Virtual Riot and VJ Neurite Discuss Their New Album, Exciting Collaboration, and Future Plans

In an exclusive interview, Virtual Riot and VJ Neurite discuss their collaborative journey and future projects.

Virtual Riot, the stage name of German producer Valentin Brunn, is celebrated for his groundbreaking sound design. Recently, he released his much-anticipated album, Stealing Fire, which marks a return to his diverse roots, showcasing a wide array of styles that extend beyond his renowned dubstep sound.

We had the pleasure of interviewing Val and his VJ partner, Carmen Aguirre (known as VJ Neurite), during a Zoom call. It was clear from our discussion how much they appreciate collaborating and supporting one another. Their enthusiasm for creating music and nurturing their community was infectious.

As Virtual Riot ventures into new sonic territories beyond heavy wubs, his personality emerged, revealing a dedicated artist committed to both his craft and his audience. Alongside the album release, Val and Carmen revealed exciting news of an upcoming collaboration with Shaquille O’Neal, also known as DJ Diesel. They teased a track featuring Shaq rapping, set for release soon.

Moreover, Virtual Riot has announced his most ambitious headline show yet. On February 8, he will perform at the historic Shrine Auditorium & Expo Hall in Los Angeles. Val and VJ Neurite are preparing a visually immersive experience with enhanced production that promises to be the largest show to date. Tickets are available now.

The following interview is a condensed version of our conversation, where we explored Val’s musical journey, the inspiration behind Stealing Fire, their collaborative dynamics on and off the stage, and how they navigate relationships within the music industry. Read on for the insights.

Virtual Riot’s new album, Stealing Fire, is now available on all streaming platforms!

**Listen to Virtual Riot’s Stealing Fire on Spotify:**

For those unfamiliar, could you share your journey to becoming Virtual Riot and what motivates you as an artist in the dubstep scene and music overall?

Virtual Riot: Certainly! I was born in Germany in 1994 and grew up with two older siblings who influenced me greatly. At six, I wanted to take piano lessons like them, so I did that until I was 16. Around 11 or 12, my brother was studying music production, and I stumbled upon a demo of a basic DAW in a cereal box—Froot Loops, oddly enough, but not the DAW FruityLoops.

He got me a copy of Cubase and a MIDI piano, and I began experimenting for years. At the time, I was into Dream Theater, progressive rock, and metal. My brother introduced me to emo and screamo, gradually leading me to electronic music. I was aware of dubstep and drum and bass, including Pendulum, before Skrillex’s Scary Monsters and Nice Sprites EP changed everything for many listeners. After hearing it, I was determined to learn how to create that sound.

I attended university for music production in Mannheim, focusing more on studio work—drums, microphones, amps, and mixing consoles—rather than electronic music. However, it provided me with a solid foundation. I played the church organ for a few years, then started producing music and uploading it to SoundCloud. Some labels reached out to me; I initially contacted a small label called Phantom Hertz Recordings after choosing it from a list of dubstep labels on Wikipedia because I liked the name.

This connection led me to Joshua Hernandez from Section Z, who was managing Savant at the time. He expressed interest in releasing my SoundCloud tracks. From there, I connected with Audiophile and eventually with Rossy Burr from Disciple, leading to my first releases on Disciple before I turned 21. That was when I got my first visa, traveled to the US, and began performing live. I moved to Los Angeles, living with Barely Alive and Dubloadz for a couple of years. Since then, it’s been an incredible journey.

You’ve just released your album Stealing Fire. I noticed you’re delving into various genres beyond dubstep. What motivated you to explore diverse sounds on this album?

VR: Initially, when I first started releasing music, I experimented with various genres and BPMs: glitch, drum and bass, dubstep, electro, house, and mid-tempo. I’ve always enjoyed making tracks across different speeds and styles. This album represents a return to my roots. After moving to the US and releasing EPs, I found my focus shifted more towards dubstep, and fans began to ask, “Where’s the melodic stuff?” When I produced melodic tracks, others would inquire, “Where’s the heavy riddim?” So, I thought, “Whatever, I’ll create what feels right to me.”

Ultimately, the album ended up being a bit harder and louder than I initially anticipated, which isn’t a negative. It can become monotonous, particularly when crafting an album, if everything follows the same direction. It’s essential to incorporate variety.

What’s the story behind the name Stealing Fire, and how did it influence the album?

VR: The title was inspired by a book I found at Carmen’s place about humanity’s perpetual search for ways to alter our experience of the world—whether through video games, gambling, sports, music, dancing, playing instruments, or drugs. It explores our desire to make existence feel less painful, comparing it to the myth of Prometheus stealing fire from the gods.

