The music scene has its own dictionary—full of hilarious, random, and oddly perfect words that just make sense. Over time, this lingo has evolved and spread across countries and cultures, from the UK to Australia to the US. Somehow, we’ve all met in the middle with these phrases, picking them up from SoundCloud edits, YouTube sets, comment sections under track releases, and word of mouth.

These words and phrases make us laugh, help us communicate, and perfectly capture those indescribable moments only the dance music world understands. It’s one of the few things that unites us as a global scene. If you know, you know. They might sound confusing at first, but once explained, they become part of your vocabulary.

This lingo ties us together, whether we’re on the dance floor or zombie scrolling through our feeds. We’ve put together a list of 20 terms in alphabetical order—some funny, some eyebrow raisers, and all 100% relatable. Let’s dive in and see what we were able to put together.


Belter - Typically used to describe a really good track—a doozy of a song that gives you that stank face look. You’ll often see this under SoundCloud drops or in group chats when sharing a must-hear song.

Used in a sentence: "Guys, listen to the belter Chase & Status just put out!"



Choon - Any song or track that instantly earns top-tier status in your book. 

Used in a sentence: Music Sounds Better With You by Stardust? CHOON!



Chune-arita - It’s like “choon,” but with a cuter, zestier twist. Often sounds better coming out of a British or Aussie persons’ mouth. It’s the kind of word that makes a great track sound even better just by saying it.

Used in a sentence: "Mate, this song is an absolute chune-arita. Crank it up!"



Frothing - To be fully amped. The more formal use of the word frothen (pronounced froth’n), originating from Western Australia’s surfing community. It’s since made its way into the music scene, and can be used to describe being stoked about a set you just played over the weekend, hyped for an upcoming gig, or even to call a track a frother—a proper tune.

Used in a sentence: "Steady frothin’ from the sick one we had this past weekend.”

“Bring in the Charmin Ultra Strong - absolutely frothing to be opening up for Sharon Brown at Superior Ingredients this weekend!"

"She showed me a frother of a track. Proper melt-in-your-mouth stuff."




Gatekeep - Used to describe the act of holding something back or not sharing, especially when it comes to a song or playlist. It’s often done out of stubbornness or the desire to keep something special and lowkey.

Used in a sentence: "Can you stop gatekeeping your playlist?" "Why do you gatekeep your playlists? It’s not that deep."



Geeked - To be utterly incapacitated with laughter or ridiculously excited about something. It’s the perfect way to describe a moment that was so funny it left you in tears or a situation that had you hyped beyond belief.

Used in a sentence: Person A: How many espresso martinis did you spill on yourself at Space last night?

Person B: Dude, like four.

Person A: That had me geeked all night!



Lekker - In the music scene, it’s been adopted to describe a sick track or a moment that hits different. You’ll spot it in timestamp comments under a banging tech house minimal set, on Instagram teasers for unreleased tracks, or reels of DJs playing a massive venue with CO2 cannons firing off.

Used in a sentence: "Slide 3—lekker!" "53:04—lekker! What’s the ID on this?"



Marinate - To stay in one spot with absolutely no intention of leaving because the vibe or music is just that good. It’s the ultimate compliment to a set or venue—when you’re so locked in, there’s no need to wander.

Used in a sentence: "We marinated at Amnesia for 9 hours in the front left during the closing party."



Melt - A versatile term in the music scene with different meanings depending on the context. It’s often used to describe a track with a “wet” sound—think liquid DnB or a slow-tempo wubby bassline that just oozes into your eardrums. On the other hand, it can also describe your state at a set when the music is so good you’re completely rooted in place, melting into the sound and transcending into another dimension of high vibrations.

Used in a sentence: "Listen to the track Rezz teased on her story—an absolute melt."

"I couldn’t move from Cypress End, I was melting from sunrise to sunset."



Mint - An expression used by New Yorkers or the British, meaning "good." In the scene, it’s used to give an A+ or a thumbs up to a solid track or even to confirm plans in a group chat. Think of it as a stamp of approval or agreement.

Used in a sentence: Person A: "Try not to air this song out. I want to gatekeep it for as long as I can before everyone plays it out and I start hating it." Person B: "Mint. Thank you and will do."



Off a Mad/Sick One - A phrase used to describe being on a revolutionary bender, having an insane amount of fun, or just being absolutely overjoyed and living your best life. It’s the go-to way to sum up those unforgettable and stellar moments.

Used in a sentence: Person A: "I haven’t heard from you in three days. Are you okay?"

Person B: "Yeah, I’ve been off a sick one since I touched down in Ibiza."

Person A: "Did you run into James last night by chance?" Person B: "Yeah, I saw him at the techno tent briefly—he looked like he was off a mad one!"



Pinger - Another term for a banging track. It’s used to describe a song that delivers the goods every time. 

Used in a sentence: "Stussy was playing pinger after pinger last night. That man does not miss."



Rinsing - Used to describe a DJ who’s playing top-notch tracks with high energy and unmatched crowd control. It’s when the DJ is slinging tunes left and right, keeping the atmosphere electric from start to finish.

Used in a sentence: "Jamie Jones was rinsing the decks last night—absolute heaters from start to finish. The crowd couldn’t get enough!"



Ripper - An Australian term used to describe what was (or is expected to be) an amazing time. It’s also used to compliment a standout track.

Used in a sentence: "We’re going to Factory Town for elrow during Art Basel. It’s going to be a ripper." Person A: "Where did you find this ripper?" Person B: "On Bandcamp."



Sliding - Typical slang for saying you’re coming over or on your way, but in the music scene, it’s used to describe someone crushing their set. A DJ who’s got perfect crowd control, nailing every transition, and keeping the vibes high on the dance floor.

Used in a sentence: "Not sure whose playing right now, but he's sliding!"

"Everyone was shazaming her music last night because she was sliding on aux at the pre-game, and now her head’s all big, so she won’t answer my texts."



Tree Wook - Wooks are the shoeless, carefree souls of the festival scene, usually rocking fractal-patterned clothing, a trusty pashmina, and an aura of pure kindness. A tree wook takes it a step further, deeply connected to nature and grounded in spiritual vibes—hence the “tree” part of the name. They might bump into you at a bass show but will sincerely apologize, fan you down, offer a glove show, and make sure you’re okay. 

Tree wooks thrive on deep, heartfelt conversations and often have otherworldly stories to share. They’re not as polished at a show as the house crowd, but that’s what makes them so awesome—and some of the most fun and genuine people to throw down with. 

Used in a sentence: "I went to Lost Lands for the first time this year and met a tree wook who told me he was a hybrid—werewolf and human."



Tweaking - Usually not used in a positive or fun way. It typically means feeling disassociated, anxious, or out of sorts—when the vibes are off, and you’re not having the best time. 

Used in a sentence: "Can we step out of the crowd and get some air? I’m tweaking out right now."



Turbo - Going full throttle with something, pushing it to the limit with no intention of slowing down. It’s all about having an absolute blast and living life at full speed—until the wheels fall off. 

Used in a sentence: "I just completed 75 Hard, so I’ll be going full turbo for Miami Music Week. No ifs, ands, or buts."



Weapon - A term used for a track that never fails to get the crowd roaring. A go-to tune that DJs keep in their back pocket for big moments. Usually has a fat kick to it that ignites a lethal groove on the dance floor. 

Used in a sentence: Person A: "What song is your secret weapon?" Person B: "Sandstorm - Darude."



Wook Flu - The inevitable post-festival sickness that hits after coming off a sick one, caused by lack of sleep, dehydration, and a weakened immune system. Symptoms include red eyes, dry mouth, decreased verbal engagement (grunts become your main language), absent-mindedness, and a hangover so violent it feels personal. 

Used in a sentence: "I had to miss work on Monday. I had the wook flu."

IYKYK: 20 Essential Slang Terms from the Music Scene

No artist has changed the musical landscape of New England quite like Lenore. She’s been active in the scene since the ‘90s, and an early pioneer of D&B long before the genre became a household name. As well as her deft mixing style, Lenore’s legacy lies in her club night Elements – the longest running D&B night in Boston.




The Early Years




Born and raised in Connecticut, Lenore’s first foray into electronic music was through the queer Black underground in her home town of Hartford. She went to college in Boston, where she fell in love with ‘90s house which motivated her to start DJing in 1995. “I discovered Drum & Bass accidentally in a record store,” Lenore says. “I liked the artwork and the names of the tracks – I didn’t even know what genre it was.”




The first record she picked up was from Fabio’s label Creative Source. “It was totally up my alley,” she says. “Then I discovered T Power’s album The Self Evident Truth of an Intuitive Mind, and really got into the introspective, atmospheric direction that D&B was going in.”




After that, Lenore took a deep dive into D&B’s back catalogue. She devoured early releases from labels like Metalheadz and then dove head-first into New England’s underground, attending a night called Jungle Roots run by Al Fougy when she didn’t have school the next day. “I saw some great artists there like Ed Rush and DJ Trace, and Fougy also brought names like Goldie, SS, L Double and LTJ Bukem but I wasn't there,” Lenore says.




In 1998, once she’d graduated, Lenore noticed a lull in D&B club nights. “At that point I had been DJing Drum & Bass and had a whole crate of records” she says. “Drum & Bass was always relegated to the side room, so I asked the owner of The Phoenix Landing if I could throw my own club night there and surprisingly he said yes.”




The Birth of Elements




Two days after Lenore’s birthday in January 1999 she threw the first Elements rave with her co-founder Crook. “I had to learn what to do with bookings and logistics on the fly,” she says. “Back then, we flyered, so I would sometimes set my alarm at 1am and go out and promote.”




Despite not knowing how to run a club night, Lenore says everything just fell into her lap like it was the path she was supposed to be on.




Their early bookings included Dom & Roland, DJ Storm, Breakage and Total Science as well as Lenore and Crook. At the time, Lenore felt that she was simply filling a gap by starting her night, and once the scene picked up she wouldn’t need to do it anymore, but that never really happened, and the demand for Elements just kept coming. Lenore has a few theories as to why it’s been such a success.




“The sound system and the room shape is one factor,” Lenore says. “The acoustics work really well with Drum & Bass because there’s a lot of wood so you can really hear the intricacies and the percussion. D&B producers are some of the best engineers on the planet and the room caters to that.”




Lenore also believes the transience of Boston as a college city has helped keep footfall flowing, as well as the non-existent dress code so people can walk in right off the street. “Some people just walked in and haven’t missed a week since,” Lenore says.




“There’s a high turnover of people but it’s cool how the culture has stayed the same,” Lenore continues. “The artists say they like to play for Elements because the crowd is educated musically.”




