crowded market, the differences between the US and UK progressive scenes, and what lies ahead for both his music and NOFF!
You are Chicago based, a city synonymous with house music history and the birthplace of so much of what shaped dance music globally. How does progressive house fit into that landscape today? Is there a genuine audience for it on your doorstep or does it feel like an outlier scene?
There is a lot of positive history associated with the progressive scene here in Chicago, which has been home to many notable progressive artists, such as Grayarea. The scene has certainly gone through its different phases, but today it’s being championed and promoted by a new generation of artists, DJs, promoters, and collectives, including Mystic Nature and Chicago Progressive House. They’re doing an incredible job of keeping the progressive scene alive while continuing to push it forward.
Within the broader context of electronic music, Chicago has always been, and always will be, the home of house music. As the birthplace of the genre, with more than 40 years of history, its influence can be seen across countless adjacent styles. Where progressive fits into that wider landscape is difficult to define because genres are constantly evolving. Trends grow, shrink, fragment, reform, and repeat that cycle over time. If you were to visualise electronic music as a heat map, you could almost track each genre’s sphere of influence, growth, decline, and movement relative to the others. Progressive is no different. Like many genres and subgenres, it has a passionate audience at its core, regardless of where it sits within the broader landscape at any given moment.
That said, every scene has a responsibility to continue reinvesting in itself. It depends on artists, promoters, labels, and local communities creating opportunities and supporting one another. When I look at what collectives like Mystic Nature and Chicago Progressive House are doing, I see exactly that kind of initiative. That’s where long-term sustainability comes from, and ultimately how a scene continues to grow.
Having spent significant time across North America and Europe, both in the booth and on the production side, how would you describe the differences between the US progressive scene and what is happening in the UK and Europe right now, in terms of crowd, culture and business?
I think there are a lot of similarities both in terms of progress as well as challenges. Most of the scene, at large, is suffering from common constraints. These are mostly economic in nature but there is also a generational shift in its participants. Nightlife trends have had more of a tectonic shift. Promoters have moved on coupled with the fact that people are simply not going out anymore. Despite those challenges, there is still a very healthy, vibrant, collective working to support the entire movement. Obviously, crowd, culture, and business are things that are going to be correlated in terms of how business functions relative to crowd and how crowd and culture respond, in turn, to business. They’re all equally important variables in the larger equation. I can’t speak too much to how local regulatory environments function, in each territory, but there are major implications associated. Again, it’s largely economics and a newer generation that is demonstrating differing preferences. Depending on where you live along that continuum, it can either be bad or it can be great. But, it’s not static. It’s dynamic and hopefully it shows more equal correction, sooner than later.
Your sound sits between progressive house, deep techno and ambient electronica, with a strong nod to cinematic storytelling and emotional depth. Where did that pull towards narrative and film scoring first come from, and how conscious a decision was it to build music around that idea rather than pure dancefloor function?
A lot of it comes down to my environment and having a wide range of musical influences. I’m inspired by the large-scale orchestral arrangements found in Detroit techno, the grit and rawness of Chicago house music, and the broader leftfield side of electronic music as a whole. To me, progressive has always been a genre that naturally brings those elements together. It’s less about adhering to a specific sound and more about weaving different musical ideas into something cohesive.
There was never a conscious decision to incorporate those influences—they simply became part of my musical vocabulary over time. I think that’s one of the reasons my productions tend to sit between different styles rather than fitting neatly into one category. It’s also worth noting that one of the reasons I started NOFF! was to create a space where some of my more leftfield material could be connected back to the dancefloor through carefully chosen remixes. That approach allows me to explore more experimental ideas while still giving DJs and audiences a version that works naturally in a club setting.
You founded NOFF! as a home for artists who value creativity over convention, at a time when so many labels are chasing algorithms and trends. What was the moment that made you want to run a label rather than simply release through others, and what did you want to do differently?
The primary motivation was to create a home for the large amount of unreleased music I had accumulated over the years. More importantly, though, I wanted to take ownership of my work and begin developing a stronger artistic identity on my own terms. The idea really crystallised after recording my Balance Selections Mix in 2021. That experience felt like a turning point. I saw an opportunity to push things further and decided it was the right time to establish the label.
