The Spanish producer reflects on perseverance, remix culture, and reworking Thaddeus X’s “My Life” for Akbal Music Editions.
Some artists arrive at electronic music through calculated steps. Others arrive through instinct.
Photo credit: Lopezhouse Official
For David López, better known as Lopezhouse, the journey began far from the epicenters of club culture. Growing up in La Mancha, Spain, his early years were divided between family work and a growing obsession with records.
Before international bookings and label releases, there were smaller rooms, nearby towns, and the familiar ritual of traveling with a bag full of vinyl.
“I worked in a family company while playing my first DJ sets in villages and nearby cities, carrying my vinyl everywhere,” he recalls. “Until one day I decided to leave that job and move to Ibiza, with all the fears that come with it. The worst part was the uncertainty. But I took that step, and it changed my life.”
It’s the kind of decision that shapes a career long before anyone outside your circle notices.
Over the last decade, Lopezhouse has carved out a steady place in the progressive and melodic corner of electronic music. His productions move patiently. Basslines roll forward while melodies slowly open up, rarely rushing toward the obvious moment.
Interestingly, he never set out to create a “signature sound.”
“I never sat down and thought, ‘I’m going to build a sound.’ I simply produced what I felt in each moment,” he explains. “Over time, I understood that when you stop chasing identity and start being honest with yourself, the sound appears on its own.”
Eventually, that honesty reached the ears of one of the scene’s most respected curators. John Digweed.
For artists operating in the progressive space, support from Digweed still carries weight. Not just because of the exposure, but because of what it represents within the culture.
“When someone like John Digweed plays your music, it’s not just validation. It’s an internal confirmation that the path you chose, with all the doubts, risks, and sacrifices, actually made sense.”
Digweed’s support eventually placed Lopezhouse within the Bedrock orbit, a space known for artists who value patience, depth, and long-form storytelling on the dancefloor.
That mindset also defines how he approaches remixing.
For the new Akbal Music Editions remix package of Thaddeus X’s “My Life,” Lopezhouse approached the track with a clear balance between respect and reinterpretation.
“I like to respect the essence of the original,” he says. “If I decide to remix a track, it’s because there is something in the original that I truly love. That’s why I always keep the primal spirit of the record.”
When he first heard the original, it was the melodic structure that caught his attention.
“When I listened to the original track, I felt I could add something interesting to the EP. But the melodic line of the track, together with the vocal, is wonderful.”
His remix leans into hypnotic territory, built around a heavy rolling bassline and a slow melodic lift that will feel familiar to listeners who enjoy the deeper Bedrock side of progressive music.
And for Lopezhouse, the sense of ownership begins immediately during the creative process.
“From the first moment I know that I’m doing something that is already mine. That’s how I prefer it, because otherwise I would feel lost.”
The remix arrives alongside reinterpretations by Christopher Mohn, Ivan Smoka, and Prototype, a group of artists that share an interesting connection. All of them have received support from Digweed, creating a subtle bridge between the Bedrock ecosystem and Akbal’s more eclectic catalog.
Of course, talking about production today almost always leads to another subject: speed.
Streaming culture has dramatically changed how artists release music, often pushing producers toward constant output. Lopezhouse is candid about the pressure that creates.
“I truly believe we make mistakes many times,” he says. “Today, music consumption is extremely fast and constant. I have also made the mistake of releasing music too quickly because promoters and agencies ask for it.”
He pauses before finishing the thought.
“But we are entering a very dangerous spiral. When quantity increases too much, quality starts to disappear.”
It’s a concern shared by many producers in the progressive scene, where longevity has traditionally depended more on patience than visibility.
Away from the club environment, Lopezhouse is entering a new creative phase. One that seems to have brought back a certain studio excitement.
“Right now I’m in a beautiful process in my career,” he says. “I’m working on more melodic material together with an incredible artist called Lannakise. Soon we’ll be able to share more. I also changed the entire DAW setup in my studio, so I feel like a kid with new shoes.”
Even after years of touring and releases, that sense of curiosity remains intact.
When asked to summarize his evolution in one word, Lopezhouse takes a moment to think.
“Perseverance,” he says. “Learning how to manage frustration in this complicated world. I think that’s the best advice I could give to young artists entering this beautiful but difficult scene.”
Looking ahead, his focus now moves toward hybrid performance formats and potential live collaborations with Lannakise, ideas that could push his music into a more performative space.
But for now, the attention returns to the remix.
When listeners press play on his version of ‘My Life,’ the expectation is simple.
“If they like it, I hope they enjoy it,” he says. “That’s the most important thing.”
And sometimes, that’s really all an artist can ask for.
Stream and download ‘My Life’ remixes here.
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