Elements Today




Elements has been in that same 150 capacity venue every Thursday for over 25 years, and the club night has become a staple of Boston’s underground and a home for the East Coast’s D&B heads. Lenore now co-hosts with Furious, and despite having to close for a while during the pandemic, Elements made it through by live-streaming and opening their doors as soon as it was safe.




Lockdown bred a whole new wave of Drum & Bass producers, so when the world emerged, Elements was in a perfect position culturally. “It's great because you have something fresh every week so you can curate a set that's totally different and nothing ever gets stale,” Lenore says.




Today it’s one of the most loved club nights in the USA. They recently hosted the 30 year celebration of Dread Recordings, and they plan to team up with one of NYC’s legendary Loft promoters. “DJ Bruno has a new space that goes all night in Boston,” Lenore says. “He offered Elements our own room on NYE, so I'm very excited to be working with someone who is a significant part of Boston's electronic music roots and to bring together the underground house and jungle and D&B communities.”




And, of course, Elements will be celebrating their 26th birthday in January. “A lot of people say it’s their therapy, their church and their chosen family,” Lenore says. “And there’s never been a question of whether I want to continue, because the impetus is coming from the community.”

D&B in Focus: Lenore

If you love melodic, deep, or afro house, chances are you’ve already come across Marten Lou—or you will soon. Born in Germany but with a sound deeply influenced by his time in Paris, Marten is one of those artists who feels like he’s everywhere right now. From “Another Life” to “My Love For You (Yebba’s Heartbreak)”, his tracks have been getting spins from names like Keinemusik, Adriatique, Bedouin, BLOND:ISH, and Camelphat.

His career really started to take shape after he released “My Love For You (Yebba’s Heartbreak)”. That track opened the door to labels like Drake’s OVO, FFRR, Warner Music, and Atlantic Records, and suddenly his music was hitting millions of streams and getting featured on Pete Tong’s BBC Radio 1 show and Tomorrowland’s One World Radio.



But it’s not just about the studio for Marten—he’s also been putting in work on stage. From Coachella and Burning Man to Ibiza and New York, his sets have brought melodic grooves and emotional builds to audiences across the globe. And if you ask him, New York tops his list as his favorite city to perform in.

In this interview, Marten shares what inspires him and his artistic workflow, how Paris shaped his sound, and why he’d collaborate with Justin Bieber. Whether you’re a diehard fan of the genre or just looking for someone new to get into, Marten Lou is someone worth keeping on your radar.



If you weren’t a DJ/Producer, what would you be?


I've been passionate about music for as long as I can remember, and it has always been my dream to pursue it professionally after high school. Because of that, I never seriously considered any other paths.



What’s the most memorable moment of your career?


There have been many memorable moments over the past few months and years, but the one that stands out the most was about two years ago, when I uploaded my track "My Love For You (Yebba's Heartbreak)." That’s when everything started to fall into place, and my professional career really began to take off. And of course, playing at Coachella this year was another unforgettable highlight.



Who’s an artist that inspires you right now?


There are many artists from different genres that really inspire me, such as Keinemusik and WhoMadeWho. There are some big but also smaller artists that I look up to, and I generally always check what is going on in the world of music.

What’s a track you play when you want to get the crowd hyped?


My Another Life Remix usually gets the crowd to a very high energy level ☺.



What’s your go-to snack or drink before a show?

It really depends on the day and the vibe in general, but I probably wouldn’t say no to some fresh fruits & a shot of tequila.



What’s your favorite city to play in, and why?


This is a tough one to answer since I’m moving between many different cities almost every week. Each city has its own unique and special vibe, but if I had to choose, New York City would definitely be at the top of my list.

How would you describe your sound in three words?


Melodic, emotional, moving.



If you could collaborate with any artist, dead or alive, who would it be?


There are definitely a few artists I would collaborate with. I like to bring different genres together, so one artist I’d mention is Justin Bieber.

What’s your favorite non-music-related hobby?


I love cooking and playing soccer – they’re both activities that keep me energized and relaxed.



What is simple that makes you smile?


Seeing people enjoy and dance to my music is one of the most rewarding feelings.



What are some things you forget but feel better when you are reminded about?


With everything moving so quickly, it's important to take a moment to reflect on all that you've already accomplished. I think this is something we sometimes forget to do.

The Many Layers of Marten Lou

Italian duo Glowal, made up of Fabio Giannelli and Alessandro Gasperini, has become a familiar name for fans of melodic techno. With early influences ranging from Daft Punk and Chemical Brothers to Carl Craig, their introduction to electronic music was sparked by their brothers—one a DJ and the other an event organizer. After pursuing individual projects, they decided to join forces, blending their shared vision into what is now known as Glowal.



Their music is a mix of emotion and energy, often starting with hypnotic, atmospheric ideas and evolving into tracks that bring depth to the dance floor. Tracks like "Cries," "Open The Gate," and "Roda" have earned them widespread support from artists like Dixon, Tale Of Us, and Solomun. Whether performing at famed venues or debuting unreleased tracks, Glowal knows how to keep listeners engaged while staying authentic. 

Their tour schedule reflects their rising status, with performances at big festivals like Tomorrowland, Extrema Outdoor, and Zamna Festival, as well as appearances at iconic venues such as Watergate in Berlin, fabric London, Klein Phönix, and HÏ Ibiza.

In this interview, the duo shares insight into their artistic workflow, their favorite gear, and the inspirations that fuel their work. From memorable moments on stage to the challenges of balancing their busy schedules, they provide a glimpse into what keeps their music fresh and personal.

For fans of melodic techno and thoughtful, atmospheric tracks, Glowal’s story and insights offer plenty to dig into.






What inspired each of you to get into electronic music, and how did you decide to join forces as Glowal?

For both of us, the introduction to electronic music came through the influence of our brothers. Alessandro’s brother was an event organizer, while Fabio’s brother was an amateur DJ with a good collection of records. Moby, Daft Punk, Chemical Brothers, Robert Miles, Carl Craig, and many more had a big influence on us.



We both had other projects before Glowal, but after establishing mutual trust and sharing ideological and artistic affinities, we realized we were both at a point where we wanted and needed to start something fresh and new. So, we decided to join forces to create our project.



Your music has been described as both emotive and atmospheric. How do you go about achieving that balance in your productions?

It comes quite naturally with the flow. 100% of the tracks start from a more hypnotic and emotional idea, turning after that into something more pushy or keeping that initial vibe till the end. It depends on the feeling we have with the track during the process and how we feel at that moment.



Which of your releases do you feel best represents the “Glowal” sound, and why?

"Cries," "Open The Gate," "Roda," "Trigger Your Sense," but also "What Da F**k You Want" give a sense of what the Glowal sound is about. Basically, it is something floating between rave and emotions, with a dose of punk sometimes.



Your tracks have gained support from industry giants like Dixon, Tale Of Us, and Solomun. How does it feel to have your work resonate with these artists?

It's definitely a great feeling and gives extra motivation to push our boundaries.



What’s been one of the most memorable moments for you both on stage?

When we try new tracks, that's always a special moment. Seeing the first reaction of people to a new production is a really unique feeling for us every time!



How do you prepare for your live sets, especially for iconic venues and major festivals?

Our sets aim to create an energetic, emotional, and still hypnotic journey. We generally hear a lot of promos and tend to choose and play the ones that resonate best with us, our sound, and the event. We also like to play a lot of our own tracks (released and unreleased) to shape the set to our own sound. 





For sure, sometimes there is space for a pair of classics that find their way into the set at the right moment. For us, it's very important to create a connection with the crowd and build the right energy in the room.



What’s the most challenging part of working as a duo, and how do you resolve creative differences?

To be honest, we rarely disagree on the creative part. Nowadays, you have to take care of many things, like, for example, social media, marketing, videos, etc., so most of the time our discussions are more about other sides of the project. In almost the totality of cases, we go for the middle way.



Are there any specific artists or genres outside of dance music that influence your sound?

We have very wide tastes in music. For example, we like Radiohead, Blink-182, System Of A Down, Linkin Park, but also Travis Scott, Kanye West, and what Lithe is actually doing is great.



If you could collaborate with any artist, past or present, who would it be and why?

Giorgio Moroder, because of his innate sense of research and his will to push the boundaries of music.



What’s a piece of gear or software you can’t live without in the studio?

The Native Instrument Maschine, essential for all our drum parts.



How do you stay motivated and inspired amidst a busy tour schedule?

This is actually the most difficult part time wise, but even if life is frenetic during the tour, we still have the chance to meet new people, hear new stories, and make experiences that influence and give a lot of creative inspiration for the next time we close in the studio, build an idea on the laptop, or write a lyric for the next song. For sure, being able to road test the tracks gives the motivation to make it better.



Imagine you're DJing for an alien audience—what’s the first track you’d play to introduce them to Glowal?

"Open The Gate," because if they are with us, it actually means they made it to another dimension.

In Conversation with Glowal: Emotion, Atmosphere, and the Art of Music

The Evolution and Future of UK Sampling Practice

Sampling has been at the heart of UK electronic dance music since the late 1980s, shaping iconic genres like drum and bass, trip-hop, and big beat. But how it started, why it became so distinctive, and what its future holds tell a fascinating story of creativity born from scarcity.



Why UK Sampling Stood Out

Early UK sampling composers weren’t trained professionals with access to fancy studios or expensive equipment. Instead, they were DIY pioneers working with what they had. Back then, digital samplers could only record a few seconds of audio, and software tools like Cubase were often pirated, with users figuring things out through trial and error. These limitations forced them to innovate, creating short loops, manipulating sounds, and embracing imperfections.



Unlike in the US, where hip-hop sampling was rooted in turntable culture and followed “rules” about respecting certain records and sources, UK sampling was all about being limitless and no restraints. With no strict guidelines, UK producers mixed and matched sounds from different genres—reggae basslines, acid house beats, and even random snippets of vinyl—to create something completely fresh.



The Role of Scarcity

The scarcity of tools, expertise, and even rare vinyl made UK sampling what it was. Producers had to think creatively to overcome these hurdles, which led to the unique sound of early UK EDM. This resourcefulness birthed entire genres that are still celebrated worldwide.



The Present: Challenges and Opportunities

Today, the world of sampling looks very different. With digital tools offering endless possibilities and access to virtually every song ever recorded, you’d think it would be easier than ever to innovate. But ironically, having too much choice can stifle creativity. Where do you start when everything’s an option?



Another big challenge is copyright law. Sampling a single track now can involve costly and time-consuming clearance processes, making the freewheeling creativity of the 1990s harder to replicate. Many artists avoid mainstream attention to dodge legal issues, sticking to underground scenes instead.



What’s Next?

