Andre Moret is part of a new wave of artists carrying Brazil’s progressive house tradition onto the global stage.
Based in São Paulo, he first discovered electronic music through the festival-driven sounds of the late 2000s before gravitating towards the deeper, more emotive storytelling of progressive.
Armed with a background in audio engineering, Moret has developed a production style that balances technical precision with an instinct for melody and atmosphere.
It’s no surprise that the scene’s best is regularly reaching for Andre Moret productions. During a recent Hernán Cattáneo b2b Patrice Bäumel set at Warung Beach Club, they played no less than five of Moret’s tracks.
Most recently, he joined forces with fellow Brazilian D-Nox for a string of collaborative releases, culminating in a full-length album on Sprout Music and the recent I Love A Robot EP on Balance Music.
With the pair’s shared affinity for progressive house, it showcases both at their most uplifting, weaving soaring melodies through undeniable grooves built for both headphones and dancefloors.
We asked Moret to share three tracks that helped shape his musical outlook. He returned with a selection that offers a glimpse into the influences behind his sound.
Choosing only three tracks that have influenced me throughout this vast universe of styles and experiences that music can offer is an incredibly difficult task.
I feel that my music has many different facets, which change depending on the moment I’m living, my state of mind, and even the phases I’m going through along the way.
Every piece of music I create leaves something behind, whether it’s a production technique, a melodic idea, or simply an emotion.
So instead of choosing three tracks that inspire my sound today, I decided to tell a part of my story through three records that deeply shaped my journey.
These are tracks that marked special moments in my life and made me want to study music production, with the dream of one day creating something capable of having the same impact on others. It’s something I’m still pursuing to this day.
They are also records I return to whenever I feel disconnected from my purpose.
They remind me of what I truly seek when producing music: telling stories through sound, using melodies and harmonies capable of expressing genuine emotions and creating moments that stay with us long after the music ends.
Adriatique
Soul Valley
(2016)
I was 18 years old when I heard this track for the first time. It was 2016, and I had the opportunity to attend the very first edition of Tomorrowland Brazil.
The lineup was incredible, featuring artists like Sasha, Solomun, Guy Gerber, Karmon, and many others.
Among them was Adriatique. When they played Soul Valley, something immediately caught my attention.
Since then, Soul Valley has become one of my biggest references in music production. The arpeggios are beautifully crafted, the melodies are captivating, and the arrangement takes the listener on a genuine journey.
It’s a record that constantly reminds me how powerful simplicity can be when every element serves emotion and storytelling.
Monkey Safari
Dodge (Victor Ruiz Remix)
(2016)
This track takes me back to my very first experience with Warung. Later that same year, in 2016, Warung Tour came to São Paulo, and among the artists on the lineup was Hernán Cattáneo.
It was the first time I had the chance to hear him play live.
After a long night on the dancefloor, as the sun was beginning to rise, Hernán played Dodge, remixed by Brazilian artist Victor Ruiz.
The combination of its rolling bassline, the constant harmonic progression, and the emotional intensity of the track made that moment unforgettable.
It wasn’t just a song playing through the sound system. It was a complete experience where music, the dancefloor, and the sunrise became one.
That set had a huge impact on me. It was the moment I knew I wanted to follow the path of progressive house and use Hernán as one of my biggest artistic references.
I remember thinking that one day I wanted to create music worthy of being played by him.
D-Nox & Beckers
Last Call (Original Mix)
(2016)
This track is connected to another unforgettable dancefloor memory. I first heard Last Call during a D-Nox & Beckers performance at Tribe, one of the most iconic electronic music festivals in Brazil.
It was a morning set, and this track immediately caught my attention.
What impressed me most was the way it effortlessly combines groove, energy, and emotion. Everything feels exactly where it should be, with nothing missing and nothing unnecessary.
I had admired D-Nox‘s work long before that day. I’ve always seen him as a rare combination of energy, charisma, and exceptional musical curation.
That’s why having the opportunity to work alongside Chris today is something I consider a great honour.
The same applies to Frank Beckers. Whether through D-Nox & Beckers or his work alongside Sandrino, his productions have always been a reference for me in terms of sound quality, musicality, and mixing.
There is a clarity, cleanliness, and definition in his records that continues to influence the way I produce and mix music today.
More than just a great track, Last Call represents a moment when I realised that electronic music could be both technically flawless and deeply emotional at the same time.
