On the night of Thursday, July 17th, Denver-based DJ and music producer Chase “Chozen” Rosenberg stepped up to the deck at Larimer Lounge. He loaded his unreleased track “Look Up,” which cut through the speakers with a reverberating bass felt in the spine, sending arm hairs straight up. Otherworldly synths flooded the room, adrenaline-laced serenity ripping through the crowd. A roar erupted as they shouted the lyrics “Look in the sky! / It’s a bird! / It’s a plane!” The track’s tempo quickened, spiking heart rates across the room. Then, the lyric “No, it’s CHOZEN” proudly slashed in.
Rosenberg grinned. His hands hovered over the table as one made its way towards the fader, slowly pushing it forward. His eyes fell onto the crowd.
It wasn’t always like this for Rosenberg. He moved from Atlanta, Georgia slightly over a year ago to what he dubbed as the “epicenter of bass,” Denver, alongside fellow DJ and music producer Nolan Echols, better known as AEYE. The two took the plunge in following their dreams of creating music full time.
Rosenberg lived the 6’5” finance guy with blue eyes lifestyle by day and spun his own tracks outside of the cubicle at night. He’d spend hours learning the ins and outs of Ableton, a digital music-making program used by DJs and music producers to create, edit and perform tracks. It’s an intimidating software, it’s overwhelming complexity a deterrent for the faint of heart. Nevertheless, Rosenberg would scour Ableton’s endless rows and columns for hours, dissecting every code, leaving no tune unturned. Before he fully dove into the world of production, however, he first mastered the art of mixing.
F.L.Y. and Easton’s “Swag Surfin” drowned out the Larimer Lounge speakers next, laced in Rosenberg’s futuristic rhythms. He swayed back and forth on stage, caught in an intentional yet electric flow as the audience followed suit. Teal-blue lights backlit his body, casting a silhouette of his famed bucket hat, as heavy beats ricocheted off the walls. Fog enveloped Rosenberg on stage and slowly crept through the crowd, mingling with a few lone bubbles drifting from the audience.
Rosenberg holds a deep reverence for rap music, especially for its cultural impact and roots in Southern cities like his hometown. That self-assured and unapologetic confidence found in true Atlanta trap deeply inspired Rosenberg’s sound while also bringing him to other, both mentally and physically, empowering spaces.
His humble EDM beginnings sprouted in local Atlanta boutique gyms that he’d compose for. He grew up playing football himself and values fitness to this day, whether working out in HIIT classes, sliding down the slopes or training for triathlons. For Rosenberg, EDM captured that same kinetic energy he felt on the field.
And, when rap’s celebratory nature collided with beats above 150 bpm, it fueled his dynamic stage presence.
Rosenberg paraded the Larimer Lounge stage as his unreleased track “Out Of My Head” debuted. His knees soared high with his hands morphing into a claw, wielding a magnetic force needed for the euphoric charge over dark, potentially invasive, planets. The red stage lights illuminated drops of sweat from his forehead as the crowd fell mesmerized. Cinematic riffs crescendoed as grittier – or “crunchier” according to Rosenberg – beats swept audiences into its trenches. “Out Of My Head” carried a range, shading Rosenberg in a different tone.
This one-man operation in manipulating pitches and sculpting sounds into shapes makes it all the more worthwhile for Rosenberg and his audiences. Rave culture, perhaps intimidating at first, prides itself on the values of peace, love, unity and respect — commonly known as PLUR. With their bead-filled kandi bracelets and spinning flow toys, a community rooted in friendship has embraced Rosenberg and his hand-crafted kick drums fully. Nothing breeds nostalgia more than a loving group of people, after all.
“Where are my 90s babies at?” Rosenberg asked his booming Larimer crowd. Drake Bell’s “I Found A Way” — from the Nickelodeon show Drake & Josh — with its uplifting melody and breezy tempo had shockingly slipped its way into the set. The audience formed a choir over Bell’s warm, slightly raspy vocal delivery evoking that sentimental teen show charm. Rosenberg joined in too with openers AEYE and Mind Splitter emulating from the sidelines. Lights flashed in green and blue hues as the audience fell back into their youth.
Rosenberg himself is a ‘90s baby, having just turned 30 a few weeks ago. When he first moved to Denver, he set a few goals for himself. One of which was performing at Mission Ballroom which he checked off in April of 2025. Another, however, remained pinned to his wall: Sign with the WAKAAN record label before turning 30.
For months, Rosenberg dedicated many sleepless nights crafting up something special for WAKAAN. Though he had already opened for titans like Ravenscoon, creating something truly his own for a dream label was a different kind of pressure. But the hours spent in testing slightly off-kilter cymbal sounds over and over again eventually paid off. On June 10th, 2025 – just days before the end of his 20s – Rosenberg officially made his WAKAAN label debut with the release of his single featuring Def3, “Grounded By The Bass.”
Hardly a month later, on Tuesday July 15th, the namesake EP followed suit, releasing on Spotify and other streaming platforms with new tracks “Contact” and “Heat Ray” included. Rosenberg carefully tuned each element in these songs to engage listeners without pushing their attention spans to the limit, while still carrying his signature alien soundscape.
The Grounded By The Bass EP served as a reminder for Rosenberg that no matter where life takes him or what it throws his way, that the deep, communal soul of EDM remains his anchor, propelling him forward.
Rosenberg was cast aglow in pink hues as neon strips framed the stage. He announced over the microphone the final song for the night, “Grounded By The Bass.” Its funkier synths and grooves rang out with a rhythmic swagger pulsating, carried by experimental bass-lines. The crowd cheered as dense fog flooded Larimer Lounge.
The pace pounded. Def3’s rap bars snapped in tight precision with lines like “What’s a king without a crown?” catching ears.
As the persistent beat thinned, a mechanical whirl sound spiraled through the rafters. With the fader fully pushed forward, Rosenberg’s shoulders lowered as he sauntered over to the front of his deck, now face-to-face with the crowd.
A heavier, undulating whir layered with record-scratches dropped in. The audience jumped, nearly collapsing the Larimer floors. Deep wubs scored the track’s hypnotic beat as Rosenberg threw his hands up, conducting the head-banging crowd.
His cheeks slowly widened, becoming fuller, into a smile. Through slightly squinted eyes, he looked out at a sea of friends, family and peers. Even with his shirt plastered to his back with sweat, the enthusiasm was unmistakable.
Thursday, July 17th solidified Rosenberg’s presence in the EDM sphere. It was his “Grounded By The Bass EP” Release Party, after all, where what was once a dream, now breathed as his living reality.