From the beginning, the concept behind NOFF! has been to think differently and provide a platform for artists who are pursuing something extraordinary rather than simply following convention. It was a formative decision because, once you choose that path, you quickly realize that everything rests on your shoulders. For many producers, the traditional route is to seek out established labels that can validate their music and provide recognition through association. There’s absolutely nothing wrong with that, but starting from zero with your own label and your own catalogue can be incredibly daunting. You’re responsible for every decision, every release, and every opportunity.
The rewarding part is that, if you’re patient and remain committed to your vision, momentum begins to build organically. Looking back now, it’s amazing to realize that five years have passed and NOFF! has grown into a catalogue I’m genuinely proud of. That’s been one of the most fulfilling parts of the journey.
Your roster includes Vince Watson, Funk D’Void, Legowelt, Danny In Space, Pole Folder and Raica, among other serious names in this genre. Talk us through how those signings tend to come about—whether through relationships built over years or fresh discoveries—and what you are listening for?
A lot of it comes down to timing and genuine alignment. These collaborations aren’t something you can force—they have to develop organically through trust, mutual respect, and long-term relationship building.
With the artists mentioned above, many of those relationships have developed over several years. Knowing when to reach out is just as important as who you reach out to. I don’t work from a fixed schedule or checklist. Instead, I evaluate each original on its own merits, consider the project’s creative direction, and then determine the best approach for that particular release. From there, it’s about bringing all the pieces together. You want the remixes to complement the original, each artist to contribute something distinct, and everyone involved to feel excited about being part of the project. Of course, there’s always an element of timing and a bit of luck, but thoughtful coordination is what ultimately allows everything to come together into a cohesive release
Running an independent label in 2026 is no small task, with margins tighter and attention spans shorter than ever. What advice would you give an emerging artist approaching NOFF!, or any label, for the first time, and what puts you off a demo before you have even reached the second minute?
True, the margins are definitely tight! Truthfully, I’m operating the label at a loss, but I knew that going into it. Running a record label offers value beyond direct financial returns, depending on how you approach it. Building a recognizable brand, developing an artistic identity, creating opportunities for collaboration, and contributing something meaningful to the scene can ultimately be worth far more than the balance sheet suggests.
As for sending demos, my biggest piece of advice is to be intentional with your outreach. Don’t just send your music to dozens of labels without a strategy. Take the time to understand what a label represents and ask yourself whether your music genuinely belongs there.I’ve received demos where it’s obvious the email was copied and pasted from a generic template, with placeholders for names and labels that were barely changed before sending. That’s an immediate turn-off. It tells me the person hasn’t taken the time to learn anything about the label or why they want to be a part of it.
Keep your message professional, concise, and genuine. Explain why you’re reaching out specifically to that label and why you think your music is a good fit. A thoughtful, personal email will always stand out more than a hundred generic submissions.
This year you are playing Balance festival, on a bill that reads like a who’s who of Progressive House alongside artists you have looked up to for years. How does that feel from where you are standing, and how do you prepare for a set on that scale, both musically and mentally?
It feels great, and I’m really looking forward to the B2B with Aubrey Fry, aka “The Welsh Wizard.” It’s incredibly humbling, and I’m genuinely grateful for the opportunity. In many ways, it feels like a full-circle moment. I grew up listening to many of the artists on this year’s lineup, and I’ve always regarded the Balance series as one of the most iconic mix compilation brands in electronic music.
When it comes to preparation, I don’t think overpreparing is necessarily the best approach. I prefer to have a clear concept and a general roadmap for where I want the set to go, while leaving enough room for spontaneity. Part of DJing is responding to the moment, and you don’t want to feel locked into a predetermined sequence. For me, preparation is really about creating mental clarity. If you’ve done the work beforehand, you can spend less time thinking about what comes next and more time listening, reacting, and connecting with the room. That’s where the most memorable sets tend to happen.
Support from names like Digweed, Sasha, Cattáneo and Nick Warren carries real weight in this genre and can change a career overnight. Did any particular endorsement early on shift things for you in a way you did not expect, and how do you handle that kind of validation now?
I think it’s been the collective support and endorsements from the people we’ve mentioned that have helped propel me forward. The entire experience has been a journey—and a very circuitous one. Much of that momentum has come in the last few years, and I never expected it to happen on the scale that it has. Those moments have genuinely shifted the trajectory of my career.
