Harry Romero returns with a powerful new EP, continuing a legacy shaped by decades of global influence
A True House Music Icon Returns.
Few artists in house music embody the genre’s essence quite like Harry Romero. With a career spanning over three decades, the New Jersey-born DJ and producer has delivered some of the most iconic records in house history, including “Tania”, “Night @ The Black” and “I Go Back”. From his early days with Subliminal Records to founding Bambossa and releasing on labels like Defected and Crosstown Rebels, Romero has remained a constant force in the global scene.
Now returning to Cécille with his “Feels Good EP”, he once again proves that timeless house music always finds its way back.
Hello Harry, great to have you with us and welcome back to Cécille. With your new “Feels Good EP”, you’re delivering your second release on the label - we’re excited to dive into a few questions with you.
Q: You already released on Cécille back in 2019 with Mood Vision. What made you come back to the label, and how did the connection with Marc & Nick evolve over the years?
A: I’ve been playing Nick’s music forever and supporting Cécille for a long time. A solid, consistent label that reminds me of the Strictly Rhythm days based on what the brand is. When you get a promo [before you even play you know] it will be playable and will work!
Q: Your music has always carried a timeless quality, and “Feels Good” really feels like one of those tracks that could work in any era of house music. What was the starting point for the track, and is that timeless feel something you consciously aim for, or does it come naturally in the studio?
A: The starting point was I was listening to a lot of Moodymann music. There is something timeless about his music, something simple that moves the music that keeps you there. The idea was to make something timeless, or something that was made 25 years ago on the console. So the arrangement was done with Midi Controllers.
Q: Your sound has always represented that raw US house energy, but this EP also blends perfectly with the refined European underground aesthetic. How do you see that balance today compared to earlier stages of your career?
A: Well, I was born and raised on US house so my approach is as an American, it’s not the refined European. The Europeans have a great ear and have picked up what we do stateside though. Europeans have good taste!
Q: You’ve been active for decades with iconic tracks like Tania, Night @ The Black and I Go Back. What do you think is the key to staying relevant in a scene that constantly evolves?
A: The key is never stop being a student. Stick to your guns, and follow your passion. It remains true and I am testament to that. Be conscious of the sonics. Ultimately, I want my tracks to obliterate the one before or the one after.
Q: How has your production workflow changed over the years? Are you still working in a similar way as before, or has technology completely reshaped your process?
A: Technology has reshaped my process. I can get from Point A to Point B be in an efficient way. I have a hybrid system. I still have my synthesisers of course but the workflow is so much faster these days. I don’t miss the old days of locking a disco sample to a grid where you have to break it up into sixteen pieces.
Q: House music is often about simplicity and groove. How do you know when a track is “done” and doesn’t need anything more?
A: When my wife calls me up for dinner! But seriously, the track is done in a way before I even get to the studio: the idea is 90% there. You have to chip away. The foundation is the kickl and the bass. The arrangement these days can be simple or complex. I sometimes pay attention to details but a DJ record has a certain amount of chunk that needs to rock. It's a matter of making it 5 or 6 minutes long which is second nature to me. The fun is making ideas come to life!”