I pondered this imagery and realized that in everything I’ve done—tutorials, sample packs, preset packs—it’s similar. Other producers would say, “You’re revealing all the secrets; now everyone can create this.” However, if done right, you can create more fire without taking away from the original. I aim for more people to be able to produce amazing music.

Additionally, when I listen to artists I admire, I often hear something that ignites an idea. I’m essentially stealing that fire and creating more with it. On this album, I sampled records that have greatly influenced me. It all came together beautifully.

The album features collaborations with artists like Rezz. What was your experience working with other artists on this project?

VR: I always enjoy collaborating. I prefer being in the same room with other artists. With Isabelle, I was fortunate; we met up in Toronto and spent an extra day at deadmau5’s studio, which was fantastic. Collaborating over the internet can work well too; Mr. Bill excels at sending stems back and forth and is very organized.

This album didn’t have as many collaborations overall. Some people pointed this out because I was more reclusive in my room, trying to create something I could claim as entirely mine. However, it’s great to have contributions from artists like One True God or Raven Grey, whose vocals significantly enhance the tracks.

Are there any other collaborations you’re excited about that are coming soon?

VR: [Turning to VJ Neurite] Can we discuss that?

VJ Neurite: We’re still figuring out the release details, but there’s a track featuring Shaquille O’Neal, aka Diesel. He’s rapping on it, and it sounds incredible. We initially planned to include it in the album but decided to make it a standalone release.

It seems both of you are heavily involved in the project. What’s the difference between working on live shows versus collaborating in other formats?

VJN: Music is all Val; I don’t create any of it. I manage the visuals. We’re very interconnected—sharing ideas and drafts. I often present my initial concepts to Val, asking for his input. He occasionally provides exports from Cinema 4D that I’ll edit to sync with his clips.

We collaborate extensively. Val is detail-oriented, which I appreciate. It works well because often, artists aren’t engaged with their visuals. I have to use mood boards and discussions to spark their interest. However, with Val, the process is genuinely collaborative.

On a logistical level, I handle half of his management responsibilities, including merchandise, advancing, and support for our shows. We communicate frequently, probably around 14 times a day, discussing various matters. It’s a true partnership.

VR: Sometimes, Carmen takes the lead on visuals, and it turns out spectacularly. For instance, she crafted the lyric visual for the track with Shaq completely, and it’s outstanding. On occasion, I’ll have an idea for the visuals during the drops, and I’ll create something in Cinema 4D for her to build upon.

This tour features a lighting and laser specialist for the first time. We had the opportunity before our first set to meet with him, review songs, and discuss specific laser effects for particular sounds. Perfectly integrating this into the final show has been incredibly rewarding.

VJN: We also brainstorm with the lighting and laser team, cultivating a collaborative environment. They’ve expressed that this is their favorite project, which is wonderful to hear.

How long have you two been working together?

VJN: Oh, it’s been about six or seven years. We’ve known each other for about seven years and started working on visuals around six years ago.

Is your work primarily focused on live show visuals, or do you also create content for Spotify canvases or music videos?

VJN: It varies by project. We’ve created a few YouTube lyric visuals, which we often use in live shows. In the past, I worked with Disciple, animating releases. Typically, for label projects, artwork is created first, and then those assets are animated. For Spotify and similar platforms, that’s how it usually goes. I’m heavily involved in the artistic process, collaborating with Val and the artists creating the artwork. Once the artwork is finalized, an animator—often associated with the label—will animate those assets.

You’re also on stage for most performances, right? How’s that experience been?

VJN: Yes, I’m on stage for all shows unless there’s a technical issue. We started this about a year and a half ago. The concept had been discussed before, but we were unsure if it would work. During a gig in China, we had a VJ on stage, and after that performance, we had such a blast that we knew we had to continue.

We then worked on the technical aspects. After a few more shows, we began creating coordinated dance moves. This made communication smoother, allowing us to quickly convey set changes, which was previously reliant on texting or show control software that didn’t always perform well.

Having a VJ on stage has also raised awareness about production and the individuals involved in putting a show together. At Lost Lands this year, I received feedback from attendees who hadn’t even known what a VJ was until they saw my Instagram reels. Now, they are paying closer attention to the visuals, sometimes even more than the music. It’s incredible to witness the impact of our work.

Have other artists approached you about implementing a similar setup for their shows?

