Inside the Collab: Markus Schulz & Frankyeffe Talk ‘Monolith’ - Where Trance Meets Techno

Few artists have shaped modern trance and progressive quite like Markus Schulz. Born in Germany and raised in the U.S., Markus has spent more than two decades pushing the boundaries of dance music, both in the studio and behind the decks. Known for his deep, progressive, and techno-tinged trance sound, he’s carved out a distinct lane that bridges underground energy with mainstage emotion.

His iconic releases like "The New World," "Destiny," "Perception" (ft. Justine Suissa), and "Nothing Without Me" have ignited dancefloors and hearts worldwide. Over the years, his unique, high-energy DJ sets and flawless mixing have earned him a devoted global fanbase—and the nickname “Unicorn Slayer” for steering clear of overly saccharine sounds.

Regularly ranked among the world’s top DJs, Markus Schulz’s accolades reflect both his technical mastery and emotional depth. From launching his iconic label Coldharbour Recordings to releasing music under his darker Dakota alias, Markus continues to evolve while staying fiercely true to his artistic core. His long-running Global DJ Broadcast radio show is essential listening for trance lovers around the world, and his open-to-close sets have become legendary experiences in clubs from Los Angeles to Berlin.

With a career that spans over two decades and a sound that balances raw intensity with deep emotion, Frankyeffe has cemented himself as one of Italy’s most respected techno artists. From his roots as a resident at Rome’s legendary Rashomon Club to commanding global stages like Tomorrowland, ADE, and El Row, he’s built a reputation for delivering high-impact sets that connect on a deeper level.

As the founder of Riot Recordings and its forward-thinking sublabel RXC, Frankyeffe has carved out a creative space not only for himself but for a wave of emerging talent. His releases on labels like Terminal M, Filth On Acid, and Suara, and tracks like “Save Me,” “Maximizer,” and “Touch Me” have made waves across dancefloors and streaming platforms alike.

Now, with a steady stream of releases and a global touring schedule, Frankyeffe continues to push techno forward on his own terms.

MARKUS SCHULZ & FRANKYEFFE IN CONVERSATION

Markus, you’ve talked before about the importance of staying present and not overthinking creatively. In a scene that’s always chasing the “next big thing,” how do you stay grounded after all these years?

MARKUS:
For me, it’s always about being present in the moment and trusting instinct. The scene moves fast; trends come and go; but if you’re always chasing the next big thing, you lose the emotional connection that drew you to music in the first place.

I’ve learned that overthinking can kill inspiration. When I’m in the studio or performing, I try to focus on how something feels, not how it fits into a current wave. That mindset helps keep things authentic, and hopefully timeless.

Your sound often blends trance and techno in a really fluid way. Do you think genre lines still matter these days or have they blurred the way you've always naturally played them?

MARKUS:
I think the walls between genres have come down a lot, which is something I’ve naturally gravitated toward from the beginning. I’ve never seen music in terms of strict categories; it’s always been more about energy and emotion.

If a techno groove feels hypnotic and a trance melody lifts you up, why not bring those worlds together? At the end of the day, it’s about storytelling. And the best stories don’t follow just one path.

You’ve had residencies in places like Miami, London, and Berlin. What kind of impact did those cities have on your sound and growth as an artist?

MARKUS:
Each residency left a deep imprint on me. Miami taught me about groove and patience; it’s where I learned how to connect with people from all walks of life. London sharpened my ear for deeper sounds and underground culture. Berlin gave me a new respect for minimalism and tension. Those experiences didn’t just influence my sound; they shaped my approach to building journeys.

Open-to-close sets aren’t so common these days, but they’ve become one of your trademarks. How do you go about building those long sets, and what makes them fun for you?

MARKUS:
Open-to-close sets are where I feel most free. There’s no pressure to hit hard right away; you can start slow, let things breathe, and really tell a story. I build those sets cinematically: opening scene, rising tension, peak moments and resolution. I’ll even bring a big hard drive, organize them by time of night, and adjust on the fly based on the crowd.

