Blending house, Italo disco and the more leftfield edges of dance music, Kid-A is building a sound rooted in groove, warmth and a deep love of digging. Shaped by time spent in Berlin and London, his approach moves fluidly between the club, radio and the studio, with curiosity always at the centre. Ahead of the release of his edit of “Hray,” we caught up with Kid-A to talk influences, DJ culture, production and the musical world he’s creating around the project.

For people who are just discovering you, how would you introduce Kid-A and the sound you’re trying to create?

Kid-A is basically an extension of my taste as a selector. I’m drawn to house, Italo disco and the slightly stranger corners of dance music. Records that are warm and emotional, but still have enough movement to work on a dancefloor. I’m not really interested in being locked into one specific genre. For me it’s more about creating a certain feeling: something playful, a little nostalgic, sometimes unexpected, but always with groove.

What first drew you into electronic music, and when did you realise that DJing and making music was something you wanted to seriously pursue?

At first it was really the culture around electronic music that attracted me – discovering records, going out, hearing music in the right environment and realising how completely it can change the energy of a room.

DJing started quite naturally from that obsession with finding music. At some point I realised I was spending ridiculous amounts of time searching for records and thinking about how they could connect to each other. That was probably when it stopped feeling like just a hobby.

Producing came later, almost as the next step of the same process – eventually you start hearing things you want to play that don’t exist yet.

You’ve been developing your profile within the UK electronic scene, what have been some of the key moments that have helped shape you as an artist so far?

Moving to London was definitely an important moment. Before that I spent time in Berlin, and the two cities have quite different relationships with club culture and DJing.

London has made me much more adaptable as a selector because I play in very different environments – from clubs and radio to more intimate spaces. Playing regularly around London has helped me understand my sound much better.

Radio has also been important for me, as well as things like Refuge Worldwide and HÖR. They give you the freedom to show another side of yourself without necessarily thinking about a dancefloor every second.

And then there is Aerobica, my own party project, which taught me a lot about curation beyond just my own sets.

Your sound seems to be driven by a love of digging and finding records that create a particular feeling. What are you always looking for when you’re searching for new music?

A feeling, first of all.

I’m not interested in finding something rare just because it’s rare. I want records that make me stop for a second when I hear them. Sometimes it’s a bassline, sometimes a strange vocal, a synth, or even one tiny moment in the arrangement.

I like music that feels familiar enough to connect with people but has something slightly unusual inside it. Those are normally the records I keep coming back to.

And I love tracks that can change the mood of a room without necessarily doing it in an obvious way.

How would you describe the connection between the music you play in your DJ sets and the music you want to release under your own name?

I want them to feel like they belong to the same world.

My productions don’t necessarily need to sound exactly like the records in my DJ sets, but they should have the same DNA – groove, warmth, emotion and a bit of unpredictability.

DJing is actually a very useful reference point for me when producing because I constantly ask myself whether I would genuinely want to play the track. If the answer is no, then something is probably missing.

Your upcoming edit of “Hray” is on the way, and what was it about the original track that made you want to put your own spin on it?

There was something very immediate about the original for me. It had this emotional quality that stayed in my head, and quite quickly I started imagining it in a different context.

I didn’t want to completely rebuild it or make it unrecognisable. The idea was more like: what would the version of this record sound like that I would want to play in one of my sets?

That question basically became the starting point for the edit.

When you approach an edit, how do you find the balance between respecting the original and making it feel unmistakably like a Kid-A record?

The most important thing is understanding what made me fall in love with the original in the first place and not destroying that.

I don’t think every element needs to be changed. Sometimes the strongest edit is actually quite simple.

I normally try to preserve the emotional centre of the record and then change the structure, energy and groove around it so it fits naturally into my own sets. If you remove the thing that made the original special, there isn’t much point in making the edit.

What was the creative process behind this edit? Did you go into it with a clear idea of where you wanted to take it, or did the track evolve naturally in the studio?

I had a pretty clear idea of the feeling I wanted, but not necessarily the finished arrangement.

The starting point was very DJ-focused – I wanted a version that had more space to mix and a different kind of energy on a dancefloor.

From there it evolved quite naturally. A lot of the process was actually about removing things rather than adding more and more. Once the groove felt right, the rest of the arrangement became much easier.

Have you tested the edit in any of your DJ sets yet? If so, what has the reaction been like on the dancefloor?

Yes. I’ve been playing it in my sets, including at HÖR, which was a really nice place to test it.

