Nuit Decadente interview

Nuit Decadente: From Underground Releases to Live Performance Evolution

Belgium’s Willem Voet aka Nuit Decadente is more than just an alias—it’s the embodiment of a deep-rooted passion for underground electronic music. The man behind this enigmatic project has carved a unique sonic identity through multiple personas, including Pakrac and Dark Distorted, while also running three influential labels: Fenix Fire Records, Dark Distorted, and EasterEggPlant.

His latest release, God Is Chilling EP, showcases a fusion of classic and modern elements, with a strong selection of remixes from artists connected to his musical journey. As Nuit Decadente continues to explore new directions, he is now focusing on transforming his project into a live performance act, stepping beyond the studio to bring his music to the stage.

In this exclusive interview, he opens up about his inspirations, his label’s philosophy, and what the future holds for Nuit Decadente.

Your musical journey spans across different aliases, including Nuit Decadente, Pakrac, and Dark Distorted. How does each of these projects differ in terms of sound and artistic vision?

Nuit Decadente: Pakrac is my longest-standing alias and represents much of my work, particularly under Fenix Fire Records, where the sound leans toward slower beats. Nuit Decadente, while also downtempo, has a different approach—more like a New Beat-inspired live band project. Meanwhile, Dark Distorted is where I explore the techno side of my sound.

You are the mastermind behind multiple labels—Fenix Fire Records, Dark Distorted, and EasterEggPlant. What inspired you to create these labels, and how do they each serve a unique purpose in the electronic music landscape?

Nuit Decadente: Fenix Fire Records is the oldest and has a very distinctive sound—so much so that platforms like Beatport don’t even have a proper category for it. I take that as a compliment. Dark Distorted Signals was created for darker, slower techno that didn’t quite fit the first label’s aesthetic. Similarly, EasterEggPlant became a home for music that was high quality but didn’t fit within the existing categories of the other two labels.

Let’s go back to the beginning. How did you first get into music production, and what were some of the biggest influences that shaped your sound?

N. D.: I started in electronic music using Scream Tracker, already under the alias Pakrac. My first major step was getting the Pro-53 from Native Instruments and a Cubase license, before moving on to Ableton Live. As for influences, there are many, but in techno, Robert Armani (ACV, Dance Mania) and labels like Plus 8, Underground Resistance (UR), and R&S stand out.
However, my biggest inspiration comes from a pre-New Beat sound called “AB-sound”, with artists like Severed Heads, The Weathermen, Nitzer Ebb, and DAF.

Your latest release, God Is Chilling EP, features a variety of remixes from different artists. What was the creative process behind this project, and how did you choose the remixers?

N. D.: Originally, this project had a different name and was meant to be a modern remix project of an older track. I had direct contact with some of the original members, but after some delays with the former label, we had to reshape the concept to move forward. The remixers were either personally known to me or connected through the original project members, ensuring an authentic and cohesive release.
Fenix Fire Records has become a respected platform for underground electronic music. How do you curate the artists and releases for the label, and what qualities do you look for in new talent?
For me, the most important thing is sound quality and commitment. If a demo fits within the label’s vision and the producer is open to refining their track, that’s a good sign. I don’t care how the music is made—as long as it sounds fresh and authentic.
For those looking to submit demos, my biggest advice is: listen to the label first. If you believe your track truly fits the style, then reach out.

With such a diverse range of projects and sounds, what’s next for Nuit Decadente? Are there any upcoming releases or collaborations that we should keep an eye on?

N. D.: The next step is shifting Nuit Decadente into a live performance project, similar to a New Beat cover band, but not limited to remakes. I want to bring this music to the stage, possibly incorporating one or two female vocalists. If all goes as planned, the project should be up and running before the end of the year.