Following the release of her 90s-inspired House track ‘Going Down’ on her own label Tenn Tonik, Janika Tenn continues to solidify her reputation as one of the most forward-thinking artists in contemporary electronic music. With releases on Defected’s D4Dance, a remix competition win for Armada’s Maxim Lany, and editorial support across Beatport, Spotify, and Apple Music, Janika has quickly become a recognized name on the global circuit. She’s shared stages with icons such as Todd Terry, Armand Van Helden, Roger Sanchez, Chris Lake, Mark Knight, and David Penn, performing at major events including ADE, Ministry of Sound, XOYO, and Miami Music Week. This year, she held a summer residency at Eden Ibiza for Todd Terry’s Freeze Project and continues to expand her international reach with upcoming residencies in Tallinn and London. We caught up with her to discuss the inspiration behind ‘Going Down’, the creative vision driving Tenn Tonik, and how she keeps timeless groove alive in 2025.
Hey Janika, thanks for chatting with us!
Let’s talk about your new track, ‘Going Down’. It’s got that unmistakable 90s house pulse that is raw, soulful, and euphoric. What first drew you to that era, and how did you translate its energy into something that still feels 2025-ready?
I’ve always had a soft spot for that ’90s house sound. The groove, the swing, the soul in it. There’s this rawness to the way those records hit that still gives me goosebumps. When I make music, I want to keep that feeling alive but flip it with a modern edge. Tighter low end, clean drums, and vocal FX that nod to the era without being stuck in it. For me, it’s about taking something timeless and making it bang on a 2025 dancefloor.
You’ve described Tenn Tonik as a home for “timeless energy rather than fleeting trends.” What does timeless mean to you when so much of dance music thrives on the now?
Timeless to me is about creating something that still hits even when the trend wave has moved on. A good groove, a great hook, those things don’t expire. I love tunes that feel as fresh now as they did 20 years ago, and that’s the energy I want Tenn Tonik to stand for. Less about chasing hype, more about creating music that stays in the bag for years.
Your journey spans Defected’s D4Dance, an Armada remix win, and now your own imprint. How did those different experiences shape your approach to creativity and control?
Each of those moments taught me something different. Working with Defected showed me how a record can really connect with the right crowd. The Armada remix win pushed me to trust my instincts and be bold. And starting Tenn Tonik gave me full creative control, not just over the sound but the vision, the visuals, and the energy around the music. It’s empowering to build your own world.
When you’re performing across such different scenes — from Europe to Asia to the USA — how do you read and respond to the unique rhythms of each dancefloor?
I love feeling the pulse of a crowd. Every dancefloor has its own language, and part of being a good DJ is being able to speak it. In Europe, the energy can be raw and heads-down. In the US, there’s this big-room euphoria. In Asia, there’s so much love for groove and detail. I never play the same set twice. I build it around what’s in front of me and let the room guide the journey.
‘Going Down’ flips a classic sample into something fresh and irresistible. What’s your process when it comes to sampling — is it about nostalgia, texture, emotion, or something else entirely?
It’s a mix of all of that. I love a vocal or a loop that has character, something that instantly makes you feel something. For me, it’s not just about nostalgia; it’s about giving that sound a new story. I like chopping things up, pitching them, adding my own twist so it’s familiar but completely mine.
Your sound pulls from so many corners of club culture — Italian house, disco, UK garage, jacking drums. How do you keep that mix cohesive without losing your own signature?
It’s all in the groove. I’ve always trusted my ear for rhythm. If it makes me move, it’ll work. I’m not trying to force a specific genre, I’m blending what naturally excites me. My signature comes through in the swing, the percussion, the vocal FX. Even if I draw from different scenes, it’s still got that Tenn energy.
Which song, album or playlist do you never get sick of no matter how many times you listen to it?
Masters At Work never gets old for me. Anything from MAW or early Todd Terry just hits different. Those records taught me a lot about how to build energy without overcomplicating things.
You’ve built such a clear visual and sonic world. What other creative spaces — fashion, design, film — influence that aesthetic?
I love vintage club flyers and ‘90s graphic design. Bold, playful, a bit cheeky. I’m also really into minimal shapes and clean lines, so I like mixing fun and sleek together. Fashion-wise, I’m drawn to looks that feel powerful but not overly polished. It’s all about energy and attitude.
What’s the most memorable moment you’ve had performing or on tour?
There have been a few, but playing in Amsterdam during ADE alongside Todd Terry and friends was a big one for me. The energy was unreal, the crowd was locked in, and it felt like everything clicked. Those moments remind me why I love doing this.
Lastly, what advice would you give to your younger self at the inception of your career?
Trust your gut. Don’t wait for permission. The best moments happen when you stop trying to fit into someone else’s idea of what your sound should be and just own yours. Keep your circle tight, stay hungry, and keep putting out what you believe in.
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