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If the modern version of deep house music gets you going, if melody matched with ultra-groovy sounds is your thing, then you’ve got to love Nora En Pure.

The South African-born, Swiss-based DJ/producer (Daniela Di Lillo) has made a considerable name for herself in six short years. After breaking big in 2013 with the willowy “Come With Me,” she followed up with other faves like “Morning Dew” and “Lake Arrowhead.” Her productions and remixes, like her shimmering re-rub of Sofi Tukker’s “Fantasy,” set her up for festival slots at choice events like Cali’s Coachella and Belgium’s Tomorrowland. Her Purified brand has graced stages in Ibiza, Las Vegas and New York and her branded show airs on SiriusXM’s Chill channel.

This year, she delivered a pair of strong singles – the deep, bumping “Heart Beating” and the gorgeously melodic “Birthright,” both on the Enormous Tunes label. Now a new round of remixes has been released for “Birthright,” offering club jocks three great options: Dosem’s deep, late-night mix; Danijel Kostic’s brighter, uplifting effort; and Marius Drescher’s bass-pumping rumbler. We recently caught up with Nora En Pure to discuss her career.



DJ Times:
How do festival audiences react to your deeper Purified brand of house music?

Nora En Pure: Regardless of where I play, I always try to stick to my sound – but festival sets are usually a bit more focused on the spectrum of house music. They are groovy and more diverse. I jump from house to tech-house to deep house, and back house again. I tend to go deeper and get a little more progressive in my longer club sets.

DJ Times: What’s in your DJ booth?

Nora En Pure: Three to four Pioneer CDJ2000NX2 units and a Pioneer DJM-900NX2 mixer. At times, I use a Pioneer RMX station, and I work with rekordbox to organize folders/playlists. No matter what, I always request a minimum of three CDJs because I often need longer looping, as many of my tracks have long breaks, which might be too calm in certain moments. Also, my tracks are usually mastered a little louder and tighter than most deep-house tracks, so to keep transitions smooth, I might need to loop a little longer. At times, I play nature samples or vocal pieces on the extra player to keep things feeling fresh.

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