A Night of Vampires and Vibrant Beats
Turin is alive with an unexpected ensemble of vampires tonight. As they weave through the crowd at C2C Festival’s Stone Island stage, capes fluttering behind them, they sip vodka Red Bulls and twerk to the pulsating neoperreo music. On stage, Isabella Lovestory captivates the audience with her new album, *Vanity*, clad in a whimsical Cinderella-inspired outfit. Halloween festivities are in full swing, and the crowd’s energy escalates as the Montreal-raised Honduran artist performs, particularly during her electrifying track “Puchica,” where her unicorn mascot joins the fray.
After Isabella’s set, we take a moment to recharge with half a pint of negroni before heading to the smoking area outside the expansive former Fiat factory hosting the festival. Stylish Italian attendees, donning black mesh and sunglasses, create billowing clouds of smoke in the crisp October air. A few more sips of our lethal orange drink rejuvenate us, and soon we’re back on the dancefloor, enjoying a playful DJ set from Mechatok. His music energizes the crowd, which waves its hands in rhythm to tracks ranging from fakemink to Daft Punk.
A Year of Distinct Sounds
The excitement continues as Mechatok, a 27-year-old German producer and former classical guitarist, takes the stage. Isabella returns to the spotlight as Mechatok plays “She’s a Director,” their sleek, Y2K-flavored collaboration. This year has been momentous for both artists, as they each launched albums over the summer—Isabella’s *Vanity* and Mechatok’s *Wide Awake*. Despite their close friendship and collaborations, their musical styles are refreshingly distinct.
*Vanity* explores the darker sides of fantasy and desire, featuring catchy synth tracks and reggaeton bangers, coupled with maximalist music videos reminiscent of early 2000s MTV. In contrast, *Wide Awake* showcases Mechatok’s ability to blend nostalgic synth-pop with modern hyperpop elements, including collaborations with underground luminaries like Bladee, Ecco2k, and Tohji.
From Online Connection to Real-Life Collaboration
Both artists first crossed paths online, with Isabella, then a 20-year-old musician in Montreal, catching Mechatok’s attention as a teenager in Munich. “I was always just watching her content on YouTube,” Mechatok shares backstage, his soft German accent conveying genuine admiration. Their in-person meeting in London, facilitated by Kamixlo—Isabella’s boyfriend and her DJ on tour tonight—solidified their collaborative bond.
As they relax in Mechatok’s brightly lit dressing room, sharing a black leather loveseat and sipping tequila from paper cups, the warmth of their friendship is tangible. They excitedly discuss their shared obsession with K-pop, revealing a mutual passion that significantly influences their work.
The Allure of K-Pop
When asked about what initially drew them together, Isabella simply states, “We both love K-pop.” Mechatok adds, “There aren’t many people who appreciate it in our world.” They acknowledge that the alternative electronic scene often criticizes K-pop for being overly manufactured, but Mechatok challenges that notion.
“Creating a sculpture is the most manufactured thing you can possibly do, so how is that an issue? It’s music. I hate the concept of authenticity. That’s fake to me,” he explains. “I find K-pop almost like drugs. The music is undeniably stimulating; it can be overwhelming at first, but after a few listens, you might just get hooked. That’s how K-pop operates.”
Perspectives on the Music Industry
Their conversation shifts to the K-pop industry itself. Mechatok contrasts it with the American music scene, which he sees as exploitative but less transparent. “K-pop is upfront about how the factory works,” he notes. “In America, they always want to sell you this ‘authentic’ story—like ‘I found him on YouTube, and now he’s famous.’ But in reality, there’s a billion people involved behind the scenes writing songs for these artists. It’s the same factory.”
As they reflect on their musical journeys and the forces shaping their artistry, it becomes clear that the shared fascination with K-pop is more than just a passing interest; it’s a lens through which they view and critique the world of music.
Source inspired by international fashion publications. Adapted & edited for Maverick.
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