For guest mix 148 I invited Mihut. He’s a Romanian DJ and producer who’s been active in Helsinki since 2015. He started making (FM)waves first at Bassoradio, then later moved to Radio Helsinki and he also runs The Sound Collective, a label connecting artists in Helsinki and Bucharest.

He’s a equally comfortable playing in small rooms and larger stages. naturally shifting between downtempo jazz-leaning moods, minimal house, deep house and techno. Always focused on tight selection and groove he moves comfortably between new material and older cuts, which is evident in the deep & dreamy mix he prepared for us.

Let’s dive in!

Hi there, how’s things Mihut? Can you introduce yourself briefly to our listeners?

Hi, all good! First and foremost, thank you for the invite. I am Mihut, a Romanian DJ, record collector and producer based in Helsinki and writing this as I fly back from Romania, so things are beautiful and hectic.

What’s been keeping you busy of late?

DJ gigs are constantly picking up after the pandemic, both local and international gigs, but also I am trying to spend more time in the studio and make music. Currently working on an ambient project with my Romanian colleague Romulus C, some interesting music that became alive in the theatre world. 

I run my label, THE SOUND COLLECTIVE, that I started during the pandemic, mixing both of my worlds, Romania and Finland, and try to create a musical bridge between the two, not focusing on one genre but more on good music that I like and want to put out there. 

I also have a deep connection for radio, and I am fortunate enough to host a show on Radio Helsinki, that should resume its brake really soon. 

What’s been keeping you busy of late?

As I mentioned, dj gigs, just played Electric Castle festival in Romania, with my duo project named Helsinki to Bucharest and also producing with Aleksi Myllykoski the Grotesk + events where we invite some amazing dj’s, upcoming Cassy and Paramida. 

Professionally I do sound and acoustic installations, some interesting projects coming, but we have some cool bars and restaurants now with really good setup, such as Teller and Shelter restaurants, first one with Klipsch horns and second with Bowers & Willkins. 

Do you have any fond musical memories from your childhood?

My parents made me take piano lessons for years, hated them back then, haha, but love the fact that I know how to read notes and make harmonies.  

What drove you to electronic music in the first place?

I come from a musical loving family. As a kid, my father used to listen cassette tapes and records of Vangelis and Jean Michelle Jare, Pink Floyd, lots of blues. Being in the art school all my life, I started hanging put with the older crowd that were traveling abroad and were bringing cd’s, so I started getting to know the Love Parade compilations, Westbam, Sven Väth, Prodigy, and slowly started getting really into it. 

What about DJ’ing, and how did you get started?

The first time I touched a deck was at Celentano beach in Mamaia, the place where Sunwaves festival is now. It was 1999 and I painted a mural on a wall and started toying around with their decks and loving it. 

After that, in 2001, moved to Cluj Napoca and started working in a club and basically that was it, been playing eversince. 

Name a few records or songs that had a big impact on you in your early days and why?

Depends how back in the days. 

Way way back :

Sven Vath – Harlequin, the beauty and the beast
Prodigy – Weather experience 
Deep Forest – Sweet lullaby 
Prodigy – The weather experience 

Not so way back: 

Ricardo Villalobos – Andruic
Azymuth – Jazz carnival (Global communications space jazz mix ) 
Jean Caffeine – Jeans Afterthought 

Do you have any memorable experiences to share from your early days as a DJ?

Margaret Dygas getting me drunk in 2001 or 2002, don’t recall the exactly, that was a night I still remember, and opening for Dave Clarke in 2000 or 2001, talking to him for like 30 min, before I learned who he is (back then internet was a rarity and didn’t know how he looked like ) 

You are an avid vinyl fan and record collector. Tell us a little about your collection and how you go about finding records to buy?

My collection is purely records I love. I just buy stuff I really want to have on vinyl, from any genre. I don’t buy from Discogs much lately, shipping costs and grading badly made me avoid it, usually when I travel I always visit one, two record stores. And lately lots of classic records got repressed so I bought them. 

As a DJ, you’re known for your extensive knowledge of music – ranging from Jazz to techno to trance and everything in between. How has your collection expanded over the years – is your approach systematic or organic?

There is no system. I like I buy. I like to ask the record shop guys to recommend me local stuff, to discover good labels or artists. Of course, there are some records that where on my wish list for years till I got my hands on a copy, or some I still look for. Can be 10 years till I find a copy. 

When you select records for your sets, what’s your approach like?

Off, this is a tough question. I don’t really prep my sets in detail. Of course depends on the slot I play, but I usually choose some of the new records I got and some old weapons. 

Do you have any good stories to share about the live shows or DJ’ing?

My last gig at Electric Castle was special, it was my birthday, and its a place where there are lots of friends, including the two stage managers, and just before I played Mitäs Mitäs festival, last slot, 5 degrees and we all took the cold like superstars and just enjoyed the music. 

Name three to five secret weapons that you almost every time carry in your bag?

Hmm, this is a good one. 

Jean Caffeine ep is almost always in the bag. 
Audio werner – Maruki. Ah, so many of his stuff is great. 
Laurence guy – saw you for the first time 
Dj Q – Superclique , one of the best tech house tunes there is. 

What have been your most memorable record finds? Any good stories?

Barcelona flea market Moodyman and Three Chairs unofficial press. The record had nothing marked, no catalog number, nothing, 1 euro. I usually take a chance on those, as you never know. This really paid off, it a rare expensive record and hard to find. 

Do you have a comfort record, one you can put on that makes you feel good no matter what?

Thievery Corporation Symphonik  and first Vilod album. 

I just need to ask, how’s your vinyl record collection organised? 

Genre / alphabet and in some sub group as label or artist (for example Cabaret or Perlon as I have so many ot them) 

Name five tracks or releases that are currently on heavy rotation?

Tino – set you free 
Mountain People – memorandum 
Brett Johnson – When i get home ( main version ) 
Housey doingz – fonky 
Benedict – can’t stop 

Who are the artists and DJ’s you think deserve more attention than they get currently?

I will stick to mostly to the local ones, in Finland we have amazing selectors and Dj’s, like Mongi and Si mon, Ed Kim, Flink, Tatu Turunen and Henri Michael, Valeria Croft, who also produce, and nowadays Sagwa, who started DJing recently but her love for the music is undeniable. 

From Romania I want to mention Eirwud Mudwasser, who I got to know recently, thru the amazing venue Bar ton in Bucharest. He is dj-ing, producing, but is an amazing humble guy, who I would love to spend more time with. 

And from Barcelona, he is Romanian but based there, Erast. He has an amazing selection, but he needs to move his ass and play more. 

Tell us about your shows on Radio Helsinki?

After Basso Radio died, a whie after I moved to Radio Helsinki, and in paralel was doing another show with the label in Uk on Komrad. That went silent because of some politics, but trying to resume it on Ida Radio ( writing with them as we speak,  fingers crossed ). 

But Radio Helsinki being on FM as well, was always the main one. 

How did you get started and how have the shows evolved?

Bad Neighbors is a show about music exploration and people from different worlds showcasing their love for music. We play ambient, drum and bass, garage, jazz, minimal house and anything in between. 

What has been the most rewarding part of running the shows?

Getting to know people and what they love musically, and being in the studio. I hate pre recorded shows, I love being in the studio and make the show live. 

Any good stories to share from the past shows?

A good show was with my ex University colleague, Mihaela Noroc, about her round the world trip shooting for her book The Atlas of Beauty, interviewed her after she was on Oprah!! 

And the second one, my once a year special with Paleface, the drum and bass edition where the whole studio was trembling. That was proper fun. 

Any plans for the coming months?

Releasing a new Ep on the label, the first drum and base one, finishing the Grotesk + special events, and I am due to make a couple of remixes. 

Did DJing eventually turn your attention into making music or was it always there right from the beginning?

I started Dj-ing first, but being a technical guy and love exploring technology and how it interacts with music, I started slowly buying gear and trying all sorts of setups till today where I have a full size studio. 

How have you evolved as a producer? 

Off, slowly. I think my studio setup evolved more than I did, but it helps me evolve with it. 

Are there any new tools or musicians or artists who have recently inspired you?

Tools not really, maybe just speaker wise, as I am doing mastering and I got the new Barefoot footprint speakers and they blew my mind. 

Roberto Rodriguez always blows my mind, I mastered his ambient album and its absolutely a must check. He always supported me as well, from the Bassoradio days. 

I want to mention Aleksi Myllykoski, who I dare to say we became really close, and we have this thing where we push each other to do more and more, but his label, Signature dark, that also released Roberto’s album, is definitely a must check. 

Out of your own releases, which do you have the strongest bond with and why is that?

Heavenly without a doubt. It came out when I had a some sad personall happening in my family.  

First Ep came out as two original tracks, one ambient and one a stip down club version, and after came Heavily remixes, where close friends and artists did their take on it. 

What does the coming 12 months hold for you in regards of releases, collaborations etc.?

