From underwater sharks to 11,200 feet above Brazil, proppaganda positions Sonar Sessions as engineered performance art. Aerial Sessions 001 tightens the spectacle into cinematic intent.
Built with stunt teams and mid-air technical control, the balloon set blends scale with precision, and folds in real-world impact via a QR-driven fundraiser.
Alongside the visual, he drops Unwind and Takeoff, the first 2 cuts from a forthcoming mixtape built to connect narrative scope with club utility.
In this FM PRO conversation, we break down the shift from concept to framework, the psychology behind “Dance Music’s Daredevil,” the technical realities of performing at altitude, and what happens when audiences can’t tell what’s real, and that’s the point.
I’ve been doing stunts and wild things since I was a kid. I live for it haha.
Aerial Sessions 001 raises the stakes from underwater sharks to 11,200 feet in the air. What made altitude the next logical escalation?
A friend of mine knew of the Brazil Team who runs these types of stunts in the sky regularly and told me about it after he saw my shark set. He instantly knew this would be a great idea and we ran with it. I studied the percentages on base jump survival rates and it was high enough for me to do it haha.
At what point did the Sonar Sessions concept shift from stunt idea to long-term artistic framework?
I think right when we shifted from above water to below water and did a slo-mo of the sunken headphones. That was one of my favorite moments of the whole mix where you could really see all of the effort and detail for a few seconds.
Takeoff lands alongside the balloon performance. How tightly was the track written to mirror the visual ascent?
When I was writing that song.. My main goal was to think of something that would make perfect sense for celebrating us beginning to fly off into the sky as the sun was rising in Brazil. I incorporated latin elements and wanted the energy to be like 6/10 to kick off the rollercoaster of emotions that we were about to experience as we went up. I honestly still can’t believe that we pulled that off.
You call yourself Dance Music’s Daredevil. Is the real adrenaline in the execution or the concept?
Yes you nailed it. I love nothing more than being present and thinking…Wow we are really doing this and feel like we are executing how we wanted to. I just want to try things that haven’t been done before. I want to really push putting an emphasis on fully being yourself with your art.
Each session feels engineered to make viewers question what’s real. How intentional is that tension between spectacle and authenticity?
We take the AI claims as a compliment. It means that they haven’t seen something like this before and question the execution of it all. Part of our goal is to really push it as far as we can with our ideas and because we do that, it makes it hard to know. I will always be authentic and true to myself. I’ve been doing stunts and wild things since I was a kid. I live for it haha.
The Brazil shoot added a charitable element supporting up-and-coming skateboarder Paola Moreira. Why was it important to integrate real-world impact into a high-concept performance?
Giving back will always be at the forefront of this project. I am so grateful that I am even in the place to be able to do what I do. I wouldn’t be here if it was for people doing the same for me so I’m happy to pass it on. Every set will have a mission attached to give back and we will always put others first.
With the upcoming mixtape blending new tracks and unreleased IDs, how do you balance cinematic storytelling with club functionality? When can we expect to hear the full project?
Every 2 weeks we are releasing a new song from the mixtape on all platforms! I will release a few of the remixes on soundcloud, but I really want to focus on original music for awhile mainly! We will be finished with the mixtape campaign over the next 10 weeks!
Performing at 11,200 feet brings obvious technical constraints. How did you handle power, monitoring, signal stability, and environmental factors mid-air?
We had an electric generator that powered the decks and speakers and we all had full service up there haha! Next time we are all going to wear ear pieces so that way we can communicate and time our smoke bombs a bit better, but everything was seamless. I did wear an anti-nausea watch just in case I started to feel a bit off because ive never done anything like this before and tbh im not sure I needed it. I absolutely loved it. Heights used to be my biggest fear until I went skydiving 2 years ago and now im obsessed!!
Sonically, tracks like Takeoff and AERIAL feel engineered for scale. What production techniques (sound design, spatial processing, low-end control) help your music translate from headphones to extreme outdoor environments?
I think the real goal for this is to always keep things simple and clean / easy to digest. I also study music in the area that we are playing in and make things that I think people will like. Im not sure ill ever have a “sound”. I am going to release whatever I am feeling and let people decide if they like it or not. Some moments ill make house, some moments ill make techno and melodic techno. Shoot…Maybe ill release some trap or dubstep one day haha we will see.
After sharks and sky, what defines the next frontier for Sonar Sessions: scale, risk, narrative depth, or something else entirely?
We are working on a couple of new concepts! One in Egypt and another one in Brazil! Looking to do more skydiving style videos because they have so many ways you can go about it. Will have 2 more sets filmed this year!
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