Despite these challenges, the influence of UK sampling lives on. The raw, forward-thinking spirit of the early days continues to inspire new music. While the future may rely less on traditional sampling techniques, the legacy of UK sampling shows that creativity thrives when artists find clever ways to work within their limits. Whether through global online communities or new ways to mix sounds, sampling will keep evolving—and UK music’s experimental edge will always be part of the story.

Cut and Paste: The Evolution of UK Sampling

The Surprising Origins of "Electro"

If you’ve ever heard the term “electro” and thought it was just short for “electronic music,” you’re not alone. But here’s the twist: “electro” actually started as a name for two very specific styles of music—electrofunk and electropop—born in the late 1970s and early 1980s. These genres combined funky grooves or catchy pop melodies with futuristic, electronic sounds.



Think of pioneers like George Clinton, who brought the funk, and Kraftwerk, the German band that leaned into robotic, synthesized music. Their influence laid the groundwork for what would eventually grow into techno. But calling techno a mashup of George Clinton and Kraftwerk, as some have done, skips over some key details.



The number of releases per decade under these three labels shows they are closely interconnected. 



Detroit: The Birthplace of Techno

The story of techno, and how “electro” fits into it, starts in Detroit. DJs and musicians there were influenced by disco, house, and funk scenes from cities like New York and Chicago. For example, Derrick May, one of the first techno producers, was heavily inspired by house music he heard during trips to Chicago. Another early producer, Juan Atkins, was influenced by Kraftwerk and funk, which you can hear in his work with the duo Cybotron.



While Atkins used electrofunk and electropop elements in his music, the techno that followed didn’t really stick to that formula. By the mid-1980s, Detroit artists were creating music that sounded very different from the funky, syncopated rhythms of electrofunk.



Why "Electro" Can Be Confusing

Here’s where it gets tricky: in the early 1980s, “electro” was widely understood to mean electrofunk or electropop. But by the late 1990s, especially in France, “électro” started being used to describe all kinds of electronic music, from techno to house and beyond. This newer meaning can make things confusing, especially when looking at the history of electronic music.



Why It Matters

Understanding where “electro” comes from isn’t just about knowing music trivia. It’s a way to see how music evolves over time, shaped by technology, culture, and global influences. Next time you hear someone say “electro,” think back to its funky, poppy roots—and how it became a term that’s now used for so much more. Knowing the history adds a layer of appreciation for the music we hear today.

What Exactly is "Electro" and Why Does It Matter?

Techno music reached its peak popularity in the early 1990s, becoming a powerful cultural movement in Europe. After starting in Detroit, where it reflected the city’s industrial decline, the genre found a new home in Berlin. At the time, Berlin was experiencing its own dramatic transformation after the fall of the Berlin Wall and reunification of Germany. The de-industrialization of East Berlin left behind numerous empty, abandoned spaces, which became the perfect venues for underground techno raves.



One of the most famous clubs from this era was Tresor, founded by Dimitri Hegemann. It became a central hub for Berlin’s burgeoning techno scene. The city’s rave culture was seen as a way to bridge the divide between East and West Berliners, fostering unity not just in Germany but across Europe. 



Events like the Love Parade drew massive crowds, celebrating peace and community. However, critics argued that the "peace" message also reflected conformity and an acceptance of the status quo. 



In the UK, rave culture began to decline by the mid-1990s, but this shift led to a more thoughtful phase for techno. People started seeking music that catered to quieter, reflective moments after wild nights of partying. 



This gave rise to "intelligent techno", a subgenre that focused on minimalism and intricate sound design. Albums like Warp Records’ ‘Artificial Intelligence’ presented techno as music for listening, not just dancing. This trend appealed to a more mature audience, emphasizing artistry over mass appeal.



Techno's evolution also brought commercialization. Institutions like Ministry of Sound turned dance music into a global lifestyle brand, focusing on creating high-quality music experiences for a broader audience. However, by the early 2000s, some critics declared minimal techno outdated, with its repetitive sounds losing favor in the ever-changing music scene.



Despite these challenges, Berlin has maintained its reputation as the global center of techno music innovation. Unlike the UK’s quick trend cycles, Germany embraced steady growth, allowing its scene to thrive and continue influencing artists worldwide. Today, techno's legacy remains as a symbol of creativity, unity, and resilience in changing times.

The Rise, Fall, and Legacy of 1990s Techno

DJ and producer Sol Pillars is at the forefront of South Africa’s D&B underground. Since he first discovered the genre at a weekly Johannesburg club night in 2014, he’s remained dedicated to exploring every corner of the genre, mining its potential to touch on the full range of human emotions. Today, the Sciencefrikshun and Addictshun resident chats about his early influences, South Africa’s thriving D&B scene and his ambitions for the future.




D&B in Johannesburg




Just like many D&B heads in South Africa, Sol’s early foray into the genre was through the weekly club night Addictshun. He grew up on the east side of Johannesburg and started exploring the city’s underground culture as a teen, first through street parties, then techno nights and then D&B. “I discovered D&B when I was 17, right at the end of high school,” he says. “I loved all the different types of people with their own vibe coming together, and it was my first time hearing a Void Acoustic sound system as well.”




After that, Sol was hooked. He became immersed in the community, and with their encouragement started learning how to DJ. He was already comfortable performing as he’d been a guitarist in bands before, so DJing was a natural evolution.




Sol’s first D&B gig was in a tiny bar in the north of Johannesburg, which caught the attention of the Addictshun crew, and he started playing at their events. Addictshun is all about getting as many people as possible involved in the scene, so the community grew quickly, with the sense of inclusivity drawing people in.




SA’s Underground




In South Africa, Drum & Bass is most popular in Johannesburg and Cape Town. “It’s picked up a lot of momentum in the last five years or so,” Sol says. “Cape Town has one of the longest standing brands in D&B - It Came From The Jungle – they’ve been going for 17 years.”




They’re hosted in a new warehouse venue called Alley, fitted out with Void Acoustics and an unparallelled lighting set up. Meanwhile, Johannesburg’s stand out club nights include Cherch and Propaganda.




“Sciencefrikshun is my crew,” Sol says. “Their nights are at a venue called And Club which is more known for techno. Cherch usually have their nights in warehouse clubs, with incredible custom light shows they change up every year.”




Sol says that South Africa is spoiled for choice when it comes to world class venues and state-of-the-art sound systems, and the music is unique. “There's a lot of influences, not just from overseas, but also from within,” he says. “There’s tons of genres that are really prominent in the country, like house music and psy-trance and techno, so it’s a vibrant landscape. Our dance floors are very energetic and uplifting, so it's an exciting place to be.”




Just with all D&B scenes, the community is a diverse bunch with a good mix of men and women. There’s the youngsters of course, in their late teens and twenties, who are discovering the genre for the first time, and there are people in their 30s, 40s and beyond enjoying the scene. “The scene in South Africa is very welcoming, you can be whatever you want without fear of judgment or persecution,” Sol says.




Productions and Residencies




Since he released his first track in 2020, Sol’s built a reputation as an explorative and emotive producer. He’s released tracks and EPs on labels such as Bay 6 Recordings, Calibrate Records, Rubricate, Modular Carnage and Propaganda011, and played some of the country’s biggest festivals. His residencies on Sciencefrikshun and Addictshun, two of SA’s biggest club nights, have only cemented his sound and motivated him to continue.


“Sciencefrikshun really allowed me to experiment, hone my sound and develop my technical skills,” Sol says. “I’ve played on the same line-ups as big international artists but what’s important to me is being able to perform regularly and build a name for myself that way.”




Sol is building a mini D&B empire. He runs 1-on-1 production lessons under his Soul Link Music label, and just launched his own event series called Open Signal, with their first event taking place on 13th December at Hexagon in Cape Town.




Sol recently moved from Johannesburg to Cape Town, with big plans to release eight original tracks in the coming year, many on his own label. Sol hopes to release the first tune before the end of 2024 and use it as a launch pad to share music from other artists. “I want to own my own music, put out what I want without having to fit in another labels’ sound, and start a platform for other artists in South Africa,” he says.

D&B in Focus: Sol Pillars

James Wyler is building serious momentum in the minimal tech circuit. Born in New Jersey, then living out in North Carolina’s small but tight underground house scene, he’s come a long way since those early days, now based in Brooklyn where he’s built a studio that’s become his creative home base. Tucked into the concrete walls of his apartment’s basement, it’s the perfect spot to experiment with sound at full volume, his Ableton Push always within reach.

When he’s not in the studio, Wyler’s out with his Fujifilm camera, snapping moments from his travels that end up shaping his music. Whether it’s digging for vinyl at Brooklyn’s record stores, hitting live jazz bars for some sax and piano vibes, or taking his dogs for long walks with headphones on, Wyler finds plenty of everyday inspiration outside the club.



House music hit him hard back in college, especially after a life-changing trip to Europe where a night on the terrace at Amnesia Ibiza sparked his love and interest in the scene. Since then, he’s been building his sound—pulling from old-school jazz and funk, stripped-back Romanian grooves, and terrace-ready tech. Now, with tracks out on labels like Solid Grooves, Whippin, Factory 93, Rawthentic, and collaborations with artists like Kyle Walker, Slugg, ChaseWest, Fletch, and more, Wyler’s gearing up for what’s shaping up to be a big and bright 2025.

In this interview, Wyler breaks down his influences, fueling the artistic workflow, and what’s next for him in our beloved world of music. For fans of groovy minimal tech and those curious about where the community is headed, this is a read you’ll want to check out.



You’ve mentioned building out your home studio in Brooklyn was key when moving to New York. What’s your favorite part of the space and how has it influenced your creative process?

Yeah, moving can always be a pain, but it was exciting to have a part of our new home that I could look forward to building out. Over the years, I have been compiling different pieces of equipment, and I feel like I'm finally in a place where I have all the pieces that I am consistently using on my music. 

We found an apartment with a room that is down in our basement, which allows me to enter the studio without the stressor that our neighbors are going to have an issue with the sound, seeing that the room is completely surrounded by concrete. My favorite part of my studio is more so a favorite piece… I would probably say it is my Ableton Push; I use that in every track! Honestly, too, I feel that the change of environment has helped spark a lot of new creativity for me.



Aside from music, you’re also into photography. How does shooting with your Fujifilm fit into your daily routine, and does it ever inspire your music?

It definitely has influenced my music. I realized that I have made it a habit when not only touring but also when doing any kind of travel that I am seeing the things around me from a new perspective…thinking about capturing shots that really emphasize the feeling a place brings me. Retrospectively, this gets me thinking about how my sound can embody a place, venue, or specific part of the world. I have been building out a bank of shots that have inspired me and finding a way to make it all blend into the brand and vibe I want to share. You will definitely see it included more and more in my project next year.



What’s the one thing you always have to do when you’re back in North Carolina?