12 months is far away. My schedule is so hectic that in 12 month anything can happen. 

But really focusing on creating the live act with my really talented geek Romulus C, finish the remixes and create an ambient album which is currently in progress. 

Next Ep out in the label, is from Henri Michael, a drum and bass one, and one track fratures Paleface rapping.

What’s your setup like and how do you work on music (process, themes, details)? 

I don’t like working with my laptop, just to polish track. All the gear in my studio is synced up, so I like to do live jams, record, cut edit and done. 

What’s your current favorite piece of kit? 

Hmm, i-instruments sx1 and recently i got the amazing ASR sampler. 

So the livesets, I assume you leave a lot of room for improvisation. How has your liveset evolved during the years and how does it work currently? Please go into details

I only had a live performance in Metsala, before the pandemic. 

It was really fun, nerve racking buy fun. 

Romulus ( Romi for short ) lives and breathes ableton, so everything starts from his side. I am on the analog side clocked up by his ableton. 

Before we were using a Mackie analog mixer now we switched to Roland mx-1 which syncs also well with the roland tr-8 ( with the 4×4 pack ) and the roland tr-8s. 

Also we switched to Arturia mikrofreak as a synth, actually there is so much you can do with it. 

We are still looking at bass synths for live, i have the korg ms-20 but its hard to move it around. We will see !! 

What have been the most rewarding parts of playing live?

The end of the gig knowing you didn’t mess up or that something didn’t stop working and the people danced on the music. 

The Sound Collective is your label – tell us about your vision for the label and what’s in the pipeline?

The labels vision was to make a bridge between artists from Finland with artists from Romania. In the pandemic I put together two different VA’s, first one with only Finnish artists and the second one a mixture between Finns and Romanians. And what an amazing bunch of artists we got from both sides. 

I only have one Ep decided for the near future, the drum and bass one I mentioned earlier, but I am constantly looking. If anyone reads this, shoot some music. 

Pick one release out of the catalogue and tell us a story behind it, please?

Paul Ilea’s Atlantis album. Paul is a really talented producer from Romania, he makes so much stuff, musical produc of The Voice, movie, theatre. His album is a musical journey, Atlantis was performed live by the sea, in a remote Mediterranean location, video recorded and can be watched on youtube. The audio recording was cut and mastered and packed into an album. Must check. 

Where do you find the music and the artists for the label? 

Mostly friends, but I am always open to suggestions. Sometimes I stumble on some good music and contact the artist and put it out. 

What has been the most rewarding part of running the label?

The VA’s. Having artists from Helsinki put together with big Romanian artists that they looked up to was a good moment.

What’s your take on the current state of electronic music?

Unfortunately I think its pretty devided, turning more into a business. I understand financials are important, but it should be more about music. Electronic music started as a underground movement for people to express who they are. I believe there should be space for everyone, all people, music genres, promoters. 

Let’s talk about Helsinki. Can you talk about your beginnings?

I moved to Helsinki and didn’t know anyone. I got to know Susanna Nuutinen and she started talking me places and got to meet Oded Peled and Roberto Rodriguez. 

Robe was the one that entrusted me with a Basso radio slot and Jenny and Jimi ( Metsala guys ) were the first ones to book me. From there was a fun rollercoater till today. 

What’s the scene like today?

Helsinki has a small but dynamic scene, with big differences between summer and winter in the type of events. Unfortunately we don’t have the audience and budgets to bring some Dj’s we would want to listen, and the few venues that can are too focused on one two genres of music. But don’t want to complain, we had some amazing events with the artists that we love, to mention Laurence Guy last year. 

I would want maybe the young generation to take a step back and enjoy all kind of music, everything is so fast paced nowadays. 

Can you name a few local acts, events or locations that should be on people’s radar?

If you love house music Grotesk + events. 

Summer super vibe always the guys from Nitkulaasko and their summer madness, and the rooftop by Alexis with daytime dj’s thru the summer. 

Of course, the classic proper clubs, but everyone knows those. 

So the mix, can you tell us a little something about that? 

I always get weird when I need to record a mix, because I want to fit so much and go thru so much music. Let’s say its new and old stuff I really love and wanted people to listen. 

01 – DJ Metatron – The Journey – Giegling
02 – D tino – Musica Mambo – Meat Beat Manifesto
03 – Chaser – Life In Loisaida – Soma Quality Recordings
04 – Gary Martin – Zahna – Motech
05 – DJ Sulli – Close To You (Summit Dub Vinyl Version) – LovingTouch
06 – DJ Profile – Realization – End Recordings
07 – Efdemin – Night Train – Dial
08 – Jean Caffeine – Jeans Afterthought – Classic
09 – Tino – Set You Free – Global Swing
10 – Gadi Mizrahi – I’ll Set Your House – Wolf + Lamb Music
11 – Freaks – Instrument (Unreleased 1999 Edit) – Music For Freaks
12 – Mr. G – Full A Love (Mango Boy Refix) – Phoenix G.
13 – Motor City Drum Ensemble – Frontin – 20:20 Vision
14 – Vil-N-X – De’ Jah Voo (The Vil-N-X Mix) – Island Noyze Records
15 – Optik – Music Harmony And Rhythm – MBG International Records
16 – Art Fact – Rain In The South (Francesco Farfa Hamsa Remix) – Musek
17 – DN3 – Silence (Angelo Mele Remix) – Irma Dancefloow
18 – Debussy – Arabesque No. 1

00:00 – Iñigo Vontier – Acid Cowboy – Multi Culti
06:04 – Radial Gaze & Kubebe – Toad (Martin Noise ‘Rave Version’) – Thisbe Recordings
10:25 – Miles Mercer – Voice Control – 20/20 Vision
15:11 – Luca Lozano & Mr Ho – Psycho Rasp – Phantasy
20:18 – Jammin’ – Dirty (Remastered) – Bingo
25:55 – Mantrac – Insect Kingdom – Plink Plonk
35:04 – Kabinett – Near Collapse (Original Mix) – Playground Records
39:56 – Baby Rollén & Ollie Rant – Worthless (Baby’s Trax Dub) – Slump Recordings
45:03 – Thomass Jackson – Junk Be Gone_(Felix Dickinson Remix) – Viscera Transmissions
51:07 – Ludviq & Poulper – Crystal Cactus (Thomass Jackson Remix) – Thisbe Recordings
57:00 – MADVILLA – FM Trippin’ – Madvilla
62:25 – Kilig – Air In The Dark (Bobby. “Microdose” Remix) – Cross Country

“Timo Deeprhythms is a Helsinki-based DJ, label owner, podcast curator, and producer. With a career spanning well over two decades, he has developed an exquisite and wide-ranging taste for all things electronic. A meticulous DJ capable of just about anything, his sets range from sun-kissed Balearic sounds to cosmic house, wonky breaks, electro, and hypnotic techno. As an avid crate digger, he’s always searching for unearthed music to share—be it old and forgotten or new and emerging.

Timo is the founder of @echocentricrecords, co-runs the @r.a.n.d.muzik × Echocentric collaboration label, and is the co-founder of Coymix. All labels aim to promote contemporary electronic music without genre boundaries and serve as natural extensions of his long-running podcast series, Deeprhythms.com (est. 2001).”

00:00 – Cowboy Rhythmbox – 6AM Cowboy (Cowboy Rhythmbox Deviation Variation) – Phantasy Sound – 2020
07:25 – Dat Oven – Jet Set (Shunji Moriwaki Dub) – Jellybean Recordings – 1998
12:06 – Green Velvet – Genedefekt (Cajmere mix) – Relief Records – 2002
17:30 – Niklas Wand – Subcutaneous Dance – Viscera Transmissions – 2025
23:40 – Vyvyan – See Page Nine – Echocentric Records – 2025
28:54 – Jack King – Go With You (Head Up mix) – 7th Temple – 1998
34:45 – Iceberg & Gusty – Desire – Squid Recordings – 2025
38:55 – The Micronauts – Get Funky Get Down (Daft Punk Remix) – Phono – 1995
43:50 – Freelance Workers – HB 021 (XX-L) – Heartbeat Records – 1994
49:15 – DJ Life – Charlatan – RAND Muzik x Echcoentric – 2025
54:47 – Richard Brown – Superman – Music Man Records – 2003
64:18 – Vyvyan – Coat Bra Pants – mememe – 2019
68:29 – Luke Alessi – After Five – Life And Death – 2025
72:18 – Rollin’ Gear – Get it Together (On Your Feet mix) – U.F.G – 1995
78:01 – Passarani – Nerve Pinch – Studiomaster – 2025
84:07 – Freddie Fresh – Tangerine – Analog Records USA – 1995
88:07 – The Micronauts – Acid Party – Micronautics – 2018
94:02 – Granary 12 – Acid Movement – Balkan Recordings – 2020
97:33 – Sharif Laffrey – You might like this – Spun Out – 2022
104:55 – DJ WUF – Moxy – 00 recordings – 2025
107:06 – Dirty Funker – This Is Dirty Funker (some vocals mix) – Spirit Recordings – 2003
113:52 – Cherry Bomb – DX Heaven – Music Man Records – 2002

Anna Kohlin has been shaping Stockholm’s underground from the inside. A long-time fixture behind decks and party lineups she sure knows how to read a room and flip it.

