Some artists make noise. Others listen first – then carve out their own frequency in the quiet spaces between a kick drum and a sunrise. Baldov, real name Théo Bertat, has spent the last decade threading himself through the undercurrents of Europe’s vinyl culture. As a co-founder of Undergroove Records, half of the duo Wave Catchers, and a familiar presence behind the booth and in the bins, the Lyon-based DJ and producer carries an energy that’s patient but insistent — always pushing for connection over spectacle.
Whether he’s shaping warm minimal grooves for labels like LEGRAM VG & Rubber Ducky or sketching new sound maps alongside Heimyl the Lazer Man, Baldov’s mission is clear: keep it intimate, keep it human, and above all, keep it honest. He’s the kind of selector who still believes a DJ is there to serve the moment, not steal it – a mindset that naturally flows into his new partnership with Headliner, where design, sound and respect for the craft matter as much as the party itself.
In this conversation, he opens up about the story behind the Baldov name, how a broken arm and a bike crash gave birth to new music, why the art of the long set is sacred, what his dream DJ mixer might look like, and what a perfect night could be when you strip it all back to what really counts: records, connection, and the magic that happens when the needle drops – and nobody wants to leave.
I think it’s simply a form of respect to arrive in front of your audience in shape and in the best possible conditions to deliver a performance worthy of the name.
Torture the Artist: Hey Théo, tell us something about your day.
Baldov: Everything is going well at the moment – it’s a time of renewal for many things in my personal life and even on a musical level. It’s the beginning of a new tune.
Torture the Artist: Your real name is Théo Bertat, but you go by Baldov – what’s the story behind the moniker? Was it born on a dancefloor, during a dream, or somewhere in the middle of a long loading screen?
Baldov: Baldov has always more or less followed me – initially, it’s a family story. My maternal grandfather’s name was Spanish: he was called Baldovi and his ancestors were called Baldovini. I wanted to use a similar base, as the artistic and creative side of me comes from this side of the family. My mother has always drawn and painted, so it was natural for me to give her a nod without using her actual name, so Baldov came naturally. It was on a train, on my way to Lyon, and I’d set myself the challenge of finding a name, an alias – and since then, it’s taken root over time.
Torture the Artist: You’ve just had a track out on “Games of Tunes Vol. 3” via LEGRAM VG & Rubber Ducky Records. Is it more of a game, a tune, or a polite threat to the dancefloor?
Baldov: For me, this piece is first and foremost a beautiful story. I’d been following LEGRAM VG’s work for some time. When they had just moved to Lyon to open their shop (the most beautiful record shop in France!), I was personally going through a rather peculiar period: I had just moved into a brand-new apartment, I was out of work and, to top it all off, I was hit by a car while riding my bike. I spent several months with a broken arm, so my only outlet was Ableton, and I made a lot of tracks — all of which are being released little by little. The work I did about two years ago is starting to pay off today, and my track “Dance Connexion” on this magnificent VA is the first step!
Torture the Artist: Your alias with Heimyl the Lazer Man is Wave Catchers. What kind of waves are you two hoping to catch – cosmic, emotional, or just the kind that make monitors fall off tables?
Baldov: Wave Catchers is a project close to my heart. With Heimyl, we are two of the four co-founders of Undergroove Records – a vinyl-only label for almost ten years now. Releasing other artists is a real pleasure, but we wanted a joint project: an alias with which we could release the music we both love. Emotion is one of the things we want to convey through the songs we like to play, but also through our various productions. The first of these will be released on vinyl, on a label in the south of France called Sarturan Records.
After ten years in the bubble of nightlife, parties, and everything that revolves around this world, I’m wondering more and more about the place of DJs today.
Torture the Artist: After 10 years in the scene and a six-month trip through South America, you’ve come back with a clearer view on the excesses of the culture. How do you now define what it means to be a “present” DJ?
Baldov: After ten years in the bubble of nightlife, parties, and everything that revolves around this world, I’m wondering more and more about the place of DJs today. For me, it’s more about communication than artistic essence, unfortunately. If you’ve got 5,000 followers and an Instagram page with beautiful photos, you’ve got a much better chance of playing than a lot of artists who start out in their living rooms but who have a real artistic vision and are great technicians – like Alpharion or Koffi, for example, who are incredible producers but who nobody talks about (for the moment…). I’d like to add that drugs don’t really help in this business. Today I have the impression that the race to find the most stoned DJ is considered normal, whereas the public pays to see a performance. I think it’s simply a form of respect to arrive in front of your audience in shape and in the best possible conditions to deliver a performance worthy of the name.
I’m at my best when I’m in full possession of my abilities and have taken the time to prepare my bag a few days before my gig.
Torture the Artist: You’ve talked about DJs being more intoxicated than the audience. What’s your vision for the future of the DJ persona – and what’s your personal ritual to stay clear-headed and connected before a gig?
Baldov: Yes, for me, a party doesn’t necessarily mean a huge audience, a full house, and furious people. For me, an event is between 150 and 300 people. With this number, a connection can be made so quickly… It’s also very important to be able to have long sets (between 2h30 and 4h). We need to tell stories, with an introduction, a middle, and an end. What’s more, the decoration is essential to get carried away and enjoy the festivities even more. And last but not least, the sound system – one of the most important parts for me. A good sound system doesn’t need to be very loud; if the settings are precise, the sound can be of outstanding quality. It will be a pleasure for the DJs to play on it – and if the DJs enjoy themselves, the audience will too, guaranteed! Yes, I’ve seen it with my own eyes, and I find it sad and desolate when DJs play in a second state. I’ve never enjoyed playing when I’m not fully present. I know I’m at my best when I’m in full possession of my abilities and have taken the time to prepare my bag a few days before my gig. For the last two years, if I play in the middle of the night, I go to bed early, get up two hours before my set, take a shower, and arrive in good shape.