There’s this unbelievable Cuban spot I can’t skip – Calle De Sol. It’s basically tradition at this point. Plus, the neighborhood where this restaurant is located holds a lot of Charlotte history. Going back to places like that is always on the list.



You travel for shows both in the US and internationally. How do you stay grounded amidst the hectic schedule, and how do different places inspire your sound?

Hitting the gym or going for a run keeps me sane on the road. Physical activity is one of those things that, no matter where you are in the world, you can find a way to stay active. Of course, there are the places I go to and have the luxury of a gym, but even just making it a point to get out for a run not only brings me a sense of groundedness but also a spark for inspiration. When I can get outside places like the deserts of Riyadh, Saudi Arabia, or the beaches off the coast of San Diego, CA, when I am able to immerse myself in an entirely different lifestyle from my own, I am definitely inspired.



Going to record stores around Brooklyn sounds like a cool hobby. Any recent vinyl discoveries you’ve been obsessed with?

Yeah, I recently picked up “Comin’ Home Baby” by Herbie Mann. It’s got such a cool, old-school groove.



You’ve got a couple of dogs – how do they factor into your day-to-day life? Do you ever find inspiration during your walks with them?

Haha, they’re a handful, but they keep me in a routine. Routines revolving around daily walks or even just keeping them fed play a huge factor for me in staying balanced. When out on a long walk where I have my headphones in, I’m always discovering new tracks and sounds.



Tell us about the underground party scene in North Carolina and how it influenced your start in house music?

It's interesting because there was really only one group of guys throwing underground music back when I got into it around 2016/2017. It was awesome they were bringing guys like Paco Osuna and Stacey Pullen, but the scene has really grown, and there are a lot of promoters that are now throwing some awesome parties.



As far as influences, I really have to give a shoutout to my boy Dan, as he is the one that really showed me proper house music back in the day. When I initially started working on music, I wanted to learn how I could discover techniques that Jamie Jones was using in tracks like “You!”. 

Thinking about it now, it is crazy thinking back on how much my sound has been able to evolve from back in my NC studio, which originally consisted of a computer table with two speakers shoved into a corner of my room right next to my bed.



You’ve mentioned seeing Marco Carola at Amnesia in Ibiza as a pivotal moment in shaping your sound. What specifically about that experience lit the fire for your music career?

That night was unforgettable. I’d been DJing for a while at that point, but seeing Paco open for Marco on the terrace – the energy was like nothing I’d ever felt. The way the crowd moved together was unreal. After that, I knew I wanted to create that same kind of magic.



How did your first gig feel, and what’s the biggest thing you’ve learned since then about performing live?

I started out playing top 40 and hip-hop, so it was a different vibe. I am thankful, though, for getting to play for those kinds of crowds at the beginning. It taught me the importance of being able to read a crowd. Biggest lesson so far? 



Just to make sure I am always enjoying it, making sure I am having fun when on stage, as the crowd feeds off your energy. Also, just spending endless hours digging for music—it’s always a great feeling when you play something new that people haven't heard before and you can feel it in the reaction on the dancefloor.



Your discography includes releases on top labels like Solid Grooves Raw and Rawthentic. How do you approach each new project, and do you have any rituals in the studio?

Before any session, I spend 20-30 minutes just vibing to music that inspires me—could be new, could be old, doesn’t matter. It gets me in the groove, and from there, I let things flow naturally. 



It has been nice getting in the studio this past year with different artists from all over the world and seeing how they, too, start sessions and how we find a way to merge our creative rituals into one for collaborations.





What role does jazz, funk, and soul play in your music today? Do these influences sneak into your tracks in unexpected ways?

Always. I pull a lot from ‘70s and ‘80s tracks. That groove and feel are timeless, and I want that same energy in my own music when it hits a dancefloor.



Do you remember the first time you hit a jazz bar in Brooklyn? What keeps bringing you back to live jazz performances?

Absolutely insane vibe. A friend invited me to this spot in Manhattan, a tiny apartment-turned-music-venue. BYOB, 50-person cap—the energy was electric. Live jazz is just something else.



Who do you currently have on repeat when it comes to stripped-back Romanian minimal grooves? What about those sounds grabs your attention?

Jean Pierre, Jesse Calosso, Fletch, Mason Collective—I really love what these guys are putting out at the moment and draw a ton of inspiration from their music. But I do have a strong connection with a deeper side with guys like Michael James, Pascal Benjamin, Traumer, etc. There's just something about a strong groove on a good system that hits different.



You’ve drawn inspiration from artists like ANOTR and Franky Rizardo. What about the newer wave of artists do you connect with most?

I’m all about forward-thinking music and artists who love what they do. ANOTR, for example, has really shown that it’s cool to just be yourself and share your art, however it comes out. I am constantly trying to push myself to embrace this mindset and creative style.



Being surrounded by these pockets of young artists that are really starting to explode helps draw out motivation when I am seeing these guys that have really been coming up in the scene alongside me having a lot of success in our own ways. Our community of not only artists but also other industry faces that build up artists behind the scenes is truly encouraging, and it's amazing to get the opportunity to see us all flourish.



With so many influences from big names and rising artists, how do you keep your sound uniquely yours?



Just continuing to push myself to create new styles of tracks. It honestly makes it more fun exploring and getting creative with new ways of working. I’ve recently started working with vocalists, which has really allowed me to be more creative and personal with my music. Additionally, getting in the studio this year with Fletch, ChaseWest, Slugg, Ky William, Kyle Walker, and the Risque crew, to name a few, has really pushed boundaries with my music.



What’s your guilty pleasure track or artist that people would be surprised to hear you love?

A Tribe Called Quest – "Electric Relaxation." Total classic.





Any funny tour stories that come to mind from your recent travels?

Nothing too specific stands out, but lately, it’s been all about those spontaneous, unforgettable moments—meeting incredible people from all corners of the world and soaking up new cultures with my closest friends. Every adventure feels like a new chapter in this crazy story we're writing together.



If you could play a surprise set anywhere in the world tomorrow, where would it be and why?

Amnesia Terrace. It’s iconic, and that energy is unmatched.



You’re stuck on a deserted island but somehow have a solar-powered DJ setup. What three records do you bring with you?

Gadjo – “So Many Times,” Toto – “Africa,” Frankie Smith – “Double Dutch Bus.” Love this question, though, because I have actually taken a personality quiz where my results stated that I would struggle to be stranded on an island because I am someone who loves being in and around people.



What’s next for James Wyler? Anything exciting in the works that we should keep our ears out for?

Early 2025 is shaping up for me as we close out 2024… Got some new releases lined up, experimenting with fresh styles in the studio, including some collabs with Kyle Walker & Fletch. 



The Risque crew here in NY has really given me a home base team that I am building out new projects with as I’ve gotten involved with the label and parties, so I’m excited to see things grow going into next year.

The Studio, The Road, and The Groove: An Interview with James Wyler

As Art Basel approaches, Miami transforms into a hub for creativity, culture, and music. Among the standout events this year, the Deep Root Tribe party at Toe Jam Backlot on Friday, December 6th, promises to be a highlight. With Francis Mercier at the helm and a carefully curated lineup of talent, this event is set to offer a unique experience for afro house enthusiasts.


Headlining the event is Francis Mercier, a Haitian-born artist and founder of Deep Root Records. Mercier’s influence on the afro house genre has earned him recognition from global platforms like Forbes, Billboard, and DJ Mag. 



His tracks have topped charts, including reaching #2 on Beatport’s Top 10 overall, and are staples on major stations such as Tomorrowland One Radio, BBC Radio 1, and Diplo’s Revolution on SiriusXM. Francis Mercier has performed at incredible destinations around the globe, including Mumbai, Lebanon, Colombia, Morocco, Miami, and beyond, selling out  shows that connect with diverse audiences worldwide.



Mercier’s collaborations with labels like Sony, Universal, and Mad Decent, and his work with icons like Gorgon City, Black Uhuru, and BLOND:ISH, underscore his role in afro house’s growth. His music has been supported by industry leaders including Black Coffee, Vintage Culture, and Keinemusik, and his tracks have been licensed by brands like Disney, Netflix, and Porsche. Mercier’s ability to connect global sounds with afro and tribal influences makes him one of the most exciting artists to catch during Art Basel.



Joining Mercier is a lineup of equally impressive talent. Italian DJ and producer MoBlack, widely credited with elevating afro house to new heights, will also take the stage. MoBlack’s performances at festivals like Terminus and Brunch Elektronik have earned him a reputation for bringing rich, soulful energy to his sets. He has been supported by heavyweights like Black Coffee and Pete Tong, making him a name to watch.



From Denver, Peace Control, the DJ duo behind a standout remix of Fireboy DML’s “Peru,” brings their unique sound to the night. Their rise has seen them perform at top venues like DC-10 Circoloco, CityFox Brooklyn Mirage, and Jolene Miami, showcasing a knack for connecting with diverse audiences.



London-based Alan Dixon adds a fresh element to the lineup. Known for his disco-influenced sound, Dixon has played globally at iconic venues like Glastonbury, Pikes Ibiza, and Ministry of Sound in Singapore. His track Thandaza, in collaboration with Keinemusik speaks volumes for his valuable addition to the lineup. 



Gray Area’s resident DJ, Luna Mar, will also take the decks. Having opened for notable acts like Franky Rizardo and Shimza and played elrow parties, she brings experience and versatility that ensures a memorable set. Rounding out the night are talented artists Joezi, Saraga, Adam Nazar, and Kanykei, each adding their unique styles and perspectives to the event.




Toe Jam Backlot in Miami’s Wynwood Art District serves as the ideal setting for this celebration. Known for its eclectic decor, including retro art and unique installations, the venue offers both indoor and outdoor stages, a VIP room, and a state-of-the-art sound system. 



Its 22,000 square feet of space ensures there’s room to fully immerse yourself in the music and energy of the night.

The Deep Root Tribe Return: Art Basel 2024 Edition

What is 3-Step Afro Music?

If you haven’t heard about 3-Step Afro Music yet, keep reading—this fresh subgenre is emerging from South Africa’s dance music scene, and it’s one you'll want to know about. Born from the creative energy of artists experimenting with Afro house, amapiano, and broken beat, 3-Step is quickly becoming a favorite for fans who love music that’s both rhythmically powerful and melodically rich.



At its core, 3-Step is defined by its three-kick-drum rhythm, which gives the tracks their unique groove. But there’s more to it than just the drums. The music pulls together influences from amapiano’s deep basslines and iconic log drums, Afro tech’s punchy and driving percussion, and broken beat’s playful syncopation. Add in jazzy horns, intricate handclaps, and layers of percussion, and you’ve got a sound that feels fresh but still carries the soul of Afro house and amapiano.