Her sets splice 90s house, tech-house, and breaks with newer oddities. Her approach is as precise as it’s loose but never too clean. Expect gear shifts not gradients.

If you’ve danced at Stockholm venues such as Under Bron, NEU or anywhere slightly off-grid, you’ve likely caught her in her element.

As a producer, she’s released on Slump Recordings, Dirty Hands, KMA60, and Makemake Tapes. Her label, Inside Out, leans on the sound of the underground with cuts from Basement Space, Baby Rollén, Eric OS and herself.

Hi there, how’s things? Can you introduce yourself briefly to our listeners?

Hej hej! I’m a DJ, producer and label owner of Inside Out Records based in Stockholm, Sweden. 

What’s been keeping you busy of late.? You’re a DJ, producer and a label owner.

On the label side, I’ve been busy putting out our second imprint on Inside Out earlier this year, featuring some of my favorite producers: Basement Space, Måns Glaeser, Baby Rollén and Eric OS. Fun times!

Other than that I’m trying to focus on spending as much time as possible in my studio finishing project. I have a few releases lined up this year which is exciting and scary at the same time. 

Tell us about your vision for Inside Out and what’s in the pipeline?

The idea of Inside Out first started as a club series that then evolved into a label run by myself and my close friend Koorosh – who is also a great DJ. Mostly out of a need to create something together, book exciting artists and curate a music platform and output with the label.

The plan is to continue releasing music from mostly Swedish underground artists and create interesting combinations of sounds crossing house, breaks and techno. But we want it to be a creative platform and output rather than tied to a specific sound.

There will also be a few more clubs nights coming up with international bookings. 

Pick one release out of the catalogue and tell us a story behind it, please?

The first release on the label was a special one as me and Basement Space decided to do a split EP together which was HUGE for me as he’s been a major influence since I started producing. I really adore his sound and he inspires me to try new things and evolve as a producer.

For the EP, Koorosh and Patrik (Basement Space) chose my tracks out of a list of demos which was really helpful for my performance anxiety. Having people who’s taste I trust to select my productions. Which has been the case on the second release as well. 

What about DJ’ing, and how did you get started?

I started around 12 years ago in my hometown Västerås. I have always been quite nerdy about music and found that DJing was the right creative output for me. I bought some cheap equipment and started practicing at home.

Eventually I got in contact with the only female DJ in the city who helped me get my first gig (which I’m incredibly grateful for). Later I moved to Stockholm to study and eventually got more and more gigs. After 5 years or so I started collecting and playing vinyl. Rest is history! 

When you select records for your sets, what’s your approach like?

First I want to know as much as possible about the gig: set times, how long I’m playing, who is playing before and after etc. I always start with preparing tracks I think will suit the vibe when thinking of those parameters, but honestly it can go either way.

I enjoy not knowing everything and exploring as you go to fit the mood and crowd. 

I just need to ask, how’s your vinyl record collection organised? 

I have it organised to different levels of moods and energies rather than genres or artists. So it’s only me who really gets the set up haha. I rather like to think of what feeling the music is making me feel, and what setting it is suitable for.

It’s very much about going with your instinct for me.

Name five tracks or releases that are currently on heavy rotation?

How have you evolved as a producer? 

I’d like to think that I’m less anxious about producing and have a stronger ability to connect to a feeling when creating. I’ve accepted that I’ll never feel fully finished or will never stop comparing myself to my peers.

Just trying to create as much as possible without judgement, making it a habit and output rather than “now I’m going to create my next release” has been an important step for me. 

What’s your studio setup like and what’s your current favorite gear? 

I have the luxury of sharing a studio with pros Maya Lourenco/Parallax Deep and Bella Sarris. There’s a lot of amazing gear to pick and choose from. Recently I’ve been using Roland JV-1080, E-MU Orbit The Dance Planet and Yamaha DX200 the most. 

What does the coming 12 months hold for you in regards of releases, collaborations etc.?

I have one full EP, 3 various artists releases and a remix coming up!

Can you name a few local acts, events or locations that should be on people’s radar?

Mattias El Mansouri might be the biggest rising name from Stockholm at the moment with a lot of international gigs and releases. Another local favorite of mine is Vanilla. Her selection is always killer, crossing different genres and styles that never disappoints. Both of them are also sweethearts which is the best combo in my opinion: talented and NICE.

On the underground scene Stilio and Botanica have a really high production standard and great curation. Make sure to time your next Stockholm visit to one of their parties. 

So the mix, can you tell us a little something about that? 

Lately, I’ve been drawn to rolling tech-house from the ‘90s and early 2000s. There’s something about the way they lock into a groove that somehow feels timeless. So there’s a few records with that theme in the mix along with more house and melodic-heavy cuts.

I really enjoy the dynamic and contrast blending genres and old & new tracks to create these shifts in energy with a sense of push and pull. Around 29mins in you can hear an upcoming release of mine  

Many thanks, anything else?

Thank you so much for having me! 

Hi there Seb, how’s things? Can you introduce yourself briefly to our listeners?

Hi, I’m Seb aka Bon Public. I’m based in Brussels where I have co founded the collective & record label Magma 4 years ago. I’m turning 35 this year, I’ve been listening to electronic music for 20 years so I’ve passed through many different eras obviously. I’m a music lover, I love concert venues as much as I love clubs. Next to the djing & events we also manage artists : bands & dj / producers

What’s been keeping you busy of late – you’re both a DJ and a producer?

I’m djing for 10 years but I only started experimenting with music production two years ago. It took me quite some time to start the neverending learning process of creating music, it’s obviously kinda challenging to propose something as personal as sharing your own music but I try to focus on learning this new practice without any sort of result driven pressure, I want to have fun with it.

For now I’ve released two tracks on compilations we’ve released on Magma Records.

Magma’s baseline is « connecting creatives around music », it’s 100% the purpose of the project, we curate events, we manage some artists and we release music. The direction of the label is basically our musical taste, we’re not particularly looking for a specific sound, if it’s club let’s do it, if it’s some « listen at home » indie electronic or IDM material, as long as it has some soul and that we like it we could release it. Such as we do for our events : sometimes we throw club nights and sometimes we throw concert nights. We’re just music fans exposed to a lot of music and we want to find different ways to share it with our growing community. In september 2024 we’ve released “LA V.A” our first true club oriented compilation, on this there are good friends of the collective, mostly artists we’ve invited for our club nights. 

On the dj side I’ve had two amazing years, I got the chance to play multiple times in my favorite clubs in Brussels such as Fuse, La Cabane or C12, playing solo as Bon Public or with Umbra (my co-founder at Magma) under the name of Magma Boyz. I also had the chance to travel with my music : France, The Netherlands, Luxembourg, India & Nepal… to me it’s a huge privilege to be able to travel and meet likeminded people through music.

Do you have any fond musical memories from your childhood?

My early days in alternative music are deeply connected to the history of Belgian electronic music. When I was around 12, my best friend in class was the son of Patrick Codenys from Front 242. He took us to our first alternative concerts and festivals. I remember us having fun with his synths and machines at his apartment—an experience that probably changed my life in some way.

What drove you to electronic music in the first place?

At first, it was really the festivals and events I could attend when I was younger. I immediately fell in love with the experience of listening to music in a group. In the 2000s, electronic music was taking on a major role in festivals like Dour, where I’ve been going every year since I was around 14 or 15. Back then, several people introduced me to artists like Miss Kittin & The Hacker, as well as French touch pioneers like Étienne de Crécy or Daft Punk. Shortly after, the Ed Banger era began, and that’s when I truly dove into electronic music.

What about DJ’ing, and how did you get started?

At one point I realized I was actually going to the parties for the djs, from Drum & Bass parties to sometimes posh clubs where my friends were going (where they used to play housy stuff, french touch etc.) I was just obsessed with the djs, their ability to drive the night and their musical knowledge. At one point a friend bought a dj controller, I quickly started downloading music and this is how it started. The very first one to book me was my friend DC SALAS, who has been supporting me for 10 years. We’ve helped each other a lot in our careers at different levels. People like Renaud Deru aka Sono Ventura Soundsystem have also been part of the first ones who believed in me. 

Name a few records or songs that had a big impact on you in your early days and why?

I can get lost by overthinking this type of questions haha.. I feel like my musical parcours has been so diverse, it’s sometimes hard to focus on one period but there are some critical moments & records that I can try to highlight.

