There are few house music heavyweights as enduring as Roger Sanchez. Emerging from the Eighties New York club scene, then a melting point of hip-hop, new wave, synth pop, garage and dance music, the American DJ and producer has shaped dance culture for over four decades.
For over 25 years, Sanchez has been a constant presence at Ibiza, the iconic birthplace of the Balearic beat, while his 2001 breakthrough hit “Another Chance” brought him international recognition. Two years later, he won a Grammy for his remix of No Doubt’s “Hella Good”, cementing his status as one of house music’s defining names.
Spectrum is Sanchez’s third studio album, and his first full-length release in 20 years since 2006’s Come With Me. Not that he’s been absent in the meantime. Alongside his Ibiza residency, he’s won numerous awards for his remixes for international popstars such as Diana Ross, Maroon 5 and Kylie Minogue. If that weren’t enough, Sanchez also runs two labels, Stealth Records and UNDR THE RDR, as well as hosts a weekly podcast Release Yourself which boasts millions of listeners worldwide.
But the pandemic clearly sparked something in Sanchez, who began working on Spectrum in 2020 while residing in London. Despite the isolating circumstances, the album is anything but insular: zephyrs of Latin, tribal, and soul music weave through the tracks, while collaborators range from the mighty Karen Harding to Spice Girls legend Melanie C.
In conversation with 1883, Sanchez discusses his new album Spectrum, the London versus New York club scene, and the artists he’s keen to feature next.
Spectrum is your first album in 20 years – why now?
I started this album during the pandemic when I had a chance to stay in one place and work on ideas that had been brewing in my mind for a while. From that point, when I started touring again, I worked on the tracks on the road and in London until it felt complete. This year everything came together for me to finally release it and I’m happy to finally share it with the world.
You’ve mentioned previously that you’ve been able to lock into your current vibe and sound – how would you describe that?
My current sound is a combination of soulful, disco and Latin elements with driving beats and bass lines. That’s the thread through all the tracks.
What’s the significance of the album title? I assume it reflects the diversity of the tracks, but am I missing another meaning?
I equate sound to light and the album embodies different colors and moods. The progression of sounds is very much like the spectrum of light as it refracts. That’s how I see it in my mind.
You’ve collaborated with Karen Harding, Fedde Le Grand, Melanie C, among others on the album. Was there a particular artist who surprised you with their vision for the song you were collaborating on?
I was happily surprised at the direction Melanie C took with ‘I Don’t Wanna Know’ – it’s a bit darker than what one might expect from her and I love switching things up.
Is there anyone else you want to collaborate with in the future?
I’ve always said Sade and Björk are my dream collabs. I’m always looking out for new artists as well – someone like Doechii would be great to do something for the dance floor with.
Did you think ‘Another Chance’ would blow up the way it did?
I had no idea it would be as big as it has become but I did know that it had a unique emotional quality that I felt connected with many different people so it makes sense.
How do you think your musical style and tastes have changed since then?
I feel that I’ve embraced many different influences: Brazilian music, acoustic spiritual music, I’ve added them all to my palette.
You’ve been spending more time in London – how has London influenced your musical style and what are the key differences between London and New York in terms of house music?
London definitely speaks to my deep house and bass influences while New York gives me Latin, tribal and disco sounds. Spending quite a bit of time in London gave a few tracks that I was writing for the album a bounce and feel that feels like a London dance floor.
You’re back at Pacha for Flower Power 2026. Aside from the music, what excites you most about being back in Ibiza?
Pacha feels like home to me – my residency with ‘Release Yourself’ in Ibiza has been a major anchor for me. Returning to Pacha with Flower Power roots me to the island again and taking over the booth each Saturday is electrifying to me.
Which track on Spectrum are you most excited to play this summer?
There are quite a few: ‘Midas Touch’ is a club favorite for me, as well as ‘How Do We Say Goodbye’ and ‘Canto Al Amor’ for my tribal sets.
Do you have another dream residency or city you’d like to play that you haven’t yet?
Having a residency again in New York would be fantastic as well as Miami. London is also top of the list for a residency.
Is there one remix in the past few years you wish you’d produced?
I’m not sure there is a remix I’d wish I had produced, but there are some tracks I admire the production technique and sound. Fred Again, for instance, is crushing it in a very unique way that feels effortless with tracks like ‘Talk Of The Town’.
Spectrum is out now, follow via @djrogersanchez
Words Anna Jane Begley
Photography Jack Alexander