It’s a genre that finds balance—steady and grounding rhythms paired with melodic flourishes that give each track depth and character. Whether you’re a fan of amapiano’s signature bounce or the atmospheric grooves of Afro tech, 3-Step offers something that’s bound to draw you in.

Five Examples of 3-Step Tracks:



Who Pioneered 3-Step?

3-Step was created by Thakzin, a producer from Ivory Park in Johannesburg. During the quiet of the 2020 lockdowns, Thakzin began rethinking his approach to music, breaking down his production style and building it back with simplicity and groove in mind. He wanted to create something that felt fresh but still connected to the roots of South African house music.



Thakzin’s track “The Magnificent Dance” introduced this new sound to the world. Released in 2022, it became a summer anthem in South Africa and gained attention internationally. 



Artists like Black Coffee, Shimza, and Themba embraced the sound, helping it reach a wider audience. Thakzin’s ability to merge different styles into something cohesive has made him the face of the 3-Step movement.



Why Is 3-Step Gaining Attention?

3-Step is rising fast because it feels like a natural evolution of South African electronic music. It combines elements of popular genres while introducing a fresh perspective. The rhythm-heavy structure appeals to dance music fans, but its melodic layers make it versatile enough to cross into different scenes. As South Africa continues to be a global hub for music, 3-Step has the potential to become a defining sound.



Thakzin isn’t the only artist exploring the possibilities of 3-Step. Producers like MÖRDA, SGVO, and Darque are also experimenting with the sound, each adding their own flavor to the genre and contributing to its growth. In a music scene that’s always evolving, 3-Step offers a refreshing balance of familiarity and innovation, making it a standout style with room to grow.



Background and Future

3-Step’s roots lie in South Africa’s long tradition of blending cultural influences into something entirely fresh. It follows the trajectory of amapiano and Afro house but moves in a different direction, simplifying production to focus on rhythm and emotional shifts. For Thakzin, this is a way to revive the authenticity of Afro house, which he feels has lost its connection to its roots in recent years.



As more artists experiment with this sound, 3-Step is proving to be more than just a passing trend. It’s establishing itself as a significant part of South Africa’s music scene, with the potential to resonate globally.

3-Step: The Next Sound in Afro House

When it comes to D&B pies, KLUELESS has her fingers in just about all of them. The Kazakhstan-born, London-based DJ, producer, UKF channel and playlist curator and A&R specialist talks through her journey into D&B, how it’s impacted her life and why she’s happy to spend every waking hour immersed in it.




Discovering D&B




Kamila Bookless, AKA KLUELESS, grew up in Newcastle, a city in the north of England isn’t well known for it’s D&B scene. So it was only when she went to university in Reading that she heard the rhythms of D&B. It was 2018 and she dived headfirst into the scene, besotted by the way the music made her feel and desperate for more. It was only then that she looked back at the music she listened to as a kid and realized she’d had a taste for it all along.




“I adored “Heartbeat Loud” by Andy C and "Hot Right Now” by Rita Ora and DJ Fresh from a young age,” she says. “And it was only when I looked back I realized these are D&B tunes. So I loved D&B without even knowing what the genre was.”




Reading was the perfect city for Kamila thanks to its rich club culture. “They had this venue called Purple Turtle which had an underground dungeon that played D&B, and then Sub89 was the main rave venue,” she says.




Kamila joined the Drum & Bass society in her third year where she started learning to DJ, and a few months later she was being booked for gigs across the city. “It was weird going from a punter to being behind the decks,” she says.




A Career in Music




Once she graduated, Kamila didn’t think too hard about making music her career – she just knew it was going to be part of her life no matter what. At first she applied for jobs in TV and film production but when that didn’t work out she considered following her real passion. She applied for roles at Hospital Records, Shogun Audio and Souped Up, and eventually landed a role at UKF. That was two years ago.




“Since then I’ve been investing in perfecting my mixes, my ability to perform, being my own booking agent, managing my own social content, and being as engaging as possible,” she says. "And now production as well.”




Day-to-day, Kamila runs A&R for UKF’s YouTube channel, which has over 10 million subscribers. She spends a huge chunk of her day listening to hundreds of D&B tracks to decipher what works for the label, which gives her a deep understanding of the various sub-genres of D&B. She also updates playlists, creates videos and uploads promos.







DJ'ing, Mixing and Producing



All this time spent listening to music feeds into her DJing skills, making her arguably one of the most up-to-date D&B DJs in the UK. Kamila’s bass-heavy sets have become staples in London’s underground, and she regularly performs at some of the city’s most celebrated venues from Village Underground to Colours Hoxton. She’s made recent guest mixes for dubstep label Deep Dark and Dangerous, as well as Deep Tempo and Riot Records, and loves how the latest wave of dubstep is breaking new sonic ground. “I feel like dubstep in particular is such an exciting genre,” she says. “People are making really unique, brand new sounds that we've not heard before, and it's really popping off at clubs.”




Perhaps unsurprisingly, Kamila listens to music non-stop. “In working hours it’ll be an hour or two listening to music promos,” she says. “Then I’ll put on a mix while I’m doing admin, and Iisten to music when I’m prepping a set.” Kamila pauses to think. “I don't really stop listening to music ever,” she laughs. “When I wake up, the first thing I do is put on music, and I actually sleep to music every night as well.”




The only time Kamila stops listening to music is when her air pods run out of battery.




But it’s for good reason. “D&B culture is youth culture,” Kamila says. "Rave culture is youth culture, because it's this idea of breaking the rules, being different, being part of a community.”




Kamila is happy the culture has opened up to everyone, because it’s always been about inclusivity and community. “D&B has been through so many cycles, and I’m so happy it’s more diverse now. D&B stems from such rich culture it wouldn’t make sense without diversity,” she says.




In December, UKF will throw a huge party to celebrate 15 years. They’ve already sold out Drumsheds, and invited bass music royalty including Pendulum, Caspa and Rusko, Flux Pavilion and dozens more. KLUELESS will be playing the Bristol leg and just announced that she’ll be part of Rinse FM’s radio roster. To top it all off she’s been working on her own productions and can’t wait to play out some of her latest creations during her sets.




With her relentless commitment to the genre, KLUELESS is fast becoming one of the most loved names in bass music – not just because of her sick selections but because of her unending support for the community.

D&B in Focus: KLUELESS

In just a few short years, Brazil’s Classmatic has gone from spinning in his hometown of Tubarão, Santa Catarina, to becoming a name you can’t miss in the tech house space. With his breakout track “Toma Dale” that took over charts and dance floors, a string of high-profile performances at iconic venues and festivals like Hï Ibiza, Space Miami, and DC-10, Tomorrowland Brasil, releases on labels such as Hot Creations and Solid Grooves, Classmatic’s rise has been impressive and admirable.



Inspired by industry heavyweights like The Martinez Brothers, Jamie Jones, and Marco Carola, his music pulls from minimal tech house, Latin grooves, and even hip-hop, creating tracks that moves dance floors worldwide. Beyond his work as a DJ and producer, he’s also the founder of Organic Pieces, a label designed to champion upcoming talent and bring fresh music to the forefront.

In this exclusive interview, Classmatic reflects on his career-defining moments, the spark behind his sounds, and his vision for the future, giving fans a closer look into the artist's background. From playing alongside house music favorites like Paco Osuna and The Martinez Brothers to his goals for fostering new talent, Classmatic’s journey is all about leveling up, working with the right people, and staying true to the music he loves. 



You’ve had an incredible journey from Tubarão to performing on some of the world’s biggest stages. What moment in your career made you realize you’d “made it”?

When I was playing at Amnesia Ibiza in 2022. It happened so fast.



You’ve performed at legendary venues like Hï Ibiza, DC-10, and Space Miami. What’s a venue or festival still on your bucket list?

I’d love to play in so many places but the ones I’d love to play more are: 
ilMuretto (Italy), Circoloco (Ibiza), Kappa Futur (Italy) and Music On (Netherlands)



Which artists or producers have had the biggest influence on your sound over the years?

The Martinez Brothers, Jamie Jones, Marco Carola, Amine Edge & DANCE and ANOTR.



When launching Organic Pieces, what did you want to achieve for both yourself and upcoming artists?

For myself I would say that I wanted to create my own style of music in terms of what I believe it’s interesting for the market. 



For the upcoming artists I would say that I realize how many great artists were sending great unreleased music for me and all of those tracks were killing on the dance floor. I wanted to help them in some way so I decided to create my own crew of upcoming artists because of that!



Your catalog has spanned many sounds, from minimal tech house to Latin-infused grooves. Is there a style or genre you’re curious to experiment with next?

House and Hip-Hop.

What was it like sharing the stage with legends like Paco Osuna and The Martinez Brothers? Any memorable stories?

It feels amazing. The Bros are my biggest inspiration so it’s always great to share the stage with them. Besides that, their team treats everyone as a family so I always feel comfortable with them when we share the stage. Paco is also a great person and a great DJ. It feels incredible to share the stage with both of them.



In a set, do you prefer playing your own tracks or surprising the crowd with unexpected finds?

Surprise the crowd with unexpected stuff for sure!



Who are some of the new artists you’re currently listening to or working with that we should watch out for?

Marian, nocapz., guerrA., Simas, Goosey, Crewcutz, Panna, zitty (BR), Gabss, Stephano Franca, Freenzy, Misha, ENNE, Jopatino, Kling (BR), gsxtavo.

When you’re about to release a new track, how do you know it’s “ready”?

When my audience starts asking the release date.



If you could DJ for any crowd in history, where would you go and who would you want to see dancing?

In my city: Florianópolis with my friends and my family.

Imagine you’re on a deserted island with one album and one DJ setup. What album are you bringing?

Eminem - Slim Shady LP.



Last one! If you had to describe your DJ style in three words, what would they be?

Groovy, authentic and energetic.

Hitting All the Right Notes: A Chat with Classmatic

In a world where digital streaming makes music instantly accessible, the concept of rarity has all but disappeared. This is where Mood Child, the brainchild of Manda Moor and Sirus Hood, has made its mark by reintroducing the allure of exclusivity with their 'Mood Edits' series. This unique project, launched on Bandcamp, offers edited tracks available for a limited time—just one month—before they disappear, replaced by new volumes. This approach challenges the "always available" culture of modern music consumption, providing listeners with a sense of discovery and urgency.



The idea behind Mood Edits stems from the founders' shared realization that the abundance of music in today's digital age can dilute its impact. Sirus Hood, inspired by his own journey as a French DJ who fell in love with house music through hard-to-find mixtapes from Algiers clubs, wanted to recapture that magic. The result has been a series celebrated by heavyweights like The Martinez Brothers and Loco Dice, who regularly play the edits in their sets.