The response has been encouraging, especially because people are reacting to it without necessarily knowing what it is. I think that’s one of the best tests for unreleased music.

When someone comes up afterwards asking about a track they’ve never heard before, that normally tells you something is working.

Do you see edits as a way of experimenting and communicating with your audience, or are they sometimes a stepping stone towards developing ideas for original productions?

Both.

Edits are a really good playground because there’s already an emotional reference point there, so you can experiment with arrangement, drums, groove and energy without starting completely from zero.

But they’ve also helped me understand what I want from my own productions. You start recognising certain decisions you make repeatedly, and eventually those things become part of your own musical language.

So for me edits are definitely not separate from producing original music – they’re part of the same development.

As a DJ, how important is storytelling to you? Do you plan your sets around a particular journey, or do you prefer to react completely in the moment?

Storytelling is probably the most important part for me.

But I don’t believe you can completely write the story before you enter the room.

I usually know roughly where I want to begin and I’ll have certain records or directions in mind, but after that I want to react. The room, the time, what the DJ before you played — all of that matters.

I like sets where different moments can coexist. You can have something euphoric, something weird, something sexy, something almost melancholic. The interesting part is finding a way to make all of those things belong together.

Is there a particular track, artist or era of electronic music that has had a major influence on the way you approach your own sound?

I’m really fascinated by that period around the late ’70s and early ’80s when disco was becoming more electronic and, in some places, much stranger.

There was so much experimentation happening while the music was still incredibly physical and danceable. Italo disco is obviously a big part of that for me.

What I love is that a lot of those records weren’t afraid of being emotional, playful or even slightly ridiculous. Modern dance music can sometimes take itself very seriously, and I think that older spirit is something worth keeping.

What’s one record that has been a secret weapon for you recently, the kind of track that always seems to work at the right moment?

Number One Ensemble – Back To Heaven.

It has this beautiful balance between being emotional and still making complete sense in a dance set. It isn’t the kind of record you need to force into a set – you just wait for the right moment and suddenly it makes sense.

Those are usually my favourite records anyway: tracks that don’t work everywhere, but when they do, they really do.

Looking ahead, what can we expect from Kid-A next? More edits, original music, or perhaps a bigger project that brings all sides of your sound together?

The main focus now is definitely releasing more music.

Hray feels like a starting point rather than a one-off edit. There are more ideas developing, including original productions, and I want to keep building that side of Kid-A naturally.

I’m not in a rush to announce a huge project before it exists. Right now I’d rather release music consistently and let the identity become clear through the records themselves.

At the same time I’m continuing to DJ, dig and develop Aerobica, so eventually I think all of those different sides will naturally start connecting.

Finally, if you could choose the perfect setting for someone to hear your music for the first time, what would it look and feel like?

Probably somewhere relatively small.

A dark room, warm lighting, a very good sound system and enough people that there’s real energy, but not so many that you lose the intimacy of it.

And ideally quite late – when everyone has stopped thinking about what they’re supposed to be doing and is simply inside the music.

I don’t think my perfect setting would necessarily be a huge festival stage. I like the feeling that the DJ and the room are discovering where the night is going at the same time.

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BEONIX Festival has revealed the partners that will be hosting stages across its 2026 edition at Limassol’s ETKO site. The influential likes of HÖR, Ibiza Global Radio, Desert Sound, LEGGO and Franky Wah & Friends all step up for dedicated showcases across the festival’s three days from September 25 – 27.

Berlin’s HÖR takes over the Hangar Stage on Day 3, 27th September, with a lineup of Nikolina, elMefti and Bonnie Strange. HÖR broadcasts live sets from its iconic green-tiled Berlin studio and takes club culture on the road through HÖR ON TOUR. The collaboration runs both ways: alongside its stage takeover, HÖR will feature a recorded set from one of BEONIX’s resident DJs on its platform after the festival.

Ibiza Global Radio hosts the Organic Stage on Day 1, 25th September, broadcasting the sets live with Clint Maximus, Kole Audro, Theia (ES), Xavi Emparan, Oxia and Raxon all playing. Broadcasting from Ibiza since 2004 and reaching over 12 million monthly listeners worldwide, the station has already begun airing a BEONIX-produced promo piece ahead of the festival. 