As I said, Ed Banger was big to me when I was like 17, I was especially into Sebastian, I like the roughness of his production, first electronic vinyl I bought was his remix of killing in the name of by RATM. Electro house / electro clash was big in my early days (and I’m happy to see those tracks coming back on dance floors today) so yeah Felix da housecat with What does it feels like or Vitalic with No Fun have been crucial to determine my taste back in the dayz. There are many tracks popping up in my head at the moment, one is Azzido Da Bass – Dooms Night (Timo Maas Remix), I remember going nuts on this one when I discovered it. 

I also discovered Drum&Bass & jungle through some school friends and the festivals, at that time, artists like Dj Hype, Roni Size etc. shaped also a part of my electronic culture. 

Later I went to some deeper stuff and discover labels like Kill The Dj, with Ivan Smagghe Jennifer Cardini & Chloe who led me to artists like Red Axes for example… Later, I ended up working at Fuse Brussels and that’s really when I discovered a whole new world of house & techno. 

Do you have any memorable experiences to share from your early days as a DJ?

 I’m not proud of it haha but very first time I played in front of an audience it was a student party at Fuse Brussels (they used to rent it for these events during the week) around 2009. I was so drunk and I did a b2b with a friend.. I don’t remember a single song we played. I believe I take these things a bit more seriously nowadays. 

You are an avid vinyl fan and record collector. Tell us a little about your collection and how you go about finding records to buy?

I’m not a heavy record collector, but there are some tracks I just need to own. Once they’re in my collection, it feels like they’ll last longer, like they leave a mark. Right now, I own somewhere between 500 and 1,000 records, spanning both club and non-club music.

Whenever I travel, I try to set aside some time for record shopping, but I also visit my local spot, Sono Ventura in Brussels, quite often. And of course, if there’s something I really don’t want to miss, I’ll grab it online. Gotta make sure it finds its way onto my shelves!

I just need to ask, how’s your vinyl record collection organised? 

I’m honestly glad I don’t own 10,000 records… I already struggle with organizing the ones I have. Right now, my system is pretty basic: first, I split everything into club music vs. non-club music. Within those two categories, it’s sorted by vibe and genre, and sometimes by label—but that’s where it gets messy. When an artist or label releases very different styles, I want to keep them together, but then it completely breaks the higher-level organization…

Twice a year, I end up putting everything on the floor and trying to reorganize it, but it’s pure madness every time. Still waiting for the ultimate system—if that even exists! 

Name five tracks or releases that are currently on heavy rotation?

Any release of the label Griffé Records.

Frog eat Frog by Louison

Soundstorm (psychosensual mix) by Jex Opolis 

Laid back frequency – Detroit in Effect 

Jaisiel – Lost paradise

Let’s talk about Brussels. Can you talk about your beginnings?

I was born and still live in Brussels, I think it’s a fun place to live right now. It has always been a hotspot for electronic music lovers since the very beginning, but I feel like something special is happening in the scene at the moment. Great radio stations like Kiosk and Gimic are shining a light on local talent, while festivals and events like Horst, Listen, Fifty Lab, Abrupt… are also giving serious attention to the local scene.

Of course, we have amazing clubs like Fuse, La Cabane, and C12, along with diverse collectives covering everything from house and techno to breaks and bass music. As a highly eclectic and international city, Brussels feels like a mix of all the cool things happening in Amsterdam, Berlin, Paris, and London—but with a Belgian twist, never taking itself too seriously.

What’s the scene like today?

I don’t think like there’s a specific Brussels sound in electronic music but I think there are really good artists in every niche, in electronic music but also some stuff gravitating around it.. New wave electro pop stuff, jazz infused / inspired electronic music (there they talk about a special brussels sound with bands like ECHT!, Tukan, Lander & Adriaan, Ciao Kennedy…) 

It’s a bit like a melting pot of all the good things happening around Belgium, due to the EU institutions there’s a lot of people coming to Brussels from all around Europe, it has probably an impact on the scene as well. 

Can you name a few local acts, events or locations that should be on people’s radar?

There’s a lot to mention here, but let’s do a short selection.
Young guy, crazy selector & vinyl spinner : Nikita
Record Store : Sono Ventura (the founder Renaud is also a legendary dj, playing now under the name of sono ventura soundsystem). 
I like the vibe of what’s happening at La Brasserie Illegaal, a crazy venue especially during summer. 
So many great djs : Melissa Juice, Unos, DC Salas, AZO, ttyfal, Coline Cornelis, KŌMA, VTT, Margo, Zouzibabe… 

So the mix, can you tell us a little something about that? 

I’ve tried to strike a balance between a punchy, club-ready set and something lighter that feels just as good in your living room or through your headphones. Lately, I’ve been digging kinda deep into electro house, and you can hear those influences throughout the mix—there’s a very slight touch of disco in there, and even some guitars creeping in towards the end. The tracklist reflects this journey, blending groove-heavy basslines, hypnotic rhythms, and a few unexpected twists. 

Many thanks, Seb!

Here’s Buy Music Club list for the mix.

01 – Anderson – Need you – DIY001
02 – K Werk – Siren Funk – Hooj Choons
03 – Ability II – Come Baby Ride My Vibe (Luca Lozano + DJ Steve Remix) – i9M
04 – Jaisiel – Lost Paradise – Ears on Earth
05 – Ciel & CCL – Tilda’s Goat stare (Priori remix) – NAFF
06 – Capes & Adult Hits feat. Dick Ensalada – Rush 
07 – Luke Alessi – After five – Life And Death
08 – Voodoos & taboos – Endless game – Duality Trax
09 – Dj Gamba –  Half Robot Half Shremp – Dias de Campo Records
10 – Dead Poets Society – Unhinged Behaviour – Chat Noir
11 – DC Salas – Dreamscape – Correspondant
12 – Jezebell – The Big Time – Not On Label (Jezebell Self-released)

Photo by Kristina Knast

There’s something uniquely grounding about a conversation with someone like Enzio Etchaberri. The type of person who finds joy in the act of digging, discovering, and sharing music with the world. As a DJ, music producer, and programmer for one of Berlin’s most iconic clubs Enzio carries a deep respect for the roots of electronic dance music. All the while keeping an eye on its evolving future. Whether locked in his Lichtenberg studio or playing in the thick of Berlin’s nightlife his approach feels thoughtful, deliberate, and intensely human.

Thinking back to a fall morning last year in Sisyphos’ Wintergarten I can’t help but smile. The sun was climbing slowly casting the dancefloor in surreal vibrant hues through the stained glass windows. People drenched in the moment moved in sync with music that felt escapist yet grounding. It was one of those often times rare instances when everything – the music, the colors, the energy – came together to remind you why we gather in these spaces. No phones, no rush,

It’s those moments that Enzio seems to understand so well, and it’s exactly why I’m excited to share this conversation and the his wonderful mix with to you, our listeners.

Hi there Enzio, can you introduce yourself briefly to our listeners?

Hello, I’m Enzio, I somehow unintentionally found myself to be living joyful times as a DJ, music producer and DJ programmer for a certain club in Berlin. Besides having the privilege to play other people’s music on loud sound systems around the world.

I can often be found locked in my music studio in Berlin, Lichtenberg. Following the trails that our forebears have left behind and that lead through the rich past and present of electronic dance music. Often digging (endlessly) for music and editing tunes to become part of my sonic palette. Digging is a never ending ordeal that still fascinates me to the core. In fact, one day I think I have discovered the end of the internet, but couldn’t find it anymore the next day

What’s been keeping you busy of late?

The state of our scene (the good, the bad and the ugly) and broader speaking, the state of our macro world. As many people seem to be stuck and struggle with complex problems and not many (simple) solutions or answers.

How can our moods be so affected by negativity being reported in our macro world? How can we safeguard the places where people can meet and continue our ancient rituals and promote dialogue? What role can electronic dance music and DJs play in transcending some of these problems?

This all might seem dramatic and is likely due to the time of year (winter in the northern hemisphere makes for lots of contemplation).

What drove you to electronic music in the first place?

I think it was The Field – From Here We Go Sublime that introduced me to electronic music. And subsequently discovering the output of Kompakt, with artists and mixes by the likes of Superpitcher and Michael Mayer.

Photo by Kristina Knast

What about DJ’ing, and how did you get started?

Whilst in my second year of University (Bachelor’s degree in Psychology) I had the great fortune to get acquainted with fellow students from the same university that were into raving. Although we mostly came from different studies we all had in common a sense of boredom we felt with the state of nightlife in Utrecht at the time. We were missing music and venues that had soul and enough quirkiness to make you smile.

This led us to host small and intimate basement gatherings where art and music were central. On one of those early gatherings I was invited to play some music. I think it was a combination of electroclash and melodic sounds that were common around that time. I somehow felt the need to bang it out, who doesn’t in their early twenties?

When you select records for your sets, what’s your approach like?

For me it’s all about the mood or vibe. There is quite a broad spectrum of human emotions, therefore I also try to convey a broad spectrum of music to match as a DJ. I only select music I feel or dig myself and try to imagine the setting in which the set will take place.

