Undrscovered: Marco Weber Finds His Groove Between Deep House and Warehouse Grit
For Marco Weber, almost everything comes back to groove. The Switzerland-based producer and DJ operates somewhere between the deeper end of house and the tougher energy of the warehouse, favouring rolling rhythms, textured low-end and records that reveal their impact through movement rather than excess.
His contribution to our latest Undrscovered mix offers a particularly clear introduction. Across 13 tracks, Weber combines his own productions with music from Deeplomatik, Steve Bug & Cle, Dylan Griffin, James Dexter and others, capturing both the patient and more physical sides of his approach.
“I’m Marco Weber, a producer and DJ from Switzerland. My sound is rooted in house, groove-driven, rolling rhythms, somewhere between warehouse grit and a brighter Deep House edge,” he explains. “Everything I make is built for the dancefloor and for that shared moment on it.”
Music was present long before house entered the picture. Weber grew up in a musical family, with a pianist grandmother, a father who plays in two bands and siblings and cousins who also make music. His own route into electronic music, however, came through Drum & Bass.
“That was the door in,” he says. “From listening, it turned into wanting to understand it: what makes a groove land, why a room reacts to one track and not the next. That question took me from DJing into production, and I’m still chasing it.”
Jazz, funk and old-school Hip Hop were equally formative, particularly in shaping his relationship with rhythm. Rather than attempting to reproduce those genres directly, their influence appears in the emphasis he places on swing, movement and the interaction between individual elements.
“Groove first, always,” Weber says of his current productions. “Rolling rhythms, deep textures, low end you feel rather than hear, somewhere between underground warehouse grit and a brighter Deep House edge. I keep pulling in both directions, and the interesting stuff happens in between.”
That middle ground runs throughout his Undrscovered selection. The set contains a substantial amount of Weber’s own music, including ‘Just Chill’, ‘Lola’, ‘Dance With Me’, ‘Pot Holes’ and ‘Fading Echoes’, alongside Em Pathik’s remix of ‘Pot Holes’ and Weber’s forthcoming remix of Valentino Guerriero’s ‘All We Really Dance’.
Rather than constructing the hour around an elaborate concept, Weber approached it as a document of his current musical world.
“It’s less a concept and more an honest snapshot of where I am at the moment,” he explains. “You also hear both sides of how I play. There’s a deep, textured house side that takes its time, and then there’s the other side, the one that gets a room jumping. I like moving between the two rather than committing to one.”
Among the outside selections, Deeplomatik’s ‘That Thing’ comes closest to defining where Weber sees his own sound today.
“It sits right on the line I keep coming back to: deep and textured enough to breathe, but with enough weight to move a room. That balance is where my sound lives at the moment.”
His path towards finding that balance has developed steadily. Early releases through Sublease were followed by music on Bondage, klaus and Whoyostro, each providing another indication that what was being developed privately in the studio could connect beyond it.
“The first release was the big one,” Weber recalls. “Seeing a track move from your own room onto someone else’s label changes how seriously you take the work.”
Playing at Zurich institution Hive provided another turning point.
“That club means a lot here, and standing in that booth for the first time was the moment it stopped feeling like something I was working towards and started feeling real.”
For an emerging producer, however, those milestones arrive alongside a less glamorous reality: patience. With more music being released and more artists competing for attention, Weber has become increasingly conscious of the danger of allowing other people’s progress to dictate his own.
“There’s a lot of noise. Everyone’s releasing constantly, everyone’s after the same slots. It’s easy to start measuring yourself against what everyone else is doing.”
His response has been to narrow the focus.
“The moment you chase someone else’s sound because it seems to be working, you’ve lost your own. Staying with your own direction takes longer, but it’s the only thing that holds up.”
That philosophy also explains his increasingly loose relationship with genre. House remains the foundation, but Weber is less interested in deciding exactly which subsection of it a track belongs to before it is finished.
“Genre lines have blurred anyway,” he says. “The only question left is whether it feels right.”
There is plenty ahead to test that instinct. Following his recent appearance on a klaus VA, forthcoming releases are lined up with Sublease, 4 Quarters Music and Celestial Records, alongside more shows in Zurich and, he hopes, opportunities to take his sound into unfamiliar rooms.
For now, the Undrscovered mix provides the clearest picture of that trajectory. It is heavy on Weber’s own material by design, connecting where he has already been with the records influencing where he is heading.
“More music, more consistently, that’s the honest answer,” he says of the coming year. “Beyond that, the same direction, just sharper. Groove-driven, built for the floor.”
For an artist who entered electronic music wanting to understand why one groove moves a room while another does not, that ongoing pursuit feels like the point. Weber may still be chasing the answer, but his Undrscovered mix suggests he is getting increasingly close to one.