Also on Day 1, Saudi-born platform Desert Sound presents the Garden Stage, with a lineup including LNTX, JOJ, Basha, Mario Chiha, Jan Blomqvist, MRAK, Asal, Yanzi, Pazzi and Fialkovska. The collaboration extends beyond ETKO with Desert Sound x BEONIX in Riyadh on 4 September, headlined by Mind Against.

Day 2, 26th September, brings Franky Wah & Friends to the Organic Stage, with Artche, Zoe Kypri, Franky Wah, Damian Force and Heroine.

Closing out the showcases, LEGGO returns to the Organic Stage on Day 3, 27th September, with Bianca Lif, STS, Joss and El Gato all bringing their signature blend of Latin, urban and electronic sounds to the festival.

The well curated showcases add another layer to BEONIX’s already adventurous 2026 programme, running alongside the festival’s main stage lineup across three days at ETKO. Adam Beyer, CamelPhat, Röyksopp, MRAK, Argy, Jan Blomqvist, Benny Benassi and Patrick Mason and more are all set to play. 

Tickets are on sale now. Discover the full 2026 programme and secure your place at BEONIX Festival.

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KDDO Releases “Qalbi” Under His Label Pentlife Music, Marking a Bold New Chapter in House Music

The globally acclaimed producer behind Chris Brown’s “Under The Influence” and Davido’s “Fall” steps into the spotlight with his latest release.

After more than a decade shaping the sound of global music behind the scenes, KDDO is entering a new era with the release of “Qalbi,” the first single released under his own independent label, Pentlife Music.

Known for producing and writing some of the defining records of the last decade, KDDO has built a career that has helped reshape contemporary African music on the world stage. A pioneer from Lagos, Nigeria, he began DJing at just 14 before co-writing and producing Chris Brown’s multi-platinum hit “Under The Influence,” one of the biggest R&B records of the decade. He also helped drive Afrobeats into the international mainstream through his production and writing on Davido’s global breakthrough “Fall,” a record widely credited with opening the genre to audiences around the world.

Across his career, KDDO’s music has generated more than 8 billion streams worldwide, earned multiple Billboard No. 1 records, a 2023 BMI Award, Headies Producer of the Year, and established him as the first African producer and DJ to receive RIAA certification. His catalogue spans collaborations with Wizkid, Summer Walker, PARTYNEXTDOOR, Popcaan, Ayra Starr and Anitta, cementing his reputation as one of Africa’s most influential musical exports.

Now, with “Qalbi,” KDDO turns the focus to his own artistic vision.

Blending emotive melodies with hypnotic house production, “Qalbi” unites KDDO with Mr. Kenou and Arabic Piano, whose distinctive piano work helped define Keinemusik’s global hit “Thandaza,” creating a record that reflects the global influences that have defined KDDO’s career while signalling a fresh creative direction.

The release is more than a new single—it is the first release under Pentlife Music, KDDO’s newly launched independent label. Founded to champion his artistic vision and future collaborations across electronic and dance music, Pentlife Music represents the next evolution of an artist whose career has consistently pushed musical boundaries without creative compromise.

For KDDO, this moment represents a natural evolution. Having spent years creating era-defining records for some of the world’s biggest artists, he now steps forward not only as an artist, but as the founder of a label built around his own creative vision. “Qalbi” is the first statement from Pentlife Music and the beginning of what promises to be an exciting new chapter.

Artist(s): KDDO, MR. KENOU, Arabic Piano
Title: Qalbi
Record Label: Pentlife Music
Release Date: 22nd August 2026

Tracklist:
1) Qalbi

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Long time German underground mainstay Re.You is back with another of his essential fusions of deep groove and rich melody with “Decisions” on his own label Younion.

Re.You has been at the sharp end of the scene for many years, always evolving and exploring new sounds across singles and albums. He has played all over the world, and released plenty of underground chart toppers on the most respected labels in the scene.

Decisions marries dramatic synth stabs that echo early Detroit with a deep, dark, rolling groove. There is a tension between the two that keeps dancers locked and subtle synths and vocals that bring the groove to life.

Re.You balances tension and release perfectly once more with this latest drop on his essential imprint.

Artist: Re.You
Title: Decisions
Record Label: Younion
Cat.Number: Younion014
Release Date: 17th July 2026

Tracklist:
1) Decisions

Joseph Capriati returns home for the club’s 50th anniversary, with a renewed focus on pure clubbing

This summer, Metamorfosi returns to Amnesia Ibiza, the place where it all began.
 In the year of the club’s 50th anniversary, Joseph Capriati’s return to the club that believed in him and witnessed his rise is more than a comeback – it marks a defining moment for both Amnesia’s legacy and the evolution of contemporary club culture.