Things I consider whilst preparing: what kind of sound system, what kind of stage or floor, what kind of crowd, time of day, day of the week, the weather and how long people have been going on at that point.

Name five tracks or releases that are currently on heavy rotation?

S.A.M. – Strings from Mars (2024, Dahlia 993)

Javi – Shifting Reality (2024, Javi Self-released)

Mieka du Franx & Mark Ambrose – Wake Me Up (2024 Reissue, Spincycle Records)

DJ HMC – Electronic Energy (1999, Groove Zone)

Oligo – Acid Jam (2023, Under the Radar)

Do you have a comfort record, one you can put on that makes you feel good no matter what?

Simon & Garfunkel – Leaves Are Green, there’s something very soothing about the music and lyrics. The realisation that everything passes is insightful, therefore one should at least enjoy the brief moment we have right now.

Who are the artists and DJ’s you think deserve more attention than they get currently?

There is a whole list of artists I could name here. But I refrain from starting that list and stay diplomatic by saying that I thoroughly admire DJs that had the courage of quitting or executing an exit plan.

The ones that quit their touring career as a DJ and still be true to their passion. Those are the heroes together with the people that quietly and steadily without looking for hype are true to their beliefs in how they want to convey their sonic art, with or without external recognition.

Photo by Kristina Knast

Let’s talk about Sisyphos. How did you get involved?

One month after moving to Berlin (in 2013) I got invited to play the club for the first time. Through parties and afterhours in Ruigoord, Amsterdam I previously got to meet some people affiliated with the club and stated my intent to move cities and pursue my passion for music (and men ;)) Which was a stars-aligning-moment and have been playing the club ever since.

It was only after the Covid-19 pandemic that I got asked to join the booking team as the programming became a lot more intense. It’s the size of a small festival almost every weekend.

Sisyphos almost never announces or promotes the weekend line-ups. What other aspects make it unique?

The fact that we never intended to be a club! It all grew very organically from the first raves that were organised to slowly reaching a full grown club and community in the years to follow. And we still have the feeling we are not done yet, even after 16 years of operating there are enough ideas for the future and inspiration to keep going.

Many projects these days seem to be presented to the world in an almost finished state. Which leaves very little room to deviate from the original plan and less freedom to enjoy the process of evolving and adapting to the times.

Now a big one – what’s your take on the current state of electronic music?

Technology has lowered the threshold for a lot more people to express themselves through music, both making it and playing it out. This means that there is a lot more good stuff and at the same time a lot more mediocre stuff. Which requires a bit more time and filtering through.

I am lucky enough to be in a position where that is my job. Either in filtering DJs or tracks for playing. What tracks are to a DJ, are DJs to programmers ;).

One phenomenon I have been noticing and I can’t really explain why. What happened to ‘underground’ hits? About ten years ago I could name at least 10 tracks that you and I knew. These days a lot less so. I believe it’s time that we can unite behind hits again.

How about Berlin, what has been the biggest change during that last few years?

The city is at a point where it is attracting investment and with that comes comes arbitrarily bad taste and the hard-to-say-no-kind-of-deals. You can’t buy a lifestyle nor can you sell it. Plus the fact that inflation and the cost of living crisis has made life a lot more expensive for everyone, including party-goers and artists. Which will further threaten the spaces that provide a sense of community and access to culture. 

What’s the Berlin scene like today?

After many cycles of washing it has shrunk slightly but the essence and spirit can still be found around Berlin. Especially in the places that stayed true to their principles and identities in the face of adversity and investment. 

Can you name a few local acts, events or locations that should be on people’s radar?

Berlin has many small venues to support emerging artists. One of my favourites is OHM.

So the mix, can you tell us a little something about that? 

This time of year is about contemplation and finding inner cosiness. Therefore I selected some music that makes me transcend my daily worries and provide me with warm feelings. I hope you as a listener will experience something similar.

Many thanks, anything else?

Thank you for the invite and wish you the best with this wonderful platform. I am glad there are still people that appreciate the long form and taking time. A sacrosanct counterpoint to our short attention span training we engage in our daily lives.

01 – Scape One – They Manufacture Humans – Self-released – 2020
02 – François Kevorkian – Moov – Wave Music – 1996
03 – Andre King & Cpen – Dancin’ – Transfusion – 2001
04 – Charasmatix – SFX Mixed Up (Der Dritte Raum Remix/DJ Edit) – Society FX – 2002
05 – Get Fucked – Get Fucked on Fishcakes – Eukahouse – 1999
06 – Jorge Gamarra – System Self – Dance Floor Rituals – 2023
07 – Jay Quentin – Information Superhighway – ://about blank – 2018
08 – Skyra – Untitled – Morevi Records – 2023
09 – Tommy Vicari Jr. – Pffffff – SlapFunk Records – 2024
10 – Der Dritte Raum – Wellenbad – Harthouse – 1996
11 – DJ Jacuzziy – The Sunlight – Deep Water Coconuts – 2023
12 – Avivx – Closer – Electronic Emergencies – 2022
13 – Giammarco Orsini – Twenty – Timeless – 2024
14 – Sci-Phi – Human Spirit – Lunar Tunes – 1998
15 – Mark Ambrose & Alexander Purkart – Round & Round – Force Inc. Music Works – 1998
16 – Dream State – Distant Observer (DJ Edit) – Club Masters – 1990

I first met Ben Cowper in Berlin at the Hypersoft party and it was no-brainer to ask him for a mix after hearing his superb b2b set DJ Teeth

Ben, who goes by Cowper, is a DJ, record collector, and the mind behind Between Stations, a radio show that’s grown into a party and now a label. In this chat, we talk about his journey into music, the label’s vision, and the records that shaped him.

Hi there Ben, how’s things? Can you introduce yourself briefly to our listeners?

Hey Timo! Thanks for having me, things are good. My name is Ben but I play records and make music under the name Cowper. I run a radio show, occasional party and now label called Between Stations.

Starting up the label has been taking up most of my time recently, but it’s finally just about here. It feels like a long time coming. I’m not much of a producer, but I’ve always been a bit of a nerd around collecting records and tapes, and organising parties, so the admin-heavy side of organising a label seemed like a natural progression haha.

What about DJ’ing, and how did you get started?

So growing up I used to be a big punk, hardcore and metal fan. I used to go off to see bands in London with friends and on my own after school and college. I always had some interest in other kinds of music, but punk was the main thing for a while. When I started going to university in Cardiff, I kind of fell into regularly going to the Teak parties, run by James Teak, David J Bull, Seka, Rikki Humphrey and Esther. 

Those parties became really formative for me. My close group of friends all stem from that party and I got to see some incredible DJs play. Some of my favourite dancefloor moments ever are from that party. Attending that party month in month out in my late teens and early twenties is what pushed me further down the hole of dance music, and made me want to learn to mix records together. I owe a lot to the Teak crew for who I am today, musically and non-musically. 

Name a few records or songs that had a big impact on you in your early days and why?

King of the Beach –  Wavves definitely stands out as a record that defined my teens and is always one I revisit with a lot of nostalgia.

Moving forward a few years, Dance It Down – The Pool is one that jumps out at me. I remember David J Bull playing this at a Teak Residents Party (I think) in the final hour of the night and it absolutely blowing my mind at the time. The last hour of the night is always where something magic ends up happening. 

Do you have any memorable experiences to share from your early days as a DJ?

I think the most memorable experience to date has been being invited out to play for the Hypersoft party on a couple of occasions in Berlin, my first time playing outside of the UK. DJ TEETH and TPR are big inspirations to me. I really look up to them both, and will always appreciate them having me to play. I’ve gone on to revisit that party on multiple occasions to dance and have made some amazing friends. 

The first time, I got to play a 6 hour set in the Absinth room, which was super trippy, dark and really fun. I managed to partially record some of the set when I finally got my Tascam working! The second time, I went b2b with DJ TEETH in the Red Room which was a wonderful full circle moment. 

You are an avid vinyl fan and record collector. Tell us a little about your collection and how you go about finding records to buy?

I’ve not sold many records over the years, so my collection really paints a picture of how my tastes have morphed over the years. I still have a lot of my old punk and emo records, then a lot house, italo disco, disco and new wave from when I first started buying records to DJ, then moving to the new beat, trance and techno records I play a lot of now.

I’ve also got a nice section of ambient, noise and musique concrète records too, which I find super interesting to listen to and play early on when warming up.

I think, like most people now, I predominately use Discogs for finding records nowadays. It’s so easy to endlessly browse and get lost in. But I always love visiting record shops regularly at home or if I’m ever visiting a new city. Locally, it’s great to have All Night Flight, Piccadilly Records and Vinyl Exchange on the doorstep to pop in, pick up an online order, or get a recommendation.

When you select records for your sets, what’s your approach like?

I usually like to prepare where I want to start, so I will pick the first two or three records I want to play to begin, and I may have a record in mind I want to finish on. But between those points I like to be spontaneous. I’ll watch and listen to any crowd that may be there listening, or with a b2b partner I may be playing with and respond to what’s going on around me. I always like to try and be as fluid as possible and be present when playing a set.