Mood Child’s ethos goes beyond this series. The label has swiftly climbed Beatport's charts, becoming the #1 trending Tech-House label and securing the #2 spot in Top Label Hype for Tech House. But their success isn’t just about numbers. Their releases showcase a deliberate effort to craft tracks with emotional range and depth, connecting with listeners in unexpected ways.



What sets Mood Child apart is its ability to blend creativity with community. Their events—spanning legendary venues like Hï Ibiza, Superior Ingredients, and Café Mambo—are more than just parties; they’re spaces where music, artistry, and technology meet. Mood Child has become not just a label, but a cultural touchpoint for a new way of experiencing and valuing music.

Mood Child: Redefining Music's Rarity in the Digital Age

AQUTIE is redefining what it means to be a DJ in New York’s vibrant music scene. The Harlem-born, South African-Guinean artist has spent the last decade building a career rooted in blending African and global sounds, from amapiano to afro house, disco, and even UK funky. Her unique ability to mix cultural influences with crowd-pleasing ingenuity has earned her slots at some of the most renowned stages in the world, including Boiler Room, Brooklyn Mirage, Savaya Bali, and Afro Nation.

A self-taught DJ who started spinning tracks at college parties, AQUTIE has since become a trailblazer in introducing amapiano to New York City, creating events like AMAPIANO NYC and Heat House to foster a deeper connection between audiences and the music. Her journey hasn’t been without challenges—empty dance floors and skeptical crowds were common early on—but through perseverance, collaboration, and a sharp ear for what resonates, she turned an unfamiliar sound into a local staple.

Now, with a career spanning 10 years, AQUTIE continues to bring her heritage and artistry to the forefront of international music. Her story is one of determination, creativity, and a relentless belief in the power of music to connect cultures and inspire.



What was the most unexpected challenge you faced while introducing amapiano to New York, and how did you overcome it?

People were not receptive to it. I had to deal with a lot of empty dance floors and had many sets that didn’t really give me the opportunity to showcase and shine. I overcame it by just continuing on. In order for others to believe in me, I had to believe in myself. I did a lot of teaching, and by teaching, I mean having conversations with people, creating my own events, collaborating with others who played similar music, and mixing in familiar music with South African house music. It wasn’t easy, but I always knew that I had a special thing going and that I would stand out.



You've played at iconic venues around the world. How does the energy of a New York crowd compare to international audiences like Toronto or Bali?

NYC is a special place. It honestly spoils you. I sometimes have the tendency to compare NYC to other places because I’m just so blessed in that way. The crowds in NYC are really open-minded when it comes to music and culture, so introducing them to this sound was quite difficult but not impossible. I just had to figure out how to do it. I do love being able to go to these different places, play the music I love so much for them, and see them enjoy it.



What has been the most rewarding part of curating events like AMAPIANO NYC and Heat House?

AMAPIANO NYC was special because no one was doing it. It came at a time when the world was still, and people were interested in learning about other things besides themselves. The music was infectious, and the people that attended were music enthusiasts with a passion for rich experiences. They didn’t care about the location; all they cared about was having a good time with good people and good music. They were also hearing something they hadn’t really heard before, so they were really taken aback—in a good way, of course. They just wanted to know more, and now amapiano has gone global.



Heat House is definitely an extension of my love for Black dance music. It allows us to create a space for people to party in the name of house music. Wemi and I have worked hard to bring a unique experience to people, and we’re just getting started. We’ve been able to travel with the event, book some of our favorite acts, and honestly just have a good time. We felt like the art of partying was dying, and we grew up in a time where partying was everything. There wasn’t any social media or content creation... none of those things. Most of all, the focus of a party was to DANCE and CONNECT with others, and we felt that was missing in the NYC dance scene. I’m grateful for how far we’ve come.



You’ve been blending African and global sounds for years. How do you see the future of AfroTech and amapiano evolving in international dance music?

I envision bigger stages, more opportunities to teach people about the sound globally, and I think what will really help us get to these goals is through collaboration. We’re much stronger together.



How do you approach storytelling through your sets? Is there a particular journey you try to take your audience on each time?

Storytelling is my forte. I’ll start off slow and then gradually pick up the bpm as I go along. I’ll start with some amapiano, then end up in some deep house. I’ll go into AfroTech, then shift into Afro house. Next thing you know, I’m playing a disco record, and somehow I start playing some UK funky. I never know where I’ll end up, but I always know that I’ll deliver.

What’s been the most influential non-musical experience that has shaped your approach to DJing?

Patience! Because entertainment is not an easy field to be in. I’ve had to teach myself that my journey is different from others and that I can’t compare myself.



The past decade has seen you evolve from hosting college parties to commanding global stages. What’s one thing you wish you could tell your younger self at the start of your journey?

Honestly... I’ve always been in my own lane and have always believed in myself, even in the very beginning. One of my very first college parties, we spent 80% of the party trying to figure out how to get the sound, and once we finally did, we rocked that party out for the last hour or so, and it was one of the most memorable nights of the year. No one was there to teach me these things; I had to learn on my own, and I think that gave me the push I needed to succeed.



What’s a lesser-known genre or musical trend you’re currently obsessed with and think more people should explore?

3 Step is a new genre of music that is a mixture of amapiano and deep house. It was created this year and is still evolving.

With the growing presence of women DJs, what do you hope to see more of in the industry in the next few years?

REPRESENTATION! That’s it, that’s the tweet.



Your sets often feature seamless transitions across genres. How do you select which genres to blend for a specific event or crowd?

Every set is different, so I like to see who I’m playing with and start there. Reading a crowd is also helpful as well, seeing what they move to... but you can’t always trust a crowd either because people are sticklers, and they’ll only dance to what they know these days. BUT as a DJ, it’s your duty to introduce them to new sounds, which means you have to trust yourself. Outside of that, I honestly wing my sets. I don’t like to pre-select songs I’ll be playing. We all have those key tracks we like to play, but I like to surprise myself.



How do you define success as an artist? Has that definition changed for you over the years?

Success for me is when you inspire others in ways you never thought you could. Success is when someone comes up to you and thanks you for playing an awesome set. Success is so much more than the big stages; it’s the little ones too. We often measure success with money, and it’s so beyond that. Success to me is when you’re happy, fulfilled, and spreading indescribable joy with others. I’ve had very successful moments in my career, and I absolutely plan to have more.

Is there a particular ritual or routine you follow before stepping onto the decks for a big performance?

I like to listen to no music at all before my set, or I listen to different genres that are the total opposite of what I’m about to play.



As someone deeply connected to both your African heritage and your American upbringing, how do you approach bridging those cultural influences in your music?

I had to do a lot of this when I first started playing South African music. I used to do a lot of edits and mixes of South African songs with acapella's of hip hop or R&B records, or mixed in soca with some South African house music because the BPMs are close in range. That’s honestly how I was able to win people over. That familiarity helped them understand more.



What’s the one piece of equipment or software you can’t live without in your setup?

My headphones. I usually play without them, but it’s always nice to have them there because we all know how technical things can get.

If you could create the ultimate music festival lineup, who are the top five acts you’d want to perform alongside?

Kaytranada, Louie & Anane Vega, Shermanology, and Caiiro.

Sound of the Diaspora: AQUTIE’s Amapiano Evolution

James Juke, a San Francisco native turned Brooklyn resident, has quickly established himself as a formidable force in the house music industry. Known for his talent to blend the soulful, deep sounds of New York house with the funky, jackin’ grooves of Chicago, Juke’s music strikes a balance between reverence for house music’s roots and a modern, leading-edge approach. His talent hasn’t gone unnoticed, earning early support from heavyweights like Disclosure, A-Trak, and Demuir.



With performances at celebrated venues like Elsewhere, Berlin’s Golden Gate, and Art Basel’s Factory Town, James has built a reputation for curating flawless sets tailored to diverse audiences. Whether it’s spinning rare disco grooves, jazzy deep house, or high-energy techno, his versatility and depth as a DJ stand out. Beyond the decks, he’s also made big moves with collaborations, including producing nearly 10 tracks with LION BABE and remixing for Channel Tres—projects that have helped him refine his underground sound for broader appeal.


In this interview, James opens up about his journey from San Francisco to Brooklyn, the inspirations that drive his artistry, and the evolving nature of his music. From the magic of Theo Parrish’s marathon sets at Nowadays to his dream of working with Chaka Khan, Juke offers a glimpse into the mind of an artist who is as reflective as he is driven.


Let's dive right into our chat! 



You’ve mentioned a turning point for you was a night on the dancefloor in Buenos Aires. What do you think makes a perfect night on the dancefloor?

Sound, lights, and energy of the crowd is the trifecta for me. Specifically, I’ve found that lower lit/darker rooms paired with a heavy sound system encourage people to get lost in the music and actually dance. I think that in New York Nowadays and Bossa Nova achieve this really well. It feels trite to say that a dancefloor without phones is superior—and that’s true—but I don’t often hear people question how the dynamics and specific features of a club contribute to that.



Moving from San Francisco to Brooklyn is a big change. What has each city taught you about music and your approach to DJing?

Although San Francisco is a relatively small scene, I was able to find well-curated nights and parties at various venues: Public Works, Monarch, The Great Northern, F8, Audio. There was almost always someone in town that I was a fan of, and I regularly got to see them play at smaller cap venues, especially compared to where they’d probably play in NY. Even without much experience at all, I was able to quickly establish myself in San Francisco and play a few cool parties before moving to Brooklyn. 



In New York there are so many parties and venues and it’s such a competitive scene. Frankly, I was forced to develop my skill set (both in the studio and behind the decks) in order to stand out. In NY there are so many scenes—and scenes within scenes—that, although it takes time, you’re really able to carve your own space and find people that are excited about your particular sound and style.



You’ve had support from icons like Disclosure and A-Trak early on. How has this affected your approach to production and performing?

It honestly took me a while to wrap my head around the support I’ve received from some of my favorite artists and biggest influences. It’s given me the confidence to stay true to my sound and make music that feels genuinely me. In many ways it’s also allowed me to think bigger and imagine a future where I’m playing alongside more artists that I look up to.



How did remixing for Channel Tres and producing for LION BABE change your perspective on collaboration?

Remixing for Channel was surreal, as he had been one of my favorite artists since his single in 2018. LION BABE has been a much longer term and continuous collaboration. We’ve spent time in the studio together and also sent ideas back and forth, ultimately culminating in nearly 10 tracks produced together and three remixes. 



We’ve got more in the works and I couldn’t be happier to have built this relationship with them. With plenty of experience between them, the duo has helped me harness my underground sound into something that feels appropriate both in the club and your car. Writing a good topline isn’t easy, but collaborating with and watching them has demystified how to turn a beat into a song.



What’s the most unexpected source of inspiration you’ve encountered while creating music?