The residency will take place every Tuesday from June 30th to September 29th, standing out as one of the key fixtures of the 2026 season on the island. Across the summer, a carefully curated selection of artists will shape the sonic identity of Metamorfosi, bringing together pioneers, global icons and a new wave of artists pushing the culture forward.

A return with purpose

At a time when music is reclaiming its place at the centre of the experience, Metamorfosi returns to Amnesia with a clear vision: to refocus attention on clubbing in its purest form.

More than a residency, it stands as a statement of intent – one rooted in authenticity, musical depth and connection on the dancefloor.

Joseph Capriati says:

“This year Metamorfosi returns to Amnesia, and it’s a very special moment. Coming back to such an iconic club means a lot to me. We are living in a time when music and true clubbing need more attention than ever, and the island is asking for it too — spaces where music truly comes first.

I feel a strong sense of responsibility, and together with the teams at Amnesia and Metamorfosi, we’re going to give everything this season. What we do comes from a deep love for music, and we want to share that with the crowd.

We’ve prepared a line-up for both the Terrace and the Club Room that, for true music lovers, will be something special. Both rooms fully reflect the Metamorfosi vision. We’re also putting a strong focus on production to ensure that every night becomes a complete experience.

 See you on the island.”

For the next chapter at Amnesia, Metamorfosi brings together globally respected names and some of the most exciting artists shaping the current moment, with a programme that reflects a broad and carefully curated vision, deeply connected to the dancefloor.

The line-up features standout artists such as Richie Hawtin, Jamie Jones, Chris Stussy, Seth Troxler, Mau P, Josh Baker, Max Dean, Ben Klock, alongside Maceo Plex, WhoMadeWho, Damian Lazarus, BLOND:ISH, Freddy K, Cloonee, Dubfire, Anfisa Letyago, Traumer, Fatima Hajji and Wade.

At the same time, Metamorfosi places a strong focus on a new generation of artists who are rapidly defining the current wave of underground techno — including Yanamaste, Alarico, Serafina, Adiel and Quest — talents the brand has actively supported and championed as they reach a pivotal moment in their evolution.

Each night is conceived as a distinct journey across the Terrace and the Club Room — two spaces that allow for contrasting energies and complementary sonic narratives.

Explore the full line-up by date here.

A 3-day alpine festival soundtracked by Argy, CamelPhat, Carlita, Fideles, HoneyLuv, Julia Linkogel, Cassian and Sebastian Konrad with more to come…

6–8 March 2026 | Grindelwald & Männlichen Bergstation, Switzerland
Standard and VIP tickets on sale now at vsnz.ch

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Following a sold-out, much-talked-about debut festival in 2025, VSNZ Winter Arc returns to the Swiss Alps from 6-8 March 2026 to reopen the portal for a second edition of its immersive mountain experience this time expanding from 4,800 to 6,000 capacity. Soundtracked by Argy, CamelPhat, Carlita, Fideles, HoneyLuv and Sebastian Konrad amongst others plus brand-new stage designs, Winter Arc is an idyllic getaway in a snowy paradise where sound and light take you into another dimension.

From village warmth to summit-scale transcendence, the 2026 experience begins on Friday 6 March with Chapter I, an opening ritual in the heart of Grindelwald at Terminal Stage. This is the pause before ignition – a moment to arrive, breathe and tune into what’s coming. This first chapter is unticketed and open to all.

On Saturday, the Arc comes to life at Männlichen Bergstation, 2,225 metres above sea level, where the mountains open their inner space and the experience really begins. Here, Argy presents NEWORLD, a singular vision expanded by altitude, isolation and scale with Carlita, Honeyluv, Sebastian Konrad and more also performing, this alignment happens once. This Arc, in this form, will never exist again. Saturday is the moment everything becomes real.

Sunday is where the Arc reveals everything. The portal opens fully and the experience reaches its absolute height. With CamelPhat, Cassian, Fideles, Julia Linkogel and more driving the energy, sound becomes monumental and makes for one continuous surge of light and sound that will leave you in awe.