Do you have a comfort record, one you can put on that makes you feel good no matter what?

Yeah I have a few! Three that really come to mind are:

Periphera – Pataphysical
Operation: Doomsday – MF DOOM
Somewhere Decent to Live – Space Afrika

Name five tracks or releases that are currently on heavy rotation?

Rock To The Beat – 101
The Breathing Engine – KG Beat
Northern Lights – Shjva
Implant – Eat Static
Orbitality – Some Other People

Who are the artists and DJ’s you think deserve more attention than they get currently?

Bitzer Maloney, Herc Morse, Schuttle and Jorg Kuning of Bakk Heia Records 
aka.zato
Tilly
Remove-Me
Richard Gregory
HENRY
Frond
98dots

You have a show on Noods Radio called Between Stations, what’s the story behind it?

I run a monthly show on Noods Radio, based in my old city of Bristol, called Between Stations. It’s been running for the last 2.5 years and is just an opportunity for me and guests to share the music we’re interested in, which generally ends up being dark and weird.

Between Stations is your label – tell us about your vision for the label and what’s in the pipeline?

The label has kind of evolved off the back of the radio show. I’ve always been drawn to physical mediums for consuming music: vinyl, cassette, CDs etc. There’s something I find really grounding and pleasant about pulling out a tape or a record and listening to something in full. So I wanted to contribute in my own way to that feeling and share releases that you can see and touch, as well as hear.

The label will be focussed around a regular mixtape series released exclusively onto cassette. There will also be occasional vinyl-only edits and original music released along the way too.

So far, I have the debut mixtape from DOOM TV (Loma Doom & TVST) which is out now, with a 3 track EP of edits by myself coming in early 2025. 

What’s your take on the current state of electronic music?

Generally oversaturated and lame, with pockets of amazing people doing amazing shit.

Let’s talk about Manchester & Bristol, how’s the scene there?

Manchester is still very new to me, having only lived here just over a year. But I’ve met some fantastic people and the extended Red Laser Records crew have really made me feel welcome and helped me settle.

Bristol will always be home for me. Lots of freaks making weird, interesting and really beautiful art, and supporting one another in doing so.

Can you name a few local acts, events or locations that should be on people’s radar?

Talking Drum
Mish
Kelan
Señor Chugger
Jabu
(a)
Deep Nalström
Schwet
Dirtytalk
Mackenzie
Balouu
I-sha
k-means
Observer
Jay L & Andy Mac

I could keep going!!

So the mix, can you tell us a little something about that? 

I’m quite comfortable with playing slower, chuggy records. So I wanted to test myself by recording a faster vinyl only dance set. This is the result!

Many thanks, anything else?

Thanks for having me!

01 – Francesco Farfa & Joy Kitikonti – Coloseum B.C – Dream Records
02 – Sound Scape – Deliorman – Time Unlimited
03 – Body Corp – Single Breath – Body High
04 – Mavi – Doobie – Regress
05 – C.D.Jay & Trip – Vortex (Jay Jay Mix) – XXX Records
06 – Eric Entrena & James Cool – Energy – Purpose Records
07 – Troop – The State (Fabio Peras Remix) – Noom Records
08 – Blue Alphabet – Timetable – Bonzai Records
09 – Thump – Magika (Trance Mix) – Junk Rock Records
10 – Matthew Dexter – Mercurial – Animals on Psychedelics
11 – Purple & Ronan – Future Blue (Remix) – Transient Records
12 – Shakta & Ping Pong – Starbug – Phantasm Records
13 – Astral Projection – Visions of Nasca – Transient Records
14 – Dimension 5 – Trancefix – D5 Records
15 – Frond – Purple Field – People & Places
16 – Children of Dub – Electronic Meditation – Magick Eye Records
17 – Submerge + KMH – Unloved 2 – Sm:)e Communications
18 – Niagra – Cloudburst (Part II) – Freeflow Records

Photo Credit – Kate Green

If you’re plugged into the London music scene, chances are you’ve crossed paths with Matt Cowell. I’ve had the pleasure of crossing paths with Matt a few times both on his home turf and under the Tisno sun. Each time his friendly and positive nature has stood out as much as his deep passion for music.

Matt cut his teeth as a resident at Plymouth’s Vivify and since landing in London, he’s been collaborating with key events and labels like Ransom Note, Viscera and Not An Animal. He co-founded the boutique event series Optick and runs the Viscera Transmissions label alongside Ben Carrington, championing talents like Manami and Komodo. 2023 also saw him team up with Johnny Aux under their alias The W.C. for a remix of Latrec’s “Kutika.”

At Ransom Note, Matt is instrumental in curating the residency at The Social, which has hosted legends like Optimo and emerging acts like Baba Ali. Beyond the club booth his radio projects — “Too Hot To Sleep” on Radio Vilnius and shows with Ransom Note on Kiosk and Netil Radio — showcase his knack for eclectic boundary-pushing selections.

The mix Matt recorded is an excellent showcase of his ability to create unforgettable dance floor moments that are as diverse as they are thrilling.

Hi there, how’s things? Can you introduce yourself briefly to our listeners?

I’m Matt Cowell, originally from the South West, now based in London. I’ve been involved with various events over the years, having held a residency at Vivify in Plymouth and collaborating with various parties, magazines, and labels in London. I also co-run Viscera Transmissions and co-host a radio show called “Too Hot To Sleep” on Radio Vilnius. 

What about DJ’ing, and how did you get started?

It all started at university in Falmouth. I’d then bounce back and forth between Plymouth, where I held a residency at Vivify. Being part of the club night and playing alongside likeminded artists is where it all started really, before doing a brief stint in Berlin, which connected me with festivals like Gottwood. Over the years, I’ve definitely been involved with a few areas of music which has helped with collaborations and my work today.

Do you have any memorable experiences to share from your early days as a DJ?

One moment was playing my first set at Vivify at the Factory in Plymouth b2b with DanBe, I think July 2015? We had the closing in the basement – it was freezing and we played a lot of techno, but everyone seemed to be loving what we were doing and stayed through till the end. With lightworks and vivify around then there was a bit of a vinyl collective then so there was a big connection with everyone through that.

When you select records for your sets, what’s your approach like?

With my approach I tend to create a few different playlists for different genres or styles which all have a slight cross over so they can be linked at various points throughout the night. I try not to over-prepare but that often happens anyway, so I can go down a few different avenues with bits that I’ve been enjoying.

Name five tracks or releases that are currently on heavy rotation?

I’ll give you 6  

Who are the artists and DJ’s you’d currently recommend?

I think Stella Z, Megan Leo and shjva are doing incredible work.

Tell us about your shows on Radio Vilnius ?

On Radio Vilnius, I co-host “Too Hot To Sleep” with Reefe Murphy. We host the show every 3rd Saturday of the month at 8pm local time. The shows usually feature an hour of music that we’ve been enjoying recently, with the occasional guest filling in, it’s quite free and nothing strict about it.

How did you get started and how have the shows evolved?

As we tend to visit Vilnius a few times a year, we got in touch with the station to see if we could host a one off show when visiting. As a natural progression this has turned into a more regular fixture over the last couple of years, where myself and Reefe alternate on the show each month. 

Any plans for the coming months?

Much of the same with the occasional guests filling in  

Tell us about your parties with Ransom Note, Viscera and Optick?

With Ransom Note we’ve hosted a residency at The Social in Fitzrovia over the last couple of years, hosting the likes of: Baba Ali, ddwy, Optimo, Fabio, C.A.R., Pleasure Pool, Wolf Müller, Jaye Ward and more. It’s a mixture of live and DJs and we often run these parties as free parties – they’re something a bit different.

Any plans for the coming months?

Next year is going to be 15 years of Ransom Note so keep an eye out on what’s to come for sure!

How have you evolved as a producer? 

I haven’t produced too much in recent years, but it has progressed quite a lot. I started making tracks under Mattiik a few years back with releases on Mint Tea, These Things Take Time and a few other labels, it was a very lo-fi sound that generated a really nice and organic community for up and coming producers to get your music heard.

I guess this naturally progressed over time to produce more polished sounding tracks, even though I don’t really put anything out at the moment.

What does the coming 12 months hold for you in regards of releases, collaborations etc.?

Nothing myself but a few bits coming out on Viscera Transmissions that haven’t been announced yet! Announcements early next year!  

You are one the creative forces behind Viscera – tell us about your vision for the label and what’s in the pipeline?

At Viscera, we’ve always had a cosmic theme in the back of our minds and we’ve always been into such a wide range of music that we try to represent that with the label. Although the releases are quite different I think you can still picture them being part of the Viscera sound / catalog. But yeah, we’ll be releasing some bits from a range of up and coming and established artists over the next couple of years for sure.

Pick one release out of the catalogue and tell us a story behind it, please?