The reality is that I’m in a very different place today than I was three or four years ago. I’m still humbled by all of it, but I’m also learning to embrace it and take ownership of what I’ve built. That can be an intimidating place to be because it comes with greater expectations and responsibility. It requires a level head, staying focused, and remembering why you started making music in the first place. One of the reasons I explored the concept of The Hero’s Journey through NOFF! was because I saw it as a reflection of the creative path itself. Every artist encounters setbacks, uncertainty, moments of growth, and unexpected opportunities. The journey isn’t linear, and I think that’s what makes it meaningful. Looking back, I can see how each chapter has helped shape the person and artist I am today.
Your DJ sets are described as prioritising journey over immediacy, taking crowds somewhere rather than chasing the instant reaction. In an era of shorter attention spans and clip culture, how difficult is it to hold a crowd on that kind of patience, and have you had to adapt at all?
It’s definitely challenging, but patience is one of the most important qualities a DJ can have. Building tension, creating memorable moments, and knowing when to release that energy is all part of reading the room and adapting to the crowd in front of you. At the same time, maintaining flexibility is essential. You have to be willing to adjust your approach without losing sight of the musical journey you want to create.
A great example of that was my recent gig in Buenos Aires. The crowd was incredible and completely immersed in the music. People weren’t focused on their phones or constantly waiting for the next peak-time moment. They were simply passionate, knowledgeable music lovers who were willing to trust the journey. Experiences like that are special because not every dancefloor is equally receptive. Ultimately, your job is to build an atmosphere without compromising your artistic direction. The more effectively you can create and sustain tension, the more you can draw people into the experience and guide the room wherever you want to take it. For me, that’s one of the most rewarding aspects of DJing.
You have toured extensively across South America and Asia, including recent Argentina dates, on top of your usual European and North American runs. Do you have any travel rituals or routines that keep you grounded and sane on the road, particularly across such different time zones and cultures?
No specific routines or rituals. I just ensure that I have my wallet, phone, passport, and USB sticks!! Truth is I am not ‘touring’ very heavily like some others and don’t really experience the fatigue like more active touring acts. It’s still there, and I think it’s tough to manage if you’re playing varying environments as well. In any case, I have found that staying focused and keeping level-headed is the best approach. This allows you to keep your concentration intact. Health, mental and physical, is the foundation to all of it. Rest builds on that strong foundation, but I still feel the effects. Again, exercise, mental and physical well-being is a priority. More often than not I get sick when returning home, but usually recover quickly. But as stated in the question, it’s more along the lines of surviving each run and resetting at home.
AI has become one of the more polarising subjects in music production circles, splitting opinion between those who see it as a tool and those who see it as a threat. Where do you personally sit on its growing role in the studio, and do you see it changing how NOFF! operates in the future?
Yeah, it’s a contentious topic, and it’s evolving at an incredible pace. Personally, I see AI as a valuable tool for improving workflows and increasing efficiency, but not as a substitute for the creative process itself. For me, it works best as an assistant rather than the artist.
We’re already seeing more direct integrations within DAWs, where AI-powered tools can be accessed through prompting and other native workflows. I think that’s a positive development because it removes unnecessary friction from the production process, allowing artists to spend more time creating rather than navigating technical hurdles. At the same time, we’re seeing companies like Suno generate hundreds of millions of dollars in annual revenue. That’s a remarkable figure and speaks to both the rapid adoption of these technologies and the scale of change taking place across the industry.
As AI continues to mature, I think we’ll inevitably see more regulatory frameworks, clearer standards, and broader discussions around copyright, attribution, and ethical use. Those conversations are important and should help establish a healthier balance between technological innovation and protecting creative work. For the foreseeable future, though, I think we’re all learning together. The technology will continue to evolve, artists will adapt, and our understanding of where AI fits into the creative process will keep changing alongside it.
Talk us through your studio setup-and-how it has evolved over the years as your sound has developed. Is there a piece of gear you have grown to depend on for that signature depth and texture, and equally, one you could happily do without?
