Gio Lucca kicks off his new label ISO with a bold rework of Laid Back’s cult classic Cocaine Cool, a track that captures the magnetic weirdness of late-night house music at its most charismatic.

Built around a vocal that’s part mantra, part mischief – somewhere between Bakerman and X-press 2’s hit Lazy – Gio’s rework locks into a hypnotic, funk-leaning rhythm with crisp production and unmistakable swagger. It’s idiosyncratic but instantly hooky, primed for DJs who like their selections with personality.

Born in Peru and now making waves across global dancefloors, Gio Lucca has carved out a niche with his shapeshifting blend of tech house, minimal, and funk. With releases on Nervous Records, Deeperfect, and North of Neptune, he’s landed in Beatport’s Top 10 more than once, while picking up support from selectors like Jamie Jones, Michael Bibi, Pawsa, and Marco Carola.

Laid Back’s Cocaine Cool has a certain cult status in electronic music. What’s your relationship with the original, and what made you want to revisit it through a house lens?

A couple friends of mine made a trip to Romania for Sun Waves last year, unfortunately I couldn’t make it. So I decided to spend some time in the studio. One of them sent me Cocaine Cool and suggested I do an edit for the festival. I had been into Laid Back for a while now, so I jumped on it and finished the first version in one session. Sent it over, and a few hours later, I got a video of it being played out.

When I started the rework, my goal was to preserve the soul of the original—the timeless vibe that makes it so catchy—but also bring it into a more current, high-energy context. I wanted something that could hit harder in my sets while still keeping that hypnotic, almost playful essence intact.

The vocal on your rework feels like a throwback to an earlier era of house. Loose, charismatic, a bit off-centre. Were you consciously nodding to that classic 90s energy, or did it come together more instinctively?

It was a bit of both. That vocal is so iconic—I knew right away I wanted to build around it and let it breathe. In the breakdowns, I stripped things back and let the vocal lead, almost like it’s talking directly to the crowd. Then in the drops, I used the “I’m cocaine cool” line as the main hook and layered in some extra textures to give it that club polish without losing the charm.

I wouldn’t say I was deliberately chasing a ‘90s feel, but that energy is definitely something I connect with. There’s a looseness and charisma in those older house records that I think naturally found its way into the rework.

ISO is launching at a time when a lot of producers are starting their own labels. What gaps did you feel were missing in the current landscape that made you want to build your own platform?

To be honest, I didn’t start ISO because I saw some huge gap in the scene. For me, it felt like the right next step. This has always been part of the bigger picture for my project—having a space where I can fully shape the creative direction, put out music that feels true to me, and eventually support other artists I believe in.

That’s how the underground’s always worked. A lot of artists I respect have built their own worlds through labels, and that inspired me to do the same.

Your productions blend elements of tech house, minimal and funk, but they’re still rooted in groove. Who were the early producers or labels that shaped your understanding of what house music could be?

When I first got into producing, Sosa UK, Wheats, and Jamie Jones were big influences—not just sonically, but in terms of how they’ve moved through the scene. I’ve been following Sosa and Wheats since the early days, and it’s been inspiring watching their evolution. Their sound always stays fresh, and they somehow balance minimal, funk, and tech in a way that still feels underground yet forward-thinking.

Jamie Jones is someone I’ve always looked up to. The way he’s built a brand and label that’s globally respected, but still super authentic, is something I admire. I’m always learning new things about how he’s navigated his career—it’s motivating and reminds me to think long-term.

How do you approach the idea of remix culture today? With so many unofficial edits floating around, what does it mean to you to do a proper rework of a track like Cocaine Cool?

Remix culture is a huge part of house music’s DNA, and I love that about it. Sampling, reimagining, it’s how a lot of classics have come to life. I’ve always had fun with bootlegs and edits, and there’s definitely a place for that.

But doing an official rework like this is a different experience. It means a lot to have the original artist’s blessing—to be able to collaborate with Laid Back on something that’s tied to their legacy and actually put it out together. Getting to work directly with Laid Back on this was huge for me—not creatively, but also in terms of building a real relationship with artists I’ve looked up to. It feels more meaningful when there’s mutual respect involved and you’re actually collaborating to bring something new to life.
It doesn’t take anything away from unofficial edits, I still love those and play them all the time. But having the chance to do it officially added another layer to the process, and hopefully it’s the start of more collabs like this.

In your DJ sets, do you find yourself leaning into older house tracks for inspiration, or are you more drawn to what’s happening at the edges of the current scene?

Definitely both. I love digging for new stuff that pushes the sound forward—whether it’s from friends, upcoming producers, or labels that are taking risks. But I also love throwing in older tracks or even layering acapellas from vintage house records. It’s fun blending that nostalgia with newer productions. It keeps the energy dynamic and keeps people on their toes.

You’ve released on Nervous, Deeperfect and North of Neptune, three quite different labels in terms of sound and audience. How did those experiences inform your thinking around curating ISO?

Each label gave me a different perspective—how they approach releases, handle promo, support artists. Nervous showed me the value of legacy and staying true to your identity—they’ve been around forever and have deep roots in house music. Deeperfect is all about consistency and keeping momentum in the club scene. North of Neptune, being more boutique, emphasized community and artistic freedom.

All of those experiences helped shape my vision for ISO. I’ve learned the importance of attention to detail, staying creatively intentional, and building a space where artists feel heard. ISO is my way of combining all those lessons into something that feels personal but also open for growth.

What kind of artists or sounds are you hoping to spotlight through ISO moving forward? Is the focus on dancefloor functionality, experimental edge, or something in between?

Right now, it’s going to focus mainly on originals and collaborations with friends and people I connect with. But long-term, I definitely want ISO to become a home for other artists too—a community built around shared taste and creative freedom. ISO is about quality and originality above all else. It’s not tied to any one genre, but rooted in club music that feels fresh, timeless, and emotionally resonant. I want ISO to be a home for music that moves people but still leaves room for personality and experimentation.