I think I have to pick Latrec’s Kutika. This one is from Andy Bainbridge and Serious Hots, we had the track for quite a while and has become a staple of pretty much every Viscera set over the years. It’s a track that keeps ticking over and everyone keeps coming back to, we’ve been lucky to have a lot of support since release which we’re really grateful for and I managed to remix the track with Johnny Aux – The EP is full of party bangers that encapsulates the Viscera party and label.

Where do you find the music and the artists for the label? 

Usually we’re following artists already and approach them to see if they have any demos lying around, or we have the artists come to us, it’s not too forced and all feels quite natural.

Can you name a few local acts, events or locations that should be on people’s radar?

For sure – Definitely always worth checking everything that’s going on at The Social and The Gun! Always guaranteed to see something great, no matter what day of the month. 

So the mix, can you tell us a little something about that? 

The mix I’ve put together goes through a few of my current musical interests and a bit of the vibe I might go for when playing out

Many thanks, anything else?

Thank you for having me!

01 – Autechre – Nine – Warp Records
02 – Barac – Happiness in Every Direction – self released
03 – Henry Hyde – My Machine Walks – Lion & Lamb Records
04 – Elia Nafzger – Platforma (Original Mix) – OOZ Records
05 – django django vs yuuko sings – don’t touch that dial (NTFO rmx) – Because Music
06 – Vincent Casanova – Lush Void – Pirka

07 – Echomen – Substance (Mooncat Mix) – Forensic Records
08 – Human Space Machine – Substance – Something Happening Somewhere
09 – 100Hz – Tension (Original Mix) – Bosconi
10 – Adopted Super Kid – Pass It On – Odori
11 – Matthew Styles – We Said Nothing – Diamonds & Pearls Music
12 – Jeff Bennett – Reliances – Episode
13 – Etienne – Octavarium – Reductive Records
14 – Sieg Über Die Sonne – A-Dapt – Dance Pool
15 – Jared Wilson – Ghostminers 6 – 7777

Verbal wears many hats as a DJ, producer and label owner – originally from Tbilisi, Georgia, and now based in Berlin. From running the Summoning label and party series to building intimate DJ sets, Verbal’s approach is all about connection, exploration, and pushing boundaries.

Dive in as he shares insights into the electronic music scene, future plans, memorable experiences, and the excellent mix he’s prepared for us!

Hi there Verbal, what’s been keeping you busy lately?

Yes I’m both a DJ and a producer, last gig I had was a label showcase of Summoning and Warning in Club TES, Tbilisi, Georgia, now mostly focused on building new connections and contacts in EU since I moved to Berlin last month.

I run a Label/Party Series in Club TES, called “Summoning” with my friend and my brother, we started in late 2010’s and released our first vinyl record just this year.

As for late i’ve been planning a small tour to Scandinavia, Norway, Denmark, Sweden usw. 

Do you have any fond musical memories from your childhood?

I remember the moment I listened to Kerri Chandler, Daft Punk, Prodigy for the first time, also my core memory is exploring the grounds of Drexciya, Moritz Von Oswald.

What about DJ’ing, and how did you get started?

Initially I wanted to give out good vibes and energies on parties and let people seek escapism and comfort zone on the dance floor but as it evolved more as a profession, the relationship with the art of DJing itself changes with time.

Name a few records or songs that had a big impact on you in your early days and why?

Acidwolf – Blue Morning Drive, 

Round One – I’m Your Brother, 

Basic Channel – Quadrant Dub,

Drexciya –  Black Sea / Neon Falls,

No words, just feelings. 

Do you have any memorable experiences to share from your early days as a DJ?

I remember playing in Griesmuehle Garten in early days, which was  truly a special place for me 

Tell us a little about your vinyl collection and how you go about finding records to buy?

I don’t have many records, but I always get one I love, therefore my vinyl selection is more intimate and feels like cheating in a way to build up chemistry on the dance floor in comparison with full-time digital performance. I mostly dig personal collections on Discogs, which is really handy if you find a collector in the same city as you.

When you select records for your sets, what’s your approach like?

I normally put all my bangers in the bag and go instinctively on the floor, but I always have a playlist in Rekordbox with all the neighboring genres of music which might fit the venue im performing at.

Name three to five secret weapons that you almost every time carry in your bag?

Mosca – Bax

Blaze – Lovelee Dae

Man with no name – from within the mind of my 909

Palms Trax – Equation

HVL – Sallow Myth

What have been your most memorable record finds? Any good stories?

It is for sure Nachti XX release with by that time had 20 min of unreleased works from Giegling, KLM (kassem moose, lowtec, mixmup) and many more super interesting tracks.

Do you have a comfort record, one you can put on that makes you feel good no matter what?

Round Four with Tikiman. 

How have you evolved as a producer? 

I’ve been around the DAW’s for more than 10 years but I didn’t really had big, fast steps, my evolution was slow but whatever i’ve learned I was trying to squeeze all the knowledge out of it.

Are there any new tools or musicians or artists who have recently inspired you?

I get inspired by listening to other tracks, sometimes some sample gets stuck in my mind and I just have to use it as a reference while in DAW.

Out of your own releases, which do you have the strongest bond with and why is that?

SUM001, because we worked so hard and long for that.

Where do you find the music and the artists for the label? 

Normally the search is conducted between friends and friends of friends.

What has been the most rewarding part of running the label?

Holding Vinyl in your hands and listening in clubs how other dj’s play your vinyl.

What’s your take on the current state of electronic music?

The trends are not changing in the same pace as it was in 2010s and early 00’s, clubs and promoters are in a comfort zone for too long and it’s getting a bit boring to go out and listen to the same sets played by different people. I think the whole industry needs a shake up.

Can you name a few local Tbilisi acts, events or locations that should be on people’s radar?

I mean obviously TES, Bassiani, Left Bank, Mtkvarze, all of them are unique places and definitely worth a visit, I would also mention Morevi Records Shop, which just relocated and opened a new spot in town.

So the mix, can you tell us a little something about that? 

This is a livemix from our Party Series, when I took over the dancefloor from Simon, resident of Warning, the party it self was a showcase of Warning and Summoning at the club TES, in general you could say its a Trance Mix with a house twist. 

Skyra – Ecstasy
Mpeg 
Papa nugs – hyperdrive
Luka atanassio
Efdee – my beep
All over – Revivis
Avalon emerson & tornado wallace
Osvlanger 
Samir – f^ck you
Kosh –  chopper
Dj life – whomper
Revivis
Papa nugs
Beyond silver
Seb wildbloodDoss – candy

I met Shane Crosland, known as Shane.MOV, last summer and was immediately struck by his friendly and creative personality. Shane is a multi-talented artist with a rich background in film and music. For nearly a decade, he’s been performing at festivals, clubs, and events, captivating audiences with his dynamic sets. Shane has launched SONIK-INO, a visionary arts, film, and music label dedicated to inclusivity and collaboration. From founding the immersive art-meets-music event Kino Grande to releasing vibrant house and techno tracks like “Lullaby For Georges” and “Count Forwards To White,” Shane continues to push boundaries creating vibrant sets that reflect his deep connection to the underground electronic scene.

Hi there, how’s things? Can you introduce yourself briefly to our listeners?

My name is Shane Crosland, also known as Shane.MOV, and I am a filmmaker, drummer, DJ/Producer, head of SONIK-INO, as well as Expressions events currently based in Byron Bay and Sydney, Australia, originally from the US.

What’s been keeping you busy of late – you’re both a DJ and a producer?

Things have been pretty busy recently. I’ve just gotten back from a bit of time playing over in Indonesia and Vietnam as well as visiting some friends. Currently I am in the middle of writing a few film scripts and am releasing my first EP, ‘Habits (Like Glue)’ in mid November featuring remixes from Pootchy (AU), Nachtbraker (NL), and Minor Circuit (UK/AU). I am also in the middle of rebranding our previous event series, Kino Grande, into Expressions creating interactive spaces of free expression of music, art, and self. 

I have just released two singles that are part of the EP which are now available on all streaming platforms and for download on Bandcamp. The remaining will follow suit when the full EP is released. 

SONIK-INO is not just a music label, but it also acts as a creative film production company and curation for events across anything art. SONIK-INO also runs a mix series titled ‘Kino Tapes’ giving artist a voice and a platform for their sounds to a worldwide audience. (Timo’s note: thanks for having me on as a guest in the series!)

Do you have any fond musical memories from your childhood?

Plenty, but the best moments would always be listening to classical music and early Jazz with my father during road trips in the US, which in return later had a huge effect on how I use theory from these genres for film and music. 

What drove you to electronic music in the first place?

I would say living in Colorado during my years at university. I have always liked to say that Colorado is kind of like the UK of the US. There’s such a similarity in the scenes such as my early love for dubstep, bass music, and drum and bass.

What got me into dance music, however, was the ever expanding scene of jam bands in Colorado and the US. These bands are able to create high energy sets which can be quite similar to house and techno DJs in the sense of keeping a constant dance beat, but with live instruments, and giving each other proper space as musicians. 