My studio is entirely in the box these days. However, between 2012 and 2014, I accumulated a small collection of outboard gear, including a Moog Voyager, a Dave Smith Prophet ’08 Rack, an Ensoniq ESQ-1 rack synth, and various guitar pedals. Everything was running through a Universal Audio Apollo interface, with Dynaudio BM5 monitors handling playback.
For the first few years, Logic was my primary DAW, with Ableton running as a secondary environment via ReWire. Around 2014, though, I made the decision to move entirely to Ableton, as most of the tools and functionality I needed had become available natively. Since then, I’ve gradually built up a collection of plugin suites, sold all of my outboard gear, and replaced my Dynaudios with a pair of Focal nearfield monitors.
I think my signature sound comes from a combination of tape emulations, delays, and then spending a significant amount of time creating edits from what I’ve printed in the box. It’s a process of trial and error—letting ideas sit, revisiting them with fresh ears, making revisions, and then evaluating them again. More than any particular piece of gear, that’s really where my sound comes from: committing to a process of constant refinement. As for gear, I try not to get caught up in chasing every new plugin release. I could probably get by without some of the more elaborate reverb plugins on the market. That said, I’m always trying to improve my workflow, so perhaps I just need to spend more time exploring what they can actually offer before deciding whether they’re truly necessary.
If you could collaborate with anyone, established or otherwise, who would it be and what draws you to that pairing creatively? Is there a particular sound or approach of theirs you think would push your own work somewhere new?
One artist I’d love to collaborate with is actually a group: Röyksopp. Even if I were just a fly on the wall watching them work, I’d be happy. I’ve been a lifelong fan, and to me their sound is completely iconic.
I know very little about their creative process, but I’ve always felt they’re among the most innovative electronic artists out there. Their approach to chord progressions, song structure, and string arrangements has always stood apart, and they’ve consistently managed to balance ambitious conceptual ideas with music that still feels accessible. That’s a difficult thing to achieve. More than anything, they’ve built a sonic identity that’s instantly recognizable. You can hear a Röyksopp record within seconds and know exactly who it is. To me, that’s the mark of truly timeless artists. They’ve always felt ahead of the curve, and that’s something I deeply admire.
Your new single Changement is out now on Audioholics Records, Mariano Mellino’s imprint, complete with an official remix from Pig&Dan. How did that release come together, and what was it about the label and that pairing that felt right for the track?
Yeah, I was already a huge admirer of Mariano and the team at Audioholics. What they’ve built, both locally and globally, is incredibly impressive. I reached out to Mariano so we could start exchanging music, and he mentioned that if I ever had something that felt right for the label, I should send it over.
At the time, I had “Changement” as a work in progress, so I revisited the project with Audioholics in mind. Throughout that process, Danny In Space was instrumental in helping bring the older stems and pre-master to life before it went off for final mastering. It’s also worth mentioning that Danny handles around 90% of the mastering for my label, NOFF! I wanted to make sure everything was in ‘phase’ At the same time, I started thinking about who could bring something special to it with a remix. I reached out to Pig & Dan, and they were keen to get involved. Before long, they came back with an incredible reinterpretation of the original. Everyone is really happy with how the release turned out. It’s been an amazing project to be a part of.
The Panama Red project with Randall Jones pulled in remixes from Pole Folder, Legowelt and Raica, quite a spread of styles and generations. What was it like handing that record over to such a varied group of producers, and were you surprised by any of the interpretations?
It came together naturally, but over a long period of time. The original performed really well and received a lot of support, so we felt it was worth exploring remix options for the EP. With that in mind, we wanted the remix package to reflect the label’s identity while also highlighting artists who could each bring a unique perspective. Pole Folder has long been a mainstay of the progressive house scene and is rightly considered a legend. His work has helped define the genre over the years. Once again, everything came down to timing and alignment. He had reached out to me about doing a remix for his label, and during that conversation I offered him the opportunity to remix “Panama Red,” which he gladly accepted. His interpretation is incredible—deep, emotive, and built around a fantastic sense of progression.
Randall was able to revisit the original under his Tigerhook alias, creating a stripped-back, trippy reinterpretation that takes the track in a completely different direction. I’ve known Chloe Harris for close to 20 years and have been a longtime admirer of her work. She has always explored creative avenues as an artist, including through her ambient/electronica alias, “Raica.” She delivered an exceptional downtempo ambient version of “Panama Red,” using the stems in a really creative way alongside her own original modular synth work.