What makes them so special is the trust; people are there for the full ride, and that connection lets you go places you just can’t reach in a 90-minute set.

Frankyeffe, you’ve also played some incredible stages around the world. Was there ever a moment during a set where you just stopped and thought, “Yep, this is exactly why I do what I do”?

FRANKYEFFE:
I think for me it was at Tomorrowland 2018 edition, after the third song I understood where I was and I said to myself, I love this job. It was a fantastic experience.

Running a label like Riot must be a creative ride in itself. Has it ever pulled you away from your own sound or do you think it has helped sharpen your artistic vision even more?

FRANKYEFFE:
No, I don't think it took me away from my sound, on the contrary Riot is the mirror of what I play in my DJ sets. The music that I release on Riot, my tracks and the music of the artists who publish on my label represent my sound.

Frankyeffe, you’ve described your music as cinematic. Do you actually see scenes in your head when producing? Markus, I’m getting a strong feeling that this idea speaks to you as well. It really feels like there’s a shared language between you both.

FRANKYEFFE:
Yes, many of the songs I create have a story, a feeling, which is sometimes well defined and sometimes abstract, but in any case they always have a very precise vision.

MARKUS:
Absolutely; it’s something I connected with right away when Frankyeffe and I started sharing ideas. I’ve always said that music is like scoring a film that doesn’t exist yet. When building a track, I picture landscapes, emotions, and even lighting in a way. So working with someone who also sees music as cinematic gave us a common language without needing to say much.

It’s less about BPM or structure and more about what this moment feels like visually. That mindset shaped “Monolith” from the start.

Markus is known for emotionally-driven trance while Frankyeffe’s sound leans into raw, driving techno. What did each of you bring to “Monolith” that pushed the other in a good way?

MARKUS:
For me, Frankyeffe’s energy and drive gave the project this edge that pulled me into a darker, more primal space. I’m used to building layers with long arcs and emotional lifts, but his approach challenged me to tighten that vision; make it hit harder while still carrying meaning.

At the same time, I think I brought in that emotional thread, that sense of depth and space that allows the listener to breathe before the next wave hits. We met somewhere in the middle, and that tension is what makes “Monolith” work.

FRANKYEFFE:
I think this song is the perfect union of two worlds. Monolith's groove is quite energetic, and Markus' melody gives this song the perfect meeting between us two.

Did this collaboration ever start drifting too far into trance or get a little too heavy on the techno side, and did you have to find a middle ground? Was there a moment where it all just clicked and you thought, ‘Yep, this is totally us’?

MARKUS:
There were definitely moments where we leaned too far one way; some early drafts had more trance melodies than we needed, and others were just relentless in terms of rhythm. But that’s the beauty of collaboration; you start refining.

There was one late-night session where we locked in the main sequence, and both of us just kind of paused and looked at each other like, This is it. It wasn’t about compromise; it was about alignment. That moment made everything else fall into place.

FRANKYEFFE:
From the very beginning it was clear what goal we wanted to achieve and it was quite easy to understand that that path was the right one!

Have you had the chance to play the track live yet? How did the crowd respond—and now that it’s officially out on Beatport and streaming, what kind of response are you hoping for?

MARKUS:
I’ve been road-testing Monolith during my open-to-close sets and festival slots for a while now, and it’s been one of those records that turns heads. You can feel the crowd lock in when that tension builds; they don’t know what’s coming, but they’re there for it. The drop isn’t obvious, but it hits in a way that makes people move without overthinking.

Now that it’s out officially, I hope it finds a home not just in sets, but in people’s playlists when they need something that feels powerful, cinematic, and alive.

FRANKYEFFE:
Yes, I already had the chance to test it in Taiwan and the dancefloor went crazy there. It creates the right atmosphere. I would say it's an elegant song. I expect great reactions to this song both from the professionals and from our audience!