This Find Your Sounds interview catches Mozambo at a point of clear definition. Nearly a decade into their journey, the Marseille duo speak with calm assurance about how time spent between Europe and Brazil reshaped not just their sound, but their priorities as artists. The conversation moves through the spiritual pull of Brazil, the contrast between jungle isolation and club energy, and how those experiences fed directly into the launch of their own label, Jungle Disco Records.
They also unpack the responsibility of reworking an iconic Brazilian track, reflecting on the care and restraint required when remixing Gilberto Gil’s “Maracatu Atômico” alongside Alok and Maz. Elsewhere, Mozambo discuss how DJ support, quiet confidence in groove-led production, and a growing international touring schedule are shaping their decisions heading into 2026.
You have been active for almost a decade, but this moment feels like a clear consolidation rather than a breakthrough by accident. What shifted in your mindset or working process that allowed Mozambo to arrive at this more settled, confident sound now?
We have a very strong connection with Brazil. A few years ago, maybe four or five years back, after a very intense period in Ibiza where we were playing constantly and almost had a kind of residency, we felt the need to take a real break after the summer.
We decided to travel to Brazil because we were already deeply drawn to the country, both culturally and musically. We’ve always been huge fans of Brazilian music, from bossa nova and samba to the disco-oriented sounds of the 60s and 70s. We went there almost as an adventure, without really knowing what would happen.
Very quickly, we started playing shows there, and the response was incredible. We fell in love with the country, the people, the culture, and with what this experience brought us as artists. We had very strong human encounters, meeting people who truly pushed us forward and inspired us.
From that point on, we started spending more and more time in Brazil. Today, we share our lives between Europe and Brazil, mainly between São Paulo and Rio. There, we discovered an incredibly rich and vibrant music scene. During the Covid period, we were constantly exchanging music with DJs from São Paulo. There is a very strong and deeply rooted music culture there, and that’s how we built a close, very human network of DJs, producers, vinyl diggers and artists.
We shared many precious moments, whether around house music, record digging, long conversations or listening sessions. Over time, our way of working naturally evolved. Brazil brought a much more spiritual dimension into our lives, through the encounters, the conversations and the places.
We spent a lot of time recording music in the jungle, in very secluded places surrounded by nature, and then going back to play in clubs. That contrast between isolation and collective energy became a huge source of inspiration for us. The jungle, the atmosphere, the calm, all of that deeply shaped us.
What we love about Brazil is the unique energy, the vibe, the generosity of the people and the sense of sharing. This experience helped us realign with what we truly wanted to do. We came back to very human values: connection, emotion and sharing. Not only in the music, but in the way we live and create.
Launching Jungle Disco Records feels like a statement of intent rather than a side project. What were you missing as artists that made starting your own label feel necessary at this stage?
It felt like the right moment for us to start Jungle Disco Records. We had been thinking for years about creating an extension of Mozambo. Not as a separate project, but as a new entity that would allow us to release music freely, without constraints, and with full control over our releases, our image and the experiences we wanted to create.
We loved the idea of building everything from the ground up. At that point, we had already released music on different labels we deeply respected, which gave us visibility. We felt it was the right time to take this step and share our music directly with our audience, on our own terms.
The idea for Jungle Disco actually started years ago during a tour in Mexico. After playing there, we stopped in Tulum and were deeply influenced by the connection to nature and the energy of the place. We remember thinking how powerful it would be to one day organize our own events or create a label that truly reflected who we are.
The name Jungle Disco came almost by accident, but it immediately made sense. The jungle represents nature, powerful and inspiring places where we experienced unforgettable moments. Disco is simply the music that influences us every day. We are deeply inspired by 70s music and disco culture, and house music comes directly from that heritage. As soon as the name appeared, we instantly envisioned the identity and spirit of the label.
When we arrived in Brazil, and more specifically in the Mata Atlântica, everything connected. The jungle had a deep emotional impact on us. We organized private events there and returned several times to record music deep in the forest. We would alternate between São Paulo and these retreats in nature, where we focused entirely on creating and reflecting.
The jungle became almost a sanctuary for us. It’s where we reset, recharge and lay the artistic foundations for the months ahead. Our first Jungle Disco events took place there, in a friend’s villa, right in the heart of the forest. These moments feel like a creative and emotional laboratory, where we experiment, make mistakes and imagine what’s next.
Today, Jungle Disco Records is a space of total creative freedom. For now, we want to release a lot of music and showcase the full range of our universe. We’re also sharing mixtapes and organizing small pop-up experiences, always focused on quality, intimacy and energy rather than scale. In the future, we may open the label to other artists, but right now it’s about fully expressing our vision.
Remixing “Maracatu Atômico” carries serious cultural and musical weight, especially with the original coming from Gilberto Gil. What responsibilities did you feel stepping into that material, and what did you want to protect above all else?
Remixing Gilberto Gil and such an iconic track as Maracatu Atômico was definitely not an easy challenge. We have immense respect for the original song and a deep emotional connection to it. From the start, we knew we didn’t want to alter its essence in any way.
Gilberto Gil is one of the most respected and iconic figures in Brazilian culture. He lives in the heart of every Brazilian. That’s why we approached this remix with a lot of care and responsibility.
Our intention was to respect the original work while giving it a second life and opening it to new scenes and audiences. We chose to keep a strong samba foundation to preserve the Brazilian roots, and adapt it into a house framework so we could play it naturally in our sets. We wanted to keep the soul of the track intact and simply add our own vision with restraint. It was also important for us to introduce this song to a younger audience who might not have known it yet.
We’ve always spent a lot of time digging vinyl from that era, especially Gilberto Gil’s records. Remembering buying his vinyls in the streets of São Paulo and then later officially remixing one of his tracks feels unreal. It’s like a childhood dream coming true, and we’re extremely grateful for that opportunity.