Torture the Artist: Is there a record in your collection that’s so powerful it should come with a warning label? If yes, what’s the label say?
Baldov: Indeed, I have a record that almost never leaves my bag – it’s a remix of Pink Floyd’s The Wall: electro, minimal, but with a classic touch thanks to the original vocals. A whole bunch of remixes of this magnificent track have been released – some really bad and some really good. But this one is special: only one side, no engraving, no name, no information. For me, this record is rare, so you have to take the greatest care of it – and that’s what would be written on its label: a weapon to be used with care.
Torture the Artist: You said something powerful – that it’s a performance, and the public deserves your full energy. Have you ever had a moment on stage where you felt everything aligned – mind, body, and music?
Baldov: It doesn’t happen every time. But yes, it has happened to me, and it’s an absolutely incredible feeling. This impression can occur when everything is in place to spend an unforgettable moment: a well-prepared bag (good pieces that fit the time and place), a great sound system, and an audience that knows how to let go while respecting the venue, the people, and the infrastructure. After that, it’s the magic of the records that does the talking.
Torture the Artist: You’ll be contributing to our art:cast mix series – what can listeners expect from your selection, and will there be any subtle messages hidden in the flow?
Baldov: For my art:cast, I’d like to go through a lot of different songs, styles, and moods! For me, that’s the aim of a podcast: to mix genres and inspirations, like taking stock of what we like and helping listeners discover tracks they’d never expect to hear.
Torture the Artist: Let’s talk Headliner. You’re about to start working with them – what makes their rotary mixers stand out to you, and what was your first “wow” moment testing one out?
Baldov: So for the moment, I’m not working with them, but it’s more a form of partnership. I was lucky enough to receive their latest model at home – the Headliner R4, a rotary mixer that’s simple to use and design-wise has nothing to envy from its competitors. My first test was conclusive, and I’m really enjoying playing with this machine.
I like vintage designs – simple and authentic.
Torture the Artist: If you could redesign one element of a DJ mixer, what would it be – and what’s the Baldov dream feature that doesn’t exist yet (but totally should)? Bonus points if it glows.
Baldov: I’m not an engineer, and I’m not the kind of person who could come up with a revolutionary tool for DJs, but I have used a lot of machines from many different brands, and I think there’s a lot of good stuff to be found from both the big brands and smaller manufacturers. I like vintage designs – simple and authentic. I like good-quality filters and isolators – for me, that’s all I need. The rest is mix technique and improvisation.
Torture the Artist: You mentioned suggesting a 3-band isolator for Headliner’s next product. Why is that tool important to you as a performer, and how do you imagine it changing your sets?
Baldov: Indeed, I’d like to see an isolator on the next Headliner product, so I could really test the difference with and without. But let’s just say that I’m thrilled with the R4. For a first rotary mixer, the value for money is hard to beat — the buttons are well made, I find it beautiful, and the sound it produces is simply perfect for listening at home. For me, it’s exactly the product I needed right now.
I thought several times about stopping everything, selling my turntables and my records […] since my return, the love affair I have with music has only evolved, and little by little everything is becoming clearer.
Torture the Artist: You’ve hinted at putting a lot of energy into your artistic path – maybe even too much at times. What’s your personal sign that it’s time to pause – and have you ever taken a holiday without accidentally playing a set?
Baldov: Like all artists, I put a lot of strength and commitment into what I do. For ten years I’ve had my ups and downs, and motivation, desire, and the question of legitimacy are often at the heart of my concerns. On reflection, all these feelings only reinforce the love I have for producing, mixing, listening to, and discovering new genres, tracks, and feelings that music can bring me. During my trip to South America, I put music on the back burner for a while. Vinyl records crossed my path a few times at the end of my trip – I still enjoyed those magical moments 100%. I thought several times about stopping everything, selling my turntables and my records… But it’s stronger than anything – since my return, the love affair I have with music has only evolved, and little by little everything is becoming clearer.
Torture the Artist: You’re organizing a weekend of festivities with a cutting-edge lineup in September. What can you reveal without spoiling the magic – and will there be a wave-catching dress code?
Baldov: In September, we’re preparing an event like we’ve never done before. There’s an incredible team behind this project, and all the information is coming out little by little. So no, there won’t be a dress code – but this is an intimate event, with an audience of music lovers and close friends we’ve met over the years. But to tell you the truth, our vision of the perfect party I mentioned above – can you imagine it? A 200-strong audience of music connoisseurs, magnificent local DJs and more, lots of vinyl, a great sound system, beautiful decor, and a magical venue? Well, that’s the recipe for an unforgettable three-day party.
I’m in a period of renewal at the moment, with new desires and new goals – but always with the motivation to move forward because of my passion.
Torture the Artist: Finally, mood check: what headspace are you in right now as an artist – and what kind of emotional fingerprint do you want to leave on dancefloors this year?
Baldov: I’m in a period of renewal at the moment, with new desires and new goals – but always with the motivation to move forward because of my passion. That’s the most important thing for me. 2025 marks the desire to give all listeners a great time during my sets. The search for emotion, mixing styles, and musical discoveries will be my watchwords – because music must always remain, for everyone, only pleasure.
Words by Holger Breuer
Torture the Artist 