Lastly, we rounded out the remix EP with the incredibly talented Legowelt. He’s been one of electronic music’s most respected producers for many years, and I’ve been a huge fan of his work for just as long. Naturally, he delivered a next-level cosmic electro jam that still completely floors me. I’m incredibly grateful to everyone who was involved. Each artist brought something truly unique to the project, and they all did an outstanding job.
NOFF! has built a reputation for artistry and long-term impact rather than chasing trends, at a time when much of the industry is built around short-term visibility. Is that a difficult position to hold as a label owner when the wider market moves so quickly around you?
Yeah, that’s exactly the idea. Most labels today are focused on releasing music every other week. Unfortunately, it’s become something of a race to the bottom, with many labels worried about being forgotten if they aren’t constantly putting something new into the market. It’s easy to fall into that cycle of chasing algorithms, attention, and short-term relevance.
I’ve always believed that relevance is built on timelessness, not on flooding the market. I’d much rather release fewer records that genuinely mean something than push music out simply to keep up with a release schedule. Taking more time allows us to curate carefully, develop each project properly, and give every release the space it deserves. If you can ignore the noise and stay committed to your ideals, you’ll build deeper and more genuine connections with people. Audiences can tell when something has been created with intention rather than urgency, and over time they’ll form a stronger connection with your sound and identity. For NOFF!, our true north has always been forging our own path and resisting the pressure to compromise. The goal has never been to chase trends or compete on volume, but to create a catalogue that still feels meaningful years from now.
Are there any up-and-coming artists on your radar, whether signed to NOFF! or elsewhere, that you think Decoded readers should be watching closely over the next year or two? What is it about them that stands out to you?
Good question. I’m always thinking about what’s next and which artists I’d love to collaborate with through the label. Up until this point, the catalogue has primarily focused on my own original productions, alongside reinterpretations from artists I deeply admire. That approach has helped establish the identity of NOFF!, but I also see it as just the beginning.
A natural next step is to invite more artists to contribute original material and continue building the label into a platform that showcases a diverse range of creative voices. I’ve always wanted NOFF! to be known less for a specific genre and more for a shared philosophy—music that is thoughtful, forward-thinking, emotionally resonant, and unconcerned with following trends. Expanding the roster with original works from artists who share that mindset feels like the right evolution.
Beyond that, I’d love to continue exploring different formats, whether that’s more vinyl releases, collaborative projects, or concept-driven releases that tell a story. The goal is to keep evolving while staying true to the label’s identity. In the short term, I’d encourage readers to keep an eye on NOFF! as another remix of one of my original productions is set to be released in early September. Beyond that, though, you’ll just have to wait and see.
Looking at everything you have built across production, the label and now these high profile guest mixes on some of the scene’s biggest platforms, what does the next twelve months look like for Nick Stoynoff, and is there a goal still on the list you have not ticked off yet?
I’ve always tried to approach my career with the mindset that the work itself should create the opportunities. Every project has been another step forward rather than a destination, so I don’t really feel like I’ve “arrived.” If anything, the last year has reinforced that there is still so much left to explore creatively.
Over the next twelve months, my focus is on continuing to write music that challenges me, expanding NOFF! into a home for more artists and original material, and playing in new cities and countries where I can build genuine, long-term relationships. Touring is incredibly rewarding, but one of the things I’ve enjoyed most has been forming meaningful connections with promoters, labels, artists, and audiences around the world. Those relationships have become just as important to me as the music itself.
As for goals, there are definitely still a few on the list. I’d love to continue playing more clubs and festivals across Europe and South America while further establishing myself in markets where I’ve already started building momentum. I also want to keep releasing music on labels I’ve respected throughout my career while continuing to grow NOFF! into a catalogue with a lasting identity, one that’s recognized for quality, creativity, and a willingness to take risks rather than simply following trends.
Ultimately, though, success isn’t about ticking boxes anymore. It’s about continuing to create work that I’m genuinely proud of and building something that still feels relevant years from now. If the music remains honest and people continue to connect with it, I think everything else tends to follow naturally.
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