High above the everyday, among dramatic alpine peaks and breathtaking vistas, the Arc reveals itself only to those who step inside. Nestled in the heart of the Bernese Alps, Grindelwald is a quintessential alpine village that seems carved from the mountains themselves. Set at around 1,030 metres above sea level, this historic resort town is framed by some of the most iconic peaks in Europe including the Eiger, Mönch and Jungfrau, whose glaciers and sheer faces dominate the skyline with breathtaking presence.

This living mountain landscape is beloved by adventurers, artists and explorers alike. In winter it becomes a snow-covered playground with access to world-class skiing, tobogganing and snowshoeing on hundreds of kilometres of pistes and trails, while the village itself is a picture of classic Swiss alpine charm, with timber chalets, cosy cafés and a rich tradition of mountaineering that dates back centuries, making it one of Switzerland’s oldest mountain destinations.

Each day concludes back in Grindelwald with official after-parties, where the energy continues long after the sun disappears behind the peaks and rich local culture and cuisine heighten the trip to new levels.

VSNZ Winter Arc exists for just three days. It does not pause. It does not repeat. And it does not wait, so get your tickets now before it’s too late. Standard and VIP tickets on sale now at vsnz.ch

THE LINE UP

FRIDAY 7TH MARCH

Terminal Grindelwald

Kaba
Ra:pha
FLD
Dazzio

___________________________________

SATURDAY 7TH MARCH

NEWORLD SHOWCASE
Stage Männlichen

Argy
Carlita
Honeyluv
Sebastian Konrad

VSNZ AFTERS

Aann& Anchi
Andrea Terramossi
Braev

VSNZ VOID

Mihael
Pedram

___________________________________

SUNDAY 8TH MARCH

VSNZ ARC SHOWCASE
Stage Männlichen

CamelPhat
Cassian
Fideles
Julia Linkogel
Read The News

VSNZ AFTERS
Stage Terminal

Areeas
Moodayz
Read The News

VSNZ VOID

Balthasar
Bernoise

___________________________________

More artists to be announced in phase 2.

FVTURE Bangkok announces ARTBAT and Nakadia to perform on 30th December for the Grand Opening Night – a bold statement to welcome world-class international artists and positions Bangkok as a must-visit music destination

Asia enters a new chapter this December as FVTURE Bangkok, the region’s largest new cultural institution, officially opens its doors with an unmissable inaugural performance from iconic electronic duo ARTBAT on December 30, 2025, with support from local Thai resident Nakadia.

The opening of FVTURE marks a brand new moment for Thailand’s creative and nightlife industries. As the country’s role in the global dance music continues to grow, it is ever more a hotspot for the scene with iconic festivals such as Tomorrowland, EDC, Creamfields and Circoloco all visiting. 

Now, FVTURE sets a new benchmark for nightlife entertainment, Much more than just a club, it is a new centre for creative community and bold new experiences. The must visit space is a unique mix of cutting-edge sound and visual technology on a scale Asia has never seen before. With innovative bookings and fresh artists,  FVTURE will define the future of music culture in the region for years to come.

The opening night will feature UPPERGROUND label heads ARTBAT, the Ukrainian duo of Artur and Batish whose rise has seen them become one of Beatport’s top-selling artists behind many chart-topping releases. Their sound leads the melodic scene from the front with power and emotional depth and they are regulars at the world’s best clubs and festivals, which is why they are perfect to kick off FVTURE Bangkok. 

Closing the night for ARTBAT will be accomplished Thai talent and long time pioneer of electronic music in Asia, Nakadia, who has been representing her homeland around the globe for more than two decades. She is one of the main FVTURE residents and also one of the Music Directors who will play a key role in connecting the club to the local community, helping to shine a light on its many emerging artists and take Thai clubbing to all new levels. 

FVTURE’s debut follows years of planning and development by its founders Victor Wang, Michele Wang and Music Director Pablo Vas. The venue combines visionary design with next-generation audio-visual systems including Asia’s first L2 & L2D L-Acoustic system featuring over 40 subwoofers and immersive 360° LED visual environments spread across 1,000 square metres of LED walls.

 With its modular stages, VIP lounges, and a year-round program of international acts and label showcases, FVTURE is all set to become a cultural hub for both regional and international audiences.