I’ve always been drawn to color. It is the first thing I notice in a painting and why I stop what I’m doing to look up at the dusk sky. In my first apartment studio I had a very large abstract painting above my desk that I’d often look up at when needing inspiration. One of my other favorite tricks when I need a creative spark is to throw in a random song into a sampler and see what groove I can make playing the chops as instruments.



From Bossa Nova Civic Club to Ostbahnhof, you’ve played in diverse venues. How do you adapt your sets based on location and crowd?

The week or two leading up to my set I typically create a folder with whatever music I’m loving at the moment, keeping in mind the type of party, crowd, set time. This playlist often ends up being 100-200 tracks and is typically where I source tracks while performing. I like a wide variety of music, from rare disco/boogie/funk/soul to ravey peak time cuts and jazzy deep house to hard groove techno. What I aspire to do more and more is incorporate this variety every time I play.



If you could go back in time and visit one of the iconic house clubs—The Loft, Paradise Garage, or the Warehouse—which would you choose and why?

That’s such a hard question, but I’d probably have to say Paradise Garage. From 1977-1987 Larry Levan orchestrated the transition from disco to house, while also incorporating such a wide variety of club music, pushing the boundaries of DJing as a medium. The Garage was all about the music, boasting probably the best sound system in the world and a massive room full of folks ready to dance for hours on end. Moreover, Levan shepherded the next generation of DJs that I still get to see play here in New York. An honorable mention would be The Music Box in Chicago, where Ron Hardy brought a comparatively more abrasive, raw, and experimental sound.



You’ve mentioned potentially getting back into modeling. Do you see any crossover between music and modeling for you?

Both forms certainly engage my creativity. Over the last many years of social media proliferation, I’d say that both industries have become hyper-focused on the individual subject, DJ and model. In my opinion, at their best, both can subvert this and center something bigger than oneself, the music/art, collective joy, and storytelling. I’m much more inspired by works that seek to access something bigger than one particular person.



You’ve explored remixing, producing, and DJing. Which do you feel most “at home” with, and why?

They all elicit different parts of myself. This is a question I’ve answered differently over the last couple of years and one whose answer might change multiple times within the same week. Some weeks in the studio feel completely generative and electric, whereas others are more tedious and draining. Similarly, some gigs can feel like going through the motions, while others feel transcendent and continue to inspire me for months after.



You’ve said you’re inspired by the energy of a massive sound system. What’s the most powerful set or performance you’ve seen that made you feel that impact?

Theo Parrish at Nowadays from 9am-3pm. I have seen him play this slot three separate times and each has inspired me immensely.

Is there a certain artist or genre you’re secretly obsessed with that would surprise your fans?

One of my favorite artists is Nick Hakim, whose sound I don’t really overlap with at all. I wouldn’t say obsessed, but I had a moment last year of discovering some post-punk/new wave that I found really interesting. Before discovering House music, I was a massive fan of rap/trap from around 2012-2018. Most recently, I’ve been listening to a lot of Etran de L’Aïr.

In a perfect world, where would you like to see yourself performing five years from now?

I’d love to play both Nowadays and Outsidelands in the same week. I also hope to play a lot more in Europe.



What’s your dream collaboration, dead or alive?

I’d love to make house music with Chaka Khan. I hope to get in the studio with Channel Tres sometime soon too.

What’s something normal to you that other people find weird?

Spending $30 on a bag of coffee.

Sound, Style, and Substance: A Chat with James Juke

Will Clarke is on the verge of stepping into uncharted territory with The Midnight Mass Experience, a live tour that promises to take fans beyond the familiar world of his DJ sets. Known for his club hits and gritty techno sets, Clarke is embracing a new level of creative ambition with this tour, combining music and film to craft an immersive, one-of-a-kind performance.



“This is my debut live tour, and it's the first time I've ever done anything like this,” Clarke shares. "It's the first time I’m going out with a team traveling together, with full production. There are seven of us moving around, which is scary but also exciting. It’s what I’ve always wanted to do.” Reflecting on his DJ career, Clarke admits that he’s grown a bit “jaded” after years of working the CDJs, going from show to show. “As a DJ, the worst thing that can happen is you press the wrong button, and it stops. Then you press the right button, and it starts again. But this… this is different.”



The tour, built around the music from his upcoming album Midnight Mass, is designed as an all-encompassing experience. Inspired by live acts like the Chemical Brothers, Clarke will be performing with a setup of live synths and drum machines, with vocals triggered in real time.

 “This isn’t about me just playing my biggest records in a DJ set,” he says. “There’s intros, midtros, outros, and pieces of music written specifically for this show that no one’s ever heard. There’s spoken word elements, and it’s really like a full journey.”

A key part of that journey is the visual experience, crafted by creative directors Caleb Henson, Alexis Mincolla, and filmmaker Stephen Agnew. Together, they’ve created what Clarke describes as a “feature film” for the stage—an ambitious, surreal blend of visuals designed to enhance every beat. “I feel like music and film go hand in hand. Take music out of a movie, and all you have is a bunch of pictures. And I feel the same about my show: if the visuals are right, they enhance the music and the entire experience,” he explains.



Working closely with his creative team, Clarke developed a visual concept that blends cinematic elements and intense storytelling with live music. “We pretty much filmed a whole movie, and then edited it with all kinds of weird, trippy stuff layered in,” he says, hinting at the experimental nature of the visuals. “It's really hard to explain without seeing it live, but it's meant to give people something beyond just music—it’s an immersive experience.”



The tour kicks off in Los Angeles and hits cities like San Francisco, Detroit, Toronto, Chicago, and New York. Each stop is an opportunity for Clarke to share something deeply personal, an intimate blend of sound and visuals that reflects the more nuanced, genre-bending nature of Midnight Mass. “This album isn’t all club tracks, so the show couldn’t just be another DJ set. I wanted it to be something special.”



For Clarke, the biggest production priority is sound. “The kick has to hit you in the stomach, the bass has to be felt, and the vocals need to cut through,” he says. But beyond technical details, he’s also focused on the entire experience from the moment fans walk through the door. “I think people forget that even security at the front impacts the night. They’re the first part of the experience, and if they’re not welcoming, it starts the night off wrong,” Clarke notes. “People are paying money for this. They’re the ones supporting everyone in that venue. It should feel like something memorable.”



As he takes on this ambitious new project, Clarke is embracing the nerves, the uncertainty, and the thrill of trying something completely different. “No matter how much I practice, it’s the first time I’m doing this, and yeah, I’m sh*tting a brick,” he admits with a laugh. But for Clarke, that’s part of the excitement. The Midnight Mass Experience isn’t just a tour; it’s a new chapter—a raw, unfiltered look at an artist determined to make his music feel as alive on stage as it does in the studio.

Midnight Mass Comes Alive on Tour: Will Clarke’s Cinematic Live Show

Will Clarke's debut album, Midnight Mass, is a journey into new musical territory for the British producer, DJ, podcaster, and Grammy-nominated songwriter. Released through Armada Music, the album isn’t just a collection of dance tracks—it’s an introspective, genre-bending project that reflects Clarke’s personal growth and passion for genuine artistry. Alongside the album, he’s set to embark on The Midnight Mass Experience tour, where fans will witness his transition from traditional DJ sets to a more immersive live performance format.



Clarke’s decision to create an album has been a long time coming. “I’ve always wanted to do an album,” he explained. “But I never felt like I was good enough or ready... it just wasn’t the right time.” The right moment arrived post-pandemic, as Clarke emerged from lockdown with a fresh perspective. “Everyone came out of COVID, and I was lucky to have a lot of shows and releases, but it got to a point where I was asking myself, ‘What’s next?’” he recalled. Rather than chasing fleeting trends or falling into the “rat race” of constant releases, Clarke decided to create something that truly resonated with his own musical vision.



That vision included stepping outside the world of club bangers, focusing instead on a more versatile listening experience that could accompany fans in their daily lives. Clarke describes Midnight Mass as a “listening album” rather than a collection of pure club tracks, pulling inspiration from his early influences like Chemical Brothers, Moby, and Massive Attack. “I wanted to write music that wasn’t just about the club,” he said. “I have influences that aren’t necessarily club records. There’s more to electronic music than just making people dance.” He allowed himself a year to write and experiment, ending up with around 60 tracks before narrowing it down to the final 13.



Working with Armada Music for the album release was a conscious choice. Clarke wanted a supportive team for his debut rather than going independent. “Having a label meant having a bit more of a support network,” he explained. Collaboration was also central to the album’s creative process, with contributions from renowned songwriters and vocalists like Georgia Meek, blythe, and the House Gospel Choir. Clarke shared that being in the studio with other artists was essential to the project’s authenticity. “Relationships are key, and for me, it’s more about that than just writing a record,” he said.



The album’s title, Midnight Mass, reflects Clarke’s view on community and shared experiences. While the name might hint at religious themes, Clarke is clear that the album isn’t about spirituality in a traditional sense. Instead, it draws parallels between the communal aspect of religion and the sense of togetherness on the dancefloor. “It’s about people coming together,” he explained. “It’s what we do every weekend in a nightclub—going to a place with strangers who become friends, where we make connections that matter.” The title came together in a moment of inspiration, as he discussed the idea with his manager, Ryan. “We’d just played Coachella, and as we were driving back, he said, ‘What about Mass?’ And then I thought, ‘Midnight Mass.’ It just felt right.”



The album’s cover art, shot on a London roundabout, captures an unpolished authenticity that aligns perfectly with the spirit of Midnight Mass. “We were on our last shot of the day, and I saw this wall. I thought, let’s just keep it real,” Will Clarke explains. The image, with its moody gray skies and rugged textures, may initially seem gloomy, but there’s a subtle, blissful beauty to it—much like the music within. The cover’s down-to-earth vibe reflects the raw and honest essence of the album itself.



Clarke’s shift in sound with Midnight Mass marks a new chapter, giving fans a more personal glimpse into his artistic world. He’s built his career around club hits, but this album signals a broader musical vision that doesn’t just cater to the dancefloor. In his own words, “It’s not just about bangers. It’s about showing who I am as a human being.” For Clarke, Midnight Mass is as much a reflection of his roots as it is a look ahead, paving the way for a more thoughtful and exciting direction in his music.

Will Clarke’s Midnight Mass: The Soundtrack of a New Era

Introduction: The Early Days and Musical Roots

Caleb Jackson’s path to becoming a rising star in the house music universe is as idiosyncratic as his sound. Born and raised in New Zealand, Caleb’s love for music was sparked at a young age by his grandfather, who introduced him to classical compositions. “He’d explain the stories behind the pieces, showing me how music could evoke emotions and tell a narrative without words,” Caleb recalls. This early exposure to classical music developed his appreciation for sound as an expressive medium, a concept that would later become central to his own music.