VJN: Yes, many VJs have reached out for technical advice. I learned through experience, often the hard way, when shows went awry, so I’m open to sharing knowledge, much like Val. Many younger artists have inquired about incorporating a VJ into their performances, which is exciting to see.

That’s fantastic. Back to you, Val. What excites you right now, both in the dubstep realm and for the future of Virtual Riot?

VR: Currently, the genre feels oversaturated with tearout and loud noises, focusing on who can create the most intense sounds combined with hype-inducing samples. There’s also a shift toward minimalism, as seen in Skrillex’s and Fred Again’s collaborations or the Quest for Fire album. Some artists are merging minimalism with strong songwriting and creative concepts, like the Levitate crew.

I’m always on the lookout for innovative ideas. I often explore SoundCloud to discover what emerging producers with smaller followings are creating. Many are producing remarkable work and experimenting with fresh sounds. The direction of dubstep remains uncertain to me.

Personally, I envision drawing from the music of my youth—my emo and screamo phases. Many dubstep and EDM fans likely share a similar background. I’m trying to fuse those sounds and emotions with EDM and festival vibes. This is something I’m actively pursuing, and I feel I haven’t fully realized it yet.

Do you have particular sounds you’re currently exploring?

VR: I’ve acquired an acoustic guitar and an electric guitar to experiment with. I’m not proficient, but it’s enough to blend with my explorations in Ableton. I also got a microphone; I sang in bands during my youth, playing keys or singing in school bands.

This tour has allowed me to reintroduce live performance elements, incorporating a keyboard on stage and performing live pieces. Engaging in some form of a live presentation feels more fulfilling and aligns with my artistic vision. Traditional DJing—simply plugging in a USB and playing tracks—was mainly a way to perform my studio music. I’m not the type of DJ who can flawlessly play any song at any moment based on the crowd’s reactions. I recall Feed Me coining the term “producer performer,” and that’s the direction I’m heading.

Are there any festivals or tours you’re particularly looking forward to?

VR: Absolutely! I would love to tour with a set that includes a keyboard and features vocalists at major events like Coachella. That would be amazing. Depending on what I have out by then, I might even perform some of the songs myself. I once uploaded electronic tracks where I sang, and they’re still available on my SoundCloud. My first upload as Virtual Riot was an emo metal rock-inspired track with synths, guitars, and emo vocals. I cherish that style and am eager to bring it back in a big live setting with guest artists joining me.

How do you balance your artistic desires with what your fans want?

VR: Fortunately, there’s significant overlap. Many fans express that they simply want me to create what I love. Whenever I upload something different on my second SoundCloud account, listeners often say they’d enjoy a full EP of that style. So, I’m happy to incorporate new ideas into my next releases.

I did something similar when I was around 19 years old. The 100% No Bangers EP consisted of three glitch-hop tracks I released for free on Christmas, and it garnered millions of plays with positive reception. I’ve always found it rewarding to create without overthinking or worrying about trends. I focus on producing music I enjoy and allow it to resonate with those who appreciate it.

When collaborating with others in the music industry, how do you navigate those relationships and determine who to work with? Is it based on instinct or other factors?

VR: For me, it primarily revolves around whether they’re a cool person, enjoyable to be around, and whether their work inspires me. If I connect with someone’s music and feel a synergy, I believe we can collaborate effectively. For instance, with my collaboration with Rezz, I’ve always admired mid-tempo music, and she excels in that genre. I developed something dark and mid-tempo and thought combining it with her sound would enhance the track. I’ve always wanted to work with her, so it fell into place perfectly.

Sometimes, I discover talented individuals on SoundCloud creating captivating music, and I feel compelled to collaborate with them. One of my students at Slam Academy produced a fantastic remix of “This Could Be Us,” which I’ve been performing live and promoting him. It boils down to whether they are good people and whether their work inspires me.

VJN: From a visual standpoint, having a unique style and mutual respect is crucial. As a woman in the industry, if I feel disrespected in communication, then collaboration is off the table. That’s a significant factor for me, given my journey over the past eight years.

I also appreciate individuals who pay attention to detail and are receptive to feedback. Since Val and I are both detail-oriented, it’s vital for anyone we collaborate with to be open to constructive criticism. This applies to working with animators, lighting technicians, and others. If someone is resistant to feedback, it can lead to complications for everyone involved.

On the management side, it’s all about relationships—networking, meetings, and shared meals. I’ve been fortunate to connect with numerous managers through my VJ work, and they’ve been incredibly helpful in providing guidance, feedback, and facilitating connections with talent buyers. I’m very grateful for that.