The remix brings together Alok, Maz and yourselves. How did you divide roles in the studio, and where did collaboration genuinely reshape the direction of the record?
The collaboration around this remix started in a very human way, through Maz. We became friends with him a few years ago. He’s from Rio, we’re from Marseille, and there was an immediate connection. They’re very different cities, but with a similar energy and warmth.
Maz was one of the first major Brazilian DJs to support our music. He played our tracks early on, including during his set at Coachella, which really touched us. From there, a real friendship developed and we stayed in constant contact, exchanging music and ideas.
When we started working on the remix, we sent an early version to Maz and he reacted immediately. He loved the idea and the direction. We began exchanging stems and visions, always with the same intention: respecting the original track.
At that time, Gilberto Gil was also working on this project with Alok. Maz shared the track with Alok, who instantly connected with it. From there, everything evolved very naturally. There were a lot of exchanges, a lot of discussion, but no ego at all. Everyone was aligned around the same idea: preserving the soul of the track while giving it a new energy.
It was a very special experience for us. Collaborating for the first time with Maz, alongside Alok, who is hugely respected in Brazil, and Gilberto Gil, who is a true legend and one of our musical idols, is something we feel extremely grateful for.
There’s a noticeable confidence in how the remix balances groove, rhythm and space rather than chasing obvious peaks. Was that a conscious response to how “Maracatu Atômico” lives historically, or simply how the track wanted to breathe?
There is a lot of restraint and trust in the groove, and that was a conscious choice. Gilberto Gil’s voice is incredibly powerful and expressive. At times, it doesn’t need anything else around it. Our priority was to keep the vocal at the center and avoid adding too many synths or unnecessary layers. We wanted the voice to breathe. Alongside that, there’s a very groove-driven, almost raw samba foundation, with a subtle house touch added on top.
Finding the right balance took time. We tested longer versions, more layered versions, and slowly stripped things back. We removed everything that didn’t feel essential and kept only what made sense: the emotion of the vocal and the rhythm of the percussion.
There was a moment when we felt, “this is it, this feels right.” Since then, every time we play the track, the reaction has been amazing. People dance, the groove connects instantly, and the vocal really resonates. We’re very proud of the approach we took.
A lot of your recent rise has been driven by DJs testing unreleased versions of your music in very visible moments. How much do those reactions influence when a track is finished, or whether it ever gets released at all?
We received a lot of support from international DJs throughout 2025, and it truly meant a lot to us. It helped introduce our music to a much wider audience and gave us a lot of confidence.
What’s crazy is how unexpected it often is. You wake up one morning, check your phone, and suddenly there’s a video from a massive stage, with a DJ you deeply respect playing your track and the crowd reacting.
Seeing music we created quietly, just the two of us in a room, being played on huge stages is incredibly moving. Sometimes these DJs even play our tracks before we’ve had the chance to play them ourselves.
One moment that really stayed with us was Carl Cox playing one of our tracks during the closing of Ibiza’s biggest club. We couldn’t believe it. We watched the video over and over. Moments like that feel like a gift.
For us, the dancefloor is a place of connection and observation. Feeling the energy, seeing people react, understanding how the music moves bodies and emotions. That feedback is priceless and reminds us why we make music.
Without revealing everything, we can already talk about several upcoming releases. The most immediate one is a new track with Maz, which we’re hoping to release quite soon, possibly around February or just after Carnaval. We’ve been testing it in our sets for months and shared it with a very small circle of DJs. The feedback has been incredible, with support from artists like Damian Lazarus, Desiree and Keinemusic, especially during their time in Brazil.
We’ve also been working in the studio in São Paulo with Unfazed, a very talented Brazilian artist we deeply admire, and there are several collaborations in progress.
Another release many people are waiting for is our version of I Wish I Didn’t Miss You, the track Carl Cox played during his Ibiza closing. The release date will be announced soon.
Alongside that, there will be regular releases on Jungle Disco Records. We have a lot of music ready. Now it’s about timing and making sure each track gets the space it deserves. We’re extremely excited about what’s coming next.
After a month working in Los Angeles, did you come back with clearer boundaries around your sound, or did it open things up further for what Mozambo could become in 2026?
We’ve spent quite a lot of time in Los Angeles over the past few years. It’s a city we’ve always loved and felt inspired by. LA has a unique energy. We’re very drawn to Californian culture, the surf influence, the skate and cruiser mindset, and the 70s aesthetic. It’s less about a specific style and more about a way of living and thinking.
Being there felt almost timeless. Very different from Brazil or Europe. We met inspiring musicians and artists, spent time in the studio, but also lived a lot of moments outside of music. Conversations, encounters, simple moments.
Visually and emotionally, LA nourished us a lot. We came back with new ideas, fresh inspiration and a slightly different perspective. It felt very natural and very enriching.
As touring scales up and the release schedule accelerates, what parts of Mozambo feel essential to protect, even if it means saying no to opportunities that might look good on paper?
2025 was a very intense year for us, with a lot of travel between Asia, Brazil, Ibiza and Europe. What mattered most was finding balance. Alternating between shows and moments to slow down, breathe and create.
We try to preserve that balance between the stage and the studio, between energy and calm. Whenever we play, whether it’s a big stage or a small private event, we do it with the same level of love and commitment.
Today, we’re a bit more selective, simply to stay aligned with who we are and make sure we can always give the best possible experience. We’re extremely excited about 2026. We’ll start the year with our first show in Chile, which feels very special for us. We’ve always had a strong connection with Latin America.
After spending a lot of time in the studio, we’re back on the road with renewed energy. We can’t wait to play our new music and share everything that’s coming with our audience.