Andrew Meller Returns to Adesso Music With ‘What We Need / Work’ as Groove Takes Control
- 14 hours ago
- 4 min read
Andrew Meller has never been an artist who follows a straight line. Across releases on labels like Diynamic, Saved Records and Circus Recordings, his catalogue has always moved between mood, weight and function, often within the same stretch of releases. That flexibility sits at the core of his return to Adesso Music, where ‘What We Need / Work’ lands as a double header that feels less like a calculated statement and more like a snapshot of where his instincts currently sit.
There is no attempt here to over-explain the direction. The contrast between the two tracks says enough. ‘What We Need’ locks into a tightly controlled groove, crisp drums sitting neatly against a rolling low-end, while sharp stabs cut through with intent. It is functional in the best sense of the word, the kind of record that holds tension without demanding attention too early. ‘Work’, on the other hand, leans into something more physical. The drums hit harder, the vocal is warped and restless, and the overall energy pushes further into late-night territory without losing control of the groove.
That contrast is not something Meller overthinks. “I create music entirely based on feeling. I disregard patterns or trends. If it makes me happy, it's good,” he explains. “If the music doesn't genuinely drive me, I can’t transfer that energy to others.” It is a simple approach on paper, but it carries weight when you consider how consistently his records translate across different rooms. The variation between both tracks reflects that instinct rather than any deliberate attempt to balance a release.
The environments they were made in tell part of that story. “Interestingly, ‘What We Need’… was created in Peru… it stands out as a house record distinguished by guitar and groove. In contrast, ‘Work’, made in Ibiza, is purely groove-based,” he says. There is a sense of place running through both tracks, even if it is not immediately obvious. One carries a lighter, more open feel, the other sits deeper, more locked into the floor.
That focus on groove over melody is not a permanent shift, but it does define this release. “While groove is fundamental to electronic music, each track demands a fresh approach driven by the current moment of inspiration,” he says. It is a reminder that even at this stage in his career, there is no fixed formula behind how his records come together. The process remains reactive, built around whatever connects in the moment rather than a repeatable structure.
That same instinct carries into how he thinks about where his music sits in a DJ set. There is no intention to design for a specific slot. “I don't approach my work with a predetermined objective… I simply focus on the particular track that delivers an undeniable, shiver-inducing chill,” he explains. Once that reaction is there, the rest follows naturally. “The track possesses its own unique destiny… it will find its rightful audience.”
It is a mindset that has held steady even after moments of wider recognition. His “Reincarnation Mix” of Born Slippy by Underworld spent 50 days at number one on Beatport, but the impact of that success was less about industry validation and more about audience shift. “The new generation of electronic music listeners… became the driving force,” he says. That demand opened new doors, particularly across Eastern Europe, where the track connected most strongly. It did not change how DJs viewed him. It changed who was turning up to listen.
That distinction feeds into how he approaches labels now. After more than a decade of releasing music, the priorities are clear. “Freedom and understanding are paramount,” he says. “Most major labels lack the courage to release diverse music… they prefer to play it safe.” For Meller, the value lies in working with teams that allow space rather than impose direction. His relationship with Adesso Music is built on that. A shared focus on what works on the dancefloor, without narrowing the sound too tightly.
It also mirrors how he runs REWLER Records. There is no separation between artist and label head. “I don't separate my roles; they are interconnected,” he says. The catalogue reflects that approach, moving across house, tech, breaks and beyond, with the only real filter being whether the music holds up.
That openness has fed into a noticeable shift in his recent productions. There is a heavier edge creeping into the drums, something more direct and slightly abrasive. It is not a reaction to trends as much as it is a reflection of his own taste. “I'm all about heavy metal and rock 'n' roll… distorted guitars and aggressive drums,” he says. “The tricky part is mashing that intense vibe with the emo feeling.” That balance sits quietly inside both tracks on this release, even if it is not immediately obvious on first listen.
For an artist operating at this level, the challenges are no longer technical. They sit elsewhere. “Music's gotten pretty political… try to focus on what you can actually control,” he says. It is a straightforward outlook, but one that keeps the focus where it has always been, on the music itself rather than everything surrounding it.
In the end, that is what defines ‘What We Need / Work’. Not a shift in direction, not a calculated move, but a continuation of a process that has always been rooted in instinct. Two tracks that serve different moments, built from the same core idea. Follow the feeling, trust the groove, and let the rest take care of itself.
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