PUSH: “Going Back to My Roots — But With a Touch of the Future”
After decades of shaping melodic dance music under countless aliases, Mike Dierickx is once again tapping into the emotional core that defined his earliest work. In this conversation, the Belgian producer reflects on creativity, nostalgia, and the future of Trance in a constantly shifting electronic landscape.
When Universal Nation first hit dance floors in 1998, it didn’t just become a club weapon — it helped define the sound of Trance for an entire generation. Its creator, Mike Dierickx, who many fans know through his PUSH project, quickly established himself as one of the genre’s most influential figures.
Across the years, Mike explored different sides of Trance through projects and many different aliases, while building a catalogue of enduring records including ‘Strange World’, ‘The Legacy’ and ‘Till We Meet Again’. Through changing eras of the electronic scene, the PUSH sound has remained rooted in powerful melodies, emotional energy and unmistakable drive.
Now entering another creative chapter, Mike recently released the atmospheric mini-album Phantom Realms and has begun unveiling a new full-length project with the single Back When We Believed — a record that signals a return to the emotional core of Trance and the beginning of a new journey for PUSH.
Q: You were shaping Trance music when there were still sweaty clubs, white labels and pure chaos. What did the late ’90s underground have that today’s scene is still trying to rediscover?
A: The vibes and originality, for sure. Each artist had a truly unique sound. That’s also why I came up with well over 25 aliases at that time; crazy when I think about it now. There was also much more unity within the scene than what I see today.
Maybe there’s also a kind of digital fatigue happening now. People want to reconnect with the artist behind the music again. They want to hold something physical and feel closer in that way.
Q: From vinyl and CD wallets to illegal downloads, streaming, and now algorithm-driven DJs — what’s been the wildest creative shift to live through?
A: It’s a bit sad in a way - living and sourcing everything through algorithms.
Look at it this way: back in the day, vinyl was considered something from the past. People thought no one would use it anymore and saw it as a burden. Then CDs came along, followed by MP3s and digital formats. But guess what? People never truly turned their backs on vinyl. In a way, we were almost held hostage by the evolution of technology, not necessarily by what real DJs wanted to continue using for their craft.
It became a balance between demand and new technology. You either followed along or stayed behind. I still love buying vinyl, but I don’t look down on new technology either; it’s just the way things are nowadays.
Q: You’ve released under multiple aliases. For example, what did Plastic Boy allow you to express that PUSH didn’t and the opposite?
A: As I said before, I think I had well over 25 aliases, as well as many ghost collaborations and writing work for other artists. I think I had an overload of creativity back in those days, and each project needed its own true identity. So all of them were born.
Q: Classic Trance is having a revival moment (although for many of us, it never truly went away).Why do you think people are reconnecting with that sound now? Are we headed for another evolution or just polishing what already works?
A: First off, nostalgia for sure. Trance back in the day was actually quite basic in terms of production. We all worked with hardware, mixed in real time, and bouncing around a track or mix wasn’t a thing back then. It was all very hands-on, trying to get the best out of the production you created and the tools you had, which made the sound so desirable.
Hardware stood for something unique. You created sounds from scratch, mixed everything on the fly, and of course, there’s the whole analog vs. digital discussion, but that’s a debate I don’t want to start now, haha.
That’s why we love our classics, the warmth!
Q: If “Universal Nation” was released in 2026 for the first time, do you think it would still break through and become a major hit?
A: That’s hard to say. Maybe, maybe not. Can you name a track from the past decade that you would truly call a classic? Not even genre-specific; just in general. It’s a different approach nowadays.
There’s still a lot of great music and many talented artists out there, and they even inspire me today. But circling back to the origins is great. I’m proud that people still recognize my music and what I’ve contributed to the scene.
Q: Two months ago, you surprised us with Phantom Realms — it felt like you disappeared into another dimension, with a mini album blending ambient, chill, and electro textures. Where did that mood come from?
A: My approach to making music has always been about how I feel in that moment; the mood I’m in, the ideas I want to explore, the sounds I want to try out or rediscover. I’ve never liked putting myself in a box creatively.
For example, I had a message from Armin van Buuren the other day telling me how much he loved my new album, Phantom Realms. When you hear something like that from a fellow artist you respect, it really means a lot.
For me, that’s mission accomplished. Especially when it comes from people like Armin, who have always been open-minded and willing to explore new directions, rather than being imprisoned by one specific sound. That openness is what keeps the music and the scene evolving.
Q: With ‘Back When We Believed,’ you just opened the door to the upcoming album in full emotional Trance mode. What’s the big vision behind this project? What kind of journey are you taking fans on from start to finish?
A: A little scoop here: the upcoming album later this year is actually a continuation of my first album under the PUSH banner, From Beyond. It’s really about going back to my roots, back to basics, but with a touch of what the future might hold.
You’ll have to wait until it arrives, though… I can’t reveal too much just yet!
Q: What does the future of PUSH look like in 2026? More goosebumps? More power? Or are you about to surprise everyone again?
A: I’m feeling supercharged again, full of creativity. I’m not trying to follow trends, although it’s hard to completely ignore them since the scene has evolved and you naturally move a bit in the slipstream. But the key for me is not to do what others are already doing; that’s already been done.
A lot of people keep asking me, “Make another Universal Nation, Mike,” as if it’s like ordering a pizza. If only it were that simple.
Q: If you could text 1998 Mike mid-session, what would the message say? (And would he listen?)
A: Hey, keep doing what you do, be unique, you’re onto something, don’t jump the next train that passes, the train will stop when you’re ready!
Q: What would you want your legacy to be when people talk about PUSH 20 years from now?
A: I’d hope people remember PUSH as something authentic that came straight from the heart and captured a certain moment in time.
If, 20 years from now, people will still talk about me and say that my music made them feel something, whether it’s euphoria, nostalgia, or inspiration, then that would mean everything to me. I always tried to create my own sound and push boundaries, both under the PUSH name and through the many other projects I worked on.
If my legacy is that I helped shape a piece of Trance history and inspired a new generation of producers to be creative and stay true to themselves, then I’d be very proud of that :-)