What about DJ’ing, and how did you get started?

I started getting into DJing at university just starting at parties playing hip hop and other throwback tunes. I wasn’t really taking it seriously at the time as I was way more into drums and focused on creating film and visual art. By the time I got to Australia, after living in Thailand for a brief time, in 2016, I started to take a love toward house and techno, which opened up a gateway to a whole other universe. I hadn’t really ever gotten into it before, but the more and more I went to clubs and experienced the beauty of the culture surrounding it, I wanted more of it.

I love history, especially music history, so I think I got highly addicted to dance music from learning about the history and the exchanges of intercontinental culture within the scene and how it has developed into what we see today. 

Name a few records or songs that had a big impact on you in your early days and why?

Kolsch – Opa

This has always been a huge favourite of mine. While I was living in Thailand in Koh Phangan, I’ll never forget the energy that the crowd brought while at Eden when this came on. This track started to lean me toward leftfield music and more experimental driven tones. 

DJ Dozia – Pop Culture (KiNK Remix)

There used to be a club here in Byron Bay called Locura (RIP), which was curated by Jono Ma (Jagwar Ma) who revolutionised the scene in Byron Bay bringing many big names to our small coastal town. The club still holds my fondest memories of what made a community through dance music. Lower BPMs, deep deep sounds, a long rectangular dancefloor, and lots of lots of smoke. My friend, Oli Wright, was on the decks that night and played this tune. Something just hits hard about a heaving dance floor shadowed in smoke, and deep driving acidy bass. 

Do you have any memorable experiences to share from your early days as a DJ?

Of course. When I first arrived to Byron Bay, I guess I would consider myself still a backpacker at that time. I made friends with many internationals that were also traveling and we created a group where we would throw bush doofs fort nightly or monthly. It was an amazing year being able to share so many memories with friends in music from Berlin, Montreal, Belgium, France, and Colorado. 

As a DJ, you’re known for your extensive knowledge of music – ranging from Jazz to techno to trance and everything in between. How has your collection expanded over the years – is your approach systematic or organic?

It has ranged all over the place. I usually just like to select music based on what my gut tells me I like. Sometimes, I find myself having a super particular taste, while other times, I’m quite open. It has ranged from Chicago and Detroit sounds to start, furthering more into euphoric worldwide selections, and accumulating more and more world fusion tunes. 

When you select records for your sets, what’s your approach like?

I always love to push and pull with the crowd. Inspired by jazz, I find it very important to give space to breathe in order to keep the crowd engaged. 

Name three to five secret weapons that you almost every time carry in your bag?

Plantastik – Artifacts

Dome Patrol – Cutting Edge

E-Dancer – Banjo

Jonny L – Make Me Work (Turn Me Round) (Vocal Excitement Mix)

The 2 – We Is 1 

Do you have a comfort record, one you can put on that makes you feel good no matter what?

Fela Kuti – Water No Get Enemy from Best Of The Black President Compilation

Name five tracks or releases that are currently on heavy rotation?

Christian AB – Infinite Resonance

Reload – Peschi

Dean Grenier – Sweet Dreams

Pollaar – Yeah Left

Perm – Brablank

Who are the artists and DJ’s you think deserve more attention than they get currently?

Minor Circuit aka Iain Yes (SCO/AU)
Donald Pump (AU)
Timo Deeprhythms
Dita (Bali)
Ezza (Gili Air)
Ari Craike (Lombok)
Felix (Brisbane)

Honestly every artist in SE Asia. The scene there is really taking it to new levels and is extremely open arms to everyone. There is some incredible incredible stuff coming out of there, especially Hanoi. 

Did DJing eventually turn your attention into making music or was it always there right from the beginning?

Making music has always been there from the beginning but I have been more savvy in Logic rather than Ableton before this EP that I am putting out, which my good friend, Donald Pump (Zach Panepinto) helped me produce and show me the more in depths ins and outs of Ableton. I started off playing in orchestra/symphony when I was young as Cello, then Trumpet which eventually evolved into drumline and percussion then into drumset,. 

How have you evolved as a producer? 

Being open minded to many releases and genres coming out internationally that I can relate to my taste. I think it’s a bit closed minded to yourself to not open up a bit to trying new things in productions and just sticking to a perpetual one style. 

Are there any new tools or musicians or artists who have recently inspired you?

Shanti Celeste
Daisy Moon
Piri & Tommy
Alex Kassian
Baldo
DJ Bone
Nachtbraker

Out of your own releases, which do you have the strongest bond with and why is that?

I think the first single I have released from my forthcoming EP which is the title track, ‘Habits (Like Glue)’. I wanted to give back to my roots of live music and was really into breakbeat/garage soul at the time. It’s a fun one not necessarily made for dance floors but could sneak itself out there. This isn’t the typically the style of music I play at all, but it’s always fun to challenge all aspects of yourself as an artist. 

What does the coming 12 months hold for you in regards of releases, collaborations etc.?

Habits (Like Glue) EP featuring remixes by Nachtbraker, Minor Circuit, and Pootchy will be out and about in the world late November (Nov 22). I am also planning a collaboration EP with my good friend Donald Pump, dipping into some more deep euphoria. 

SONIK-INO is your label – tell us about your vision for the label and what’s in the pipeline?

SONIK-INO is the label, which still acts as our film production name as well. Everything into one. 

The vision for the label is to give artists a voice that wouldn’t normally have access to do so, remaining inclusive. We want to try new things and new sounds that are breaking outside the box rules through a range of genres but mostly targeting alternative and leftfield sounds. 

Pick one release out of the catalogue and tell us a story behind it, please?

I think my favourite release to this day is SOKI001 which is exclusively available on Bandcamp featuring an 8 track compilation from artists all located in the Northern Rivers area of Australia. It was our first release and really encompassed all aspects of sounds that I think the label represents. 

Where do you find the music and the artists for the label? 

We are still new and growing, but our goal is to find artists that are really contributing to the music industry in total. We aren’t just looking for electronic dance artists, but are also targeting electronic bands and neo-jazz/soul. 

What’s your take on the current state of electronic music?

I think it’s more vibrant than ever which is amazing. There is so so much music coming out every day now making it so hard to choose from, which isn’t a bad thing at all. I think it’s an amazing genre and scene for the younger generation to step foot into. With the growing tech industry and communication growing faster and faster by the day, I think it goes hand in hand with creating music that is now so accessible by just downloading a production software to get you started. It definitely has become part of the main entities in the music industry as a whole and I think it’s so fascinating to be seeing artists old and new collaborating on productions and releases. 

I do, however, think that governments need to realise this and allow relaxed laws around clubs and noise levels. This has become quite restricting around events, which is damaging the music industry as a whole, leading to many different factors which assist in closing down promoters, clubs, and festivals. 

Can you name a few local acts, events or locations that should be on people’s radar?

Byron Bay Artists:

Frumosul
LouLou
Cakkou
Donald Pump
Minor Circuit
Central Sonics
Steady Eddie

Marcel Manzoni

Byron Bay Events/Clubs/Record Stores/Promoters

Expressions
Underworld Byron Bay
Twang Town
Northern Rhythms
Therapy
Ma Presents
Flo Records

So the mix, can you tell us a little something about that? 

So I’ve been in and out of Southeast and Eastern Asia a lot this year and the end of last year and as mentioned before, the music I have heard coming out of there has definitely been an eye opening experience, showcasing sounds that are quite rare. This mix is comprised of a lot of sounds I’ve heard coming from friends and peers in these areas from Vietnam, Thailand, Indonesia, Cambodia, and Japan. 

Many thanks, anything else?

Thanks for having me on Timo! It was an absolute pleasure to meet you at Love International last year in 2023 (Timo’s note: absolutely, hope to see you again soon!) and hopefully I’ll get to make it back in 2025 and see you on European soil! 

Kenny Larkin – Amethyst
BassToast – Obnoxious Groove
Fred Nasen – Landcruising 
Boulderhead – Bread Butter Noodles (feat. Overnite Oates)
Shane.MOV – Salud (Pootchy Remix)
Fred P – Trust
Christian AB – Infinite Resonance
Unknown – Flavour (Kepler Edit)
Oilee – Your H (Kovyazin D Remix)
Jedi Mind Trick – Dish
Chalo – Somewhere Somehow (Thailand)
Eira Haul – Tranceduce
Shanti Celeste – Ice Cream Dream Boy (K-Lone Creamix)
Oden & Fatzo – Retro Drive
Vitess – Love It
Desire – Feel It
Tobhias Guerrero – Alba
Medway – Resurrection (Olsvanger’s Downtown Tribal Mix)
Phasmid – Primordial
Pollaar – Yeah Left
Perm – Brablank
Sam Goku – Tides (Under The Moonlight)
Sam Goku – Radiants
Chambray – Makin’ Me (AM Unit Remix)