MELTX Turns Chaos, Emotion, and Sound Into Her Own Universe
MELTX opens up about cinematic storytelling, creative control, and bringing her world-building sound to Los Angeles.
MELTX is an Irish born hard techno DJ and producer from Adare Manor in Limerick. As a talented artist in the hard techno movement, her project is built on emotion,performance and a powerful aesthetic identity. Once crowned ‘Young Filmmaker Of The Year’ for her short films on mental health issue, she is now a full time DJ and producer.
Her approach to every musical release now, her DJ performances as well as mixes are like they are films; narrative driven, emotional and intentionally styled. Opening for artists at the start of her career, propelling awareness, and she secured releases on HEKATE, 999999999, Taapion and NowNow.
The next two months see her playing in Italy, 2 shows in India for a tour, Tenerife for NRG, and then over for Los Angeles for her debut in the city.
MELTX talks to 6AM about her shift from filmmaking to techno, the world behind CANDYCORE, and her upcoming tour.
Hi MELTX! Thanks for talking to 6AM how are you doing?
Hi! I’m doing really well, thank you. Excited, a little deep in prep mode, but feeling good about everything coming up. Appreciate you having me.
For those that are just being introduced to you, you started in film before music, including work around mental health that reached a lot of people. When someone hears MELTX for the first time, what parts of that filmmaker brain are still guiding what you make now? How did you decide to transition from award winning filmmaker to music producer and DJ?
The filmmaker brain never really left it just learned how to speak in sound instead of visuals. I still think in scenes, emotion arcs, and atmosphere first. Even a track starts like a short film in my head: there’s tension, release, character, and mood shifts.
My background in mental health storytelling also shaped how I approach music emotionally. I’m not interested in sound that’s just “vibes”, I want it to feel like something you’ve lived through. MELTX is very much about emotional contrast: beauty and chaos, softness and distortion, control and collapse. That duality comes directly from filmmaking.
It wasn’t really a clean transition. It felt more like a necessary evolution. Film taught me how to tell stories, but I started feeling constrained by how long those stories took to reach people. I wanted something more immediate, more physical, more communal.
Music gave me that. It’s instant emotional communication; you don’t need translation, you don’t need permission, you just feel it in your body.
DJing specifically felt like stepping into a living narrative instead of a fixed one. You’re reading a room in real time, reshaping emotion moment by moment. That felt closer to how I actually experience creativity.
So MELTX became the place where everything merged: cinematic storytelling, emotional intensity, and sound as the fastest way to connect with people.
You have releases with HEKATE, 999999999, Taapion, NowNow and Teletech, but you chose to self release your debut album CANDYCORE back in Oct last year. What made that project feel like something you needed to self release? What were some lessons learned from this endeavor? Are you planning on doing more self releases in the near future?
CANDYCORE felt too personal and too world-building to hand over in any traditional sense. By that point, I wasn’t just releasing tracks - I was constructing an entire universe, and I needed full creative control over how that universe entered the world. From the visuals to the rollout to the emotional framing, it all had to come from one unfiltered place. Self-releasing it wasn’t really a strategic choice - it was the only way it could exist authentically.
What I learned from that process is that independence is incredibly powerful, but also incredibly demanding. You’re not just the artist - you’re the label, the creative director, the strategist, the marketer. It forced me to understand my own vision more clearly, but also to respect the infrastructure that labels provide when it comes to scale and longevity.
In terms of future releases, I think I’ll always keep a hybrid approach. Some projects feel right for collaboration with labels I deeply respect, and others - especially the more conceptual or world-driven bodies of work - will likely remain self-released. I like having the freedom to decide based on what the music needs, rather than following a fixed model.
You discovered techno while studying at university and described it as giving you a feeling of freedom and happiness. When you now stand in front of thousands of people playing your own music, do you still feel connected to that original feeling, or has your relationship with it changed as this became your career?
I still feel it, but it shows up in a different way now.
When I first discovered techno at university, it felt like this completely private liberation. It wasn’t about being seen or achieving anything; it was just pure release. That feeling of disappearing into sound is still the core of why I do this.
Now, when I’m in front of thousands of people, the scale has changed, but the emotional root hasn’t. If anything, it becomes more intense because you’re sharing that sense of freedom collectively. There are moments where it feels like the crowd and I are all dissolving into the same rhythm, and that’s still very close to what I felt in the beginning.
The difference is that I’m more aware of responsibility now - of guiding energy, of holding space. But the essence is the same: I’m still chasing that same feeling of release, just on a much larger, shared frequency.
Your Los Angeles debut is coming at a moment where MELTX is clearly moving beyond Ireland and the UK into a much wider international space. How are you feeling as that show gets closer, and what does playing LA for the first time personally mean to you at this stage of your career?
There’s a real sense of momentum around it, but also a lot of gratitude. It doesn’t feel like a sudden “arrival” moment - more like a gradual expansion of something that’s been building for a long time.
LA feels symbolic in a way. It’s such a global meeting point for music, culture, and visual identity, so stepping into that space with MELTX for the first time feels significant. But I’m approaching it the same way I approach every show: with intention, curiosity, and a focus on the emotional experience in the room rather than the external pressure around it.
At this stage of my career, it means a lot to see the project resonate beyond the places where it started. But what excites me most is still the same thing it always has been - connecting with people in real time through sound. Whether it’s 200 people or 2,000, that direct exchange is what grounds everything.
LA just feels like the next chapter of that conversation opening up.
Looking back at the version of yourself making films in Ireland years ago, what do you think she would honestly think seeing you now preparing for international tours, major stages and a debut in Los Angeles?
I think she’d probably be surprised by the scale of everything - but not by the direction of it.
Even back then, there was always this pull toward storytelling, atmosphere, and emotion. It just didn’t have a form yet. So I think she’d recognise the thread, even if she wouldn’t have been able to predict where it led.
There’s probably a version of disbelief there too - not in a negative way, but in that quiet “how did we get here?” feeling. But I don’t think she’d see it as something distant or separate from her. More like an extension of the same curiosity and instinct, just expressed through a different medium.
If anything, I think she’d feel relieved that the work stayed honest - that it didn’t dilute itself just to fit expectations. And I hope she’d feel proud that the feeling behind it all didn’t get lost in the process of everything expanding.
Thank you again for taking the time. Is there anything else you would like to add?
Just a thank you for listening to the world of MELTX in this way. Everything I’m building right now is still rooted in the same feeling that started it all - wanting people to feel something real, even if it’s messy, intense, or unfamiliar.
I also see MELTX expanding beyond just music in a more visual and cultural way. I’m planning to put out merch, but not in a conventional sense - it will be more like extensions of the world rather than standard artist products. I want everything to feel like it belongs inside the same universe.
More than anything, I want MELTX to feel like a continuous atmosphere people can step into. Almost like a modern version of a Halloween party - somewhere people can fully transform, escape, and express themselves without rules. I love the idea of people dressing up, whether it’s inspired by me or completely their own interpretation, channeling characters like Draculaura, Jennifer Check, Hello Kitty - that mix of cute, chaotic, nostalgic and a little bit dark. That sense of freedom and playfulness is really important to me. And I think that’s what I’m most excited to keep building next.