When Chris DeVries first got behind the controls at WUNH in the early 1990s, he’d use his late-night show to experiment with music from artists he didn’t recognize—Juno Reactor, Orbital, Global Communication, the Orb, and more. As electronic music grew during that era and artists like Underworld, Chemical Brothers and Prodigy became more mainstream, he convinced the station that it was time for a dedicated programming slot. At 11:30 p.m. on Tuesday, Jan. 23, 1996, Trance Lab hit the air. This week, DeVries celebrates the 10th anniversary of the show—which now includes club dates and weekly podcasts—with a party at the Red Door in Portsmouth on Saturday, Jan. 7.

What are some of your favorite highlights from the radio show?
Hosting local electronic producers, giving them a chance to share their music live on air in an area where there is basically no other outlet for this type of music. Some favorites have included Zero Times Infinity, Ojamoj, Keepalive, Tube, Slowing Room, j. hjort, and Decentigrade. Those last two will be performing live at the show on the 7th.

How has the show evolved?
I like to think I’ve been able to share new sounds as they changed over the years. Electronic music has gone from trippy rave sounds of the ’90s (Empirion, Future Sound of London) through breaks/big beat (Cirrus, Crystal Method), through drum and bass (LTJ Bukem, Goldie) into room-filling club progressive house (Bedrock/Digweed, Way Out West, and scores of U.S. and U.K. labels) to thick downtempo (Thievery Corporation, dZihan & Kamien), into minimal grooves from German producers (the Whignomy Brothers, Robag Whrume, Mathew Jonson—he’s Canadian, he can’t help it—Michael Mayer and all at Kompakt Records, Superpitcher, Matthew Dear—he’s American, he really can’t help it—and junkyard garage disco grooves (LCD Soundsystem, the Juan Maclean). Some artists still hold up after all this time. Underworld and Kraftwerk are favorites that I will probably always listen to.

In May, you started a no-cost subscription feed on www.trancelab.com. How’s that going?
On the technical side, the show has been available online since 2000. Since then I’ve had listeners from other places, but it wasn’t until podcasting in 2005 that the listener base exploded. The show’s Web site is literally doing eight times as many unique visitors and 100 times the traffic since podcasting has taken off this year. Getting e-mails from listeners around the world—Canada, Japan, Australia, throughout Europe, and even the United Arab Emirates—is really fun and inspirational.

What’s the cover charge on Saturday night?
$3. Music from 8 p.m., 21+.