At 14, Caleb discovered trance music, which he would blast in his car, feeling somewhat like an outsider in the music scene. Later on, he grew to appreciate Disclosure’s complex, emotive sounds after seeing them live. These early musical experiences shaped Caleb’s taste and gave him a broad palette from which to develop his style. Eventually, he found his calling in house music, which he discovered while living in Sydney, Australia.



Career Beginnings: From Arborist to Music Producer

Before he became a DJ, Caleb took an unconventional path that included work as an arborist and a military consideration. After working as a wakeboard instructor in the United States, Caleb returned to New Zealand and briefly thought about joining the military to support a career working with kids. To qualify, he even went back to finish high school at 22. But when faced with the reality of military life, he had a change of heart. “I realized I couldn’t see myself pointing a gun at someone,” he admits. This turning point led him away from a conventional career path and back to his creative roots.



After settling in Sydney, Caleb began immersing himself in house music. A self-taught musician, he spent hours watching YouTube tutorials, mastering the technicalities of music production. “It took me four years to learn how to make music, not just sounds,” he explains. Gradually, Caleb developed his style, which evolved from deep tech to classic house during the pandemic.

Finding Roots in Sydney (and in Trees)

When Caleb Jackson moved from New Zealand to Sydney’s vibrant Eastern Suburbs, he found himself captivated by the city’s energy and diversity. Yet, his first career move was not in music—it was in arboriculture. “Once I was in Sydney, I decided to study to become a tree specialist—an arborist,” he explains. “I spent four years learning everything about trees and their science.”



Working as an arborist taught Caleb valuable lessons in patience, focus, and resilience. He spent hours mastering the complexities of trees and the environment, qualities that would later serve him well in the competitive and challenging music industry. His time as an arborist allowed him to develop a calm, steady approach to his work, skills he would draw upon as he transitioned from tree tops to turntables. 



This unusual path also helped ground Caleb in the importance of discipline and growth—a theme that would guide his career in music as he grew his unique sound and presence in the electronic music scene.

Immersion in the Scene: Discovering Lost Sundays and Building a Community

A pivotal moment in Caleb’s career came when he encountered Lost Sundays, a progressive and inclusive party series in Sydney. “I was intimidated at first,” Caleb recalls, remembering how he walked into the party dressed in a mesh crop top and hot shorts, surrounded by his queer friends during Mardi Gras weekend. 



But the vibe instantly clicked with him. Inspired, he threw a private party for the Lost Sundays crew, playing a set of original music that received high praise. His style, which was high-energy yet soulful, resonated with the community, and before long, Caleb was welcomed as part of the family.



The crew behind Lost Sundays, Finely Tuned, soon offered him representation. Rather than joining an established agency, Caleb chose to work with them, valuing their supportive approach and “street cred.” As the only domestic artist on their roster, Caleb felt he’d found a home that prioritized authentic connections and fostered a sense of community, aligning with his personal values.



The Process: Translating Emotions into Sound and Groove

Caleb’s studio process reflects his drive to mastering music that resonates emotionally. Influenced by the grooves of old-school funk, disco, and hip-hop, Caleb is obsessed with what he calls the “art of groove”—the infectious rhythm that compels people to dance. He draws from classic sounds but applies modern production techniques, aiming to create music that’s fresh and timeless.



Inspiration also comes from his personal experiences and the energy of his surroundings. Rather than chasing trends, Caleb prefers to tap into moments, whether it’s the vibe of a warehouse party or the sights and sounds of a city. “I don’t make music for a label or to create a hit,” he says. “I try to capture what I’m feeling at that moment and put it into a track.” One of his standout songs, Stylin, on elrow music, was inspired by a night at a warehouse party where he heard a hip-hop-infused electronic set that was “sleazy, low-slung, and rolling.” 



Back in the studio, Caleb channeled that energy, blending chopped-up vocals with a rolling groove. The track became a hit and eventually caught the attention of Archie Hamilton.



Collaborating with Archie Hamilton and Joining MicroHertz

Archie Hamilton, a prominent figure in UK house music, had been a longtime inspiration for Caleb. “Archie could make club hits and then switch to something more introspective and emotional,” Caleb says. Releasing music on Archie’s label, MicroHertz, had been a dream of his. Over the years, Caleb sent tracks to Archie without receiving a response. Still, confident in his work, he told himself, “One day, he’ll play my record.”



Check out Caleb Jackson B2B with Archie Hamilton on MicroHertz Radio 003. Stream their set on Rinse FM and experience the synergy firsthand.



That moment came when Caleb’s track Jam Hot was played by Archie at DC-10 in Ibiza. Thrilled, Caleb reached out to thank him, and Archie responded enthusiastically, asking Caleb to send more music. 



This exchange ultimately led to the release of Caleb’s Bassface EP on MicroHertz. The EP perfectly showcases Caleb’s signature ‘psychedelic funk’ sound, delivering the bounce and groove listeners love. This milestone brought Caleb closer to his dream of collaborating with a respected artist who shared his vision for emotionally resonant music.



Dance Floors, Big Moments, and European Magic

As Caleb’s reputation grew, so did his opportunities to perform internationally. Playing at fabric in London was a milestone, especially since he shared the stage with the Pitch Records crew, whom he’d only known online. 



However, his favorite venue experience so far has been Thuishaven in Amsterdam, an intimate club with an incredible vibe. “It’s sick—like, real vibes. You just have to experience it,” he says enthusiastically.



Caleb was supposed to play in Ibiza that summer but was dropped from the lineup due to a last-minute change. However, promoter Prunk invited him to play at Thuishaven as an apology, and it ended up being an unforgettable 10-hour set, flawless from start to finish. Caleb played only his original music, feeding off the energy of the crowd and going B2B with his friend Kim April. 



Check out snippets from the electric night here! 

The night generated more connections in the Netherlands, leading to multiple offers from promoters in Amsterdam, further establishing Caleb’s presence in the European music scene.

Reflections on the Music Scene and Humility in the Industry

Throughout his career, Caleb has noticed a common thread among successful artists—humility. Many of the DJs and producers he admires are down-to-earth, often introverted, and deeply passionate about their craft. 



Caleb believes that personality matters just as much as talent, especially in an industry where community and collaboration play such significant roles. Reflecting on his journey, he values the artist communities that emphasize authentic connections and mutual support over competition.



Looking Ahead: A Kiwi on the Rise

Caleb Jackson can be seen as someone who has lived many different lives, but he has now found his true calling in music. Continuously evolving as an artist, Caleb has reached significant milestones, including releases on his dream label, performing at some of Europe’s most exciting clubs, playing at his favorite festivals in Australia, and touching base in the United States. His set was even featured on Insomniac’s Radio Show with the House Hats Records Hotline. 



Recently, he stirred up an energetic set at Sutra Sunrise in Sydney, once again proving why he stands out as a performer. This past summer, he released fresh tracks on Sweatrz Records, further expanding his artistry and musical style. After spending the last five weeks back home focused on creating new music, Caleb is ready to share what’s next.



We look forward to seeing what the future holds for Caleb as he continues to perform, collaborate, and craft music that reflects his experiences and ideas. His journey—from discovering dance music as an outsider to establishing himself as an artist abroad—demonstrates his drive for growth and creative expression. For Caleb Jackson, each track and performance adds a new chapter to his story, building a connection with listeners and leaving a lasting impression.

Seven Lives Later: Caleb Jackson’s Unconventional Rise

Straight out of Bogotá’s DIY underground, BRAIN has spent the last decade honing a sound that combines the cadence of Latin America with the energy of UK D&B. The result is a fresh, vibrant and compelling take on the genre, and with his debut album soon to be released, he’s all set to take over the world.






Background




Born and raised in a suburb of Bogotá, Colombia, Juan Aguilar got a taste for the underground through hardcore, punk and metal. One night, after an evening spent moshing at an underground club called Piso3, a DJ stepped behind the decks and started playing a D&B set. “There was this DJ with dreadlocks, turntables, and he was playing these records and I was really curious about finding out how they made these crazy sounds,” Juan says. The DJ turned out to be DJ Sebass, who soon became Juan’s mentor.


Juan’s first D&B rave was called Radikal Styles, a huge festival in Bogotá with three stages that covered D&B, hardcore and techno. They brought huge global artists like Goldie, DLR and Calyx & Teebee, and that’s when Juan’s love for the genre was solidified. “So after that I started music production, I was about 21, and I started to focus on how to make these sounds,” he says.



At the time, D&B and Jungle was extremely niche in Colombia, so it was challenging for Juan to find out how to produce the genre, but after experimenting for a year he released his first track in 2012 on the first Bogotá Drum & Bass compilation on a label called Fractal Records, run by some of the early pioneers of D&B in Colombia. And that’s how the BRAIN project started.







D&B and Columbia


Drum & Bass' migration to Colombia is particularly unique. Back in the ‘90s, free raves and D&B culture was routinely suppressed by authorities in the UK and across Europe, so a group of disillusioned French D&B artists and promoters decided to pack it in and relocate to Colombia. They brought their percussive sounds and fresh ideas and started throwing free raves on the outskirts of Medellín and Colombia. “These French guys brought their vinyls, their music and started to make the free parties,” Juan says. “It was very special, because it was really underground, really DIY, really alternative and deviant from society.”




That’s the energy BRAIN was swallowed up in. At first he focused on producing but then realized it was important to play the music he made, so he soon started DJing. “Bogotá’s sound is dark, industrial, you can feel that big city vibe,” Juan says.




His first gig was the launch party of his first release, and then he joined local rave crew Reset. “They are the biggest crew in Latin America, they’re from Bogotá, and they have so many big artists - too many to name,” Juan says. Juan toured Europe with this crew, playing to increasingly large audiences, honing his sound and building a base of loyal listeners.







Label and Releases




Juan started his own label ID Bogotá in 2020 with Novaglitch. His aim is to platform D&B artists from Latin America, championing the continent’s unique take on the genre and catapulting it onto world stages. He’s released music by Novaglitch, Bassment, Jaynie and dozens more, but this October sees BRAIN’s biggest release yet – his debut album, Prisma.




Written over the course of three turbulent years, Prisma is a sonic exploration of personal transformation and reflection. The 13-track project is a journey through BRAIN’s musical influences, woven together by the extreme emotions that come with sacrificing everything to follow your dreams – Juan relocated from Bogotá to London in 2023 with the hope of building a UK scene rooted in the sound of Latin American D&B.







“I sold everything I own to follow my dream and to come here to start from zero,” he says. The vinyl has already sold out on pre-order, and Juan hopes to use this momentum to bring artists from Colombia over to the UK to share their music and sound.




“I want to stay here to make things better for my friends,” he says. “There are so many talented artists in Colombia, people I really respect, and I really want to support them.”







Check out BRAIN’s debut album Prism on Beatport

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