Follow FVTURE at the following channels to be the first to hear about news and lineup announcements: Website | Instagram| | Book Tickets & Tables Here

FVTURE BANGKOK

6th Floor, BRAVO Mall, RCA, Bangkok, Thailand

Dutch producer Kilder has long been carving out a unique space in the electronic scene, blending emotional nuance with dance floor energy. But with his newly released EP ‘Dusk Till Dawn’, he’s stepping into a bold new era that transitions from a successful indie dance and songwriting era that has earned him 12M streams to his name, to one marked by full creative control, a return to his club roots, and a renewed sense of artistic freedom. We caught up with him from his Amsterdam studio to talk about the journey behind the project, the liberating feeling of going independent, and what it means to truly find your sound, even if it takes a few detours to get there.

Hi Kilder! Thank you for speaking with us, where in the world are you today?

Hey! Thanks for having me. Right now I’m in my home studio in Amsterdam.

How would you describe your sound to someone hearing your music for the first time?

I always find that quite a hard one, but right now especially with my newer music I would describe it as something like energetic emotional club music.

You’ve described your upcoming EP ‘Dusk Till Dawn’ coming to life after taking a break and figuring out which direction you wanted to go in. What led to that pause, and how did it help you figure out your next steps creatively?

Before working on this project my music was a bit more songwriting-led and I’d say a bit more indie electronic as well. I felt like I kind of grew out of that sound. I also broke up with my previous team, and at the same time I wasn’t sure where I wanted to take the project. So I kind of hit a wall for a while. Instead of forcing it, I just let it go and put the pressure off making music just to see what kind sounds I naturally started to gravitate. Everything that happened in that period was kind of like a blessing in disguise as now I’m feeling very confident with my current sound and trajectory. It helped a lot with discovering my next steps creatively.

What inspired you to explore more club and rave sounds on this new EP?

So during that break I was making a lot of different music in all kinds of genres, but noticed I naturally gravitated to club/dance music more, which is also where it all started for me when starting out producing for fun. I kind of got back to that 2010s dance era where a lot of my influences these days come from. Besides that, over the last years I felt like the electronic music space has become so exciting and so versatile, it’s at the best place it’s ever been in my opinion, it felt like a natural and exciting progression to lean into that more.

This is your first fully independent release. How does it feel to have complete creative control and responsibility over the EP?

It’s honestly one of the best things I’ve ever done. It feels really empowering to have full creative control and do whatever I want. And to see that the music does connect with people makes it even more fulfilling. It’s probably the one thing I did in my life that elevated my happiness overall in life.

You’ve called this EP your most personal and rewarding yet, what about it feels so personal to you compared to other projects?

Well as said before, the full creative freedom, making the project, releasing it independently on my own terms made it feel very rewarding. Being able to put a project like this out on my own without a label and having people connect to it is just very rewarding as an artist. It really pushes you to keep making art, seeing that people genuinely connect with it. And besides that, going back to my dance and rave roots on this project made it very authentic.

You’ve worked with a broad spectrum of artists, from Issey Cross to LYAM. Do those collaborations influence your own solo work, and what do you look for in a creative partner?

Yes absolutely. My project has always been very influenced by collaborating, and I still do it very often. You can bring someone else’s world into your world, and you can go into theirs. That’s one of the greatest things about music in my opinion. What I mostly look for in a creative partner is someone that I am a real fan of their work, and they are of mine. If you don’t really like each other’s work, it won’t be an authentic song I think.

Any artists that influenced this EP in particular and if so, what have you taken from their approaches that resonates with your own journey right now?

The artists that influenced this EP for me are definitely Interplanetary Criminal, KETTAMA and Jamie XX. All 3 of those are masters at combining club and melodics in a very tasteful way, but also keeping it a bit raw. That’s definitely what resonates with me currently.

What does a perfect ‘Dusk Till Dawn’ set or night out look like in your head? Where are we, and what’s the vibe?

That would definitely be in my hometown in Amsterdam, with friends. Starting maybe at my place, spinning some tunes then moving into the city and see where it ends up. It always ends up being most fun when it’s unpredictable.

What advice would you give fellow producers who are still trying to find their feet sonically or apprehensive of experimenting with and moving into different genres?

I would say ignore everything and anyone and create as much music as you can to see what you naturally gravitate to. And be flexible. You don’t really need to know your exact thing right now, it’s better to just move and grow into it in my opinion than to sit around waiting for it to come.

What is coming up next for Kilder? Are there any further projects or upcoming shows you can share with us right now?

I just came back from a writing trip in London where I made around 16 new songs. So I have a lot of music coming up after this, and I can assure it will definitely be club. We’re also working on new dj shows right now, so more to share later.

Kilder – Dusk Till Dawn EP is out now, buy / stream here