XS BULLY is an artist who is proud of her Slovakian and Spanish heritage. Both of which flow through much of her music repertoire, taking inspiration from both Latin and Eastern European dance floors. Also the founder of London’s Latin American queer event series, Next Collective, she now makes her debut on ADHESIVE RECORDS—a new label run by NLI, focusing on the underground at its best.

XS BULLY’s single ’SISTEMA ERÓTICO 666’ will be released on the 29th January and available HERE.

XS BULLY, tell us where you are from and how you became a producer?

I’m originally from Madrid, but I grew up between Madrid and Bardejov, a small town in Slovakia. Music has always been around me — it’s something I’ve used as a form of expression for as long as I can remember.

I started making music quite young. When I was around 12 or 13, I got an audio interface as a Christmas present and just started messing around with it, without really knowing what I was doing. At first, I was making more acoustic and vocal-based stuff, but the process itself already felt very natural.

I’d always liked electronic music, but it wasn’t until I was a bit older — around 15 or 16, when I started going out and discovering club culture — that everything clicked. Electronic music made me feel something way more physical and intense. That’s when I realised this was what I wanted to focus on. It wasn’t a sudden decision, more something that happened organically over time.

Half Slovakian, half Spanish and based in London. That’s quite a mix! Can you tell us how these places have shaped the sound you make and play?

Where I grew up definitely influenced how my sound developed, especially in terms of exposure. In Spain, when I first started going out, I was surrounded by high-energy club music — hard techno, intense sounds, fast rhythms — and that really shaped how I understand the dancefloor.

That said, I’ve never been interested in sticking to one genre or one place. What’s influenced me the most is the people and the scenes I’ve been welcomed to. I’ve been out at clubs and parties in lots of different cities, and being constantly surrounded by music and exchanging ideas with people from different backgrounds has had a huge impact on how my sound evolved.

London in particular opened a lot of doors. It’s such a multicultural city that connecting with Latin communities and club spaces felt very natural, especially with Spanish being my native language. Through shared spaces, friendships, and dancefloors, Latin electronic music became a strong influence in my work. For me, it’s less about representing a place and more about reflecting the environments and communities I’m part of.

Tell us more about Nexo Collective and how you are involved?

Nexo is a queer-led collective closely connected to Latin electronic sounds and club culture. At least here in London, those sounds are very tied to queer spaces, and that connection is really important to us.

Nexo started together with two close collaborators, Kapo and Santzz, because we felt something was missing. We were looking for a specific kind of space — both musically and socially — and when we realised it didn’t really exist in the way we wanted, we decided to create it ourselves.

The idea was always to build a safe space for the community, but also to give visibility and opportunities to artists who don’t always fit into mainstream club circuits. It’s still very much a project in development — we’re figuring out where it’s going as we go. The main thing is that we’re creating these spaces for fun and for the people involved, and that process itself is what drives us.

I’m mainly involved as a curator, but I’m very hands-on in shaping the identity, energy, and direction of the project. It’s deeply connected to how I make music and how I understand club culture.

Your new single is due this month, on ADHESIVE RECORDS. A new label, how did you find out about the brand and artist (NLI) behind it?

I connected with NLI and Joel, the founders of ADHESIVE RECORDS, in a very natural way. We met at the birthday party of a mutual friend, Mathias, and that night I was also playing there. Like it usually happens when people who make music meet, we just started talking — about production, projects, ideas.

We stayed in touch, and a few months later they told me they were starting ADHESIVE and asked if I’d like to release a track with them. I’m always open to creative collaborations, especially when they feel genuine and aligned. This one came together very organically, which made it feel right from the start.

‘SISTEMA EROTICA 666’ taps into your style that combines techno with Colombian guaracha, what was the inspiration behind the track?

For me, hard Latin club already includes all of this. It’s electronic music that draws from Latin rhythms and structures, and this track lives fully within that space. While I do enjoy and take inspiration from genres like Colombian guaracha, ‘SISTEMA ERÓTICO 666’ isn’t built around one specific reference.

The track is much more about repetition, percussion, and groove than melody. I was interested in building tension through rhythm and letting the sound grow slowly, in a very physical way. Percussion plays a central role, with fast, almost bubbling or dembow-like elements, but always framed within a club and techno-oriented mindset.

It came from a period when I was going out a lot to techno parties — long tracks, heavy repetition, strong percussion. I usually start from an idea, but I don’t like to force it. I let the track evolve on its own. In that sense, it’s a reflection of the spaces, sounds, and energy that were around me at the time.

2025 was marked as your breakout year, what helped this become such a pivotal year for you?

2025 felt pivotal because things started to align naturally. I became more confident in my sound and stopped trying to fit into expectations. At the same time, the scene I’m part of really embraced what I was doing — releases, performances, and community projects all started feeding into each other.

It didn’t feel like a sudden breakthrough, more like momentum building over time. Being surrounded by the right people, staying consistent, and trusting my instincts made a big difference.

What is next for you?

Right now, my main focus is on production and continuing to develop my sound. I’m spending a lot of time exploring ideas and directions without rushing anything.

There are several projects in the works, but I prefer not to say too much before they’re ready. I like to let things speak for themselves. What I can say is that there are exciting things coming — both personally and through Nexo, where we’re continuing to build new projects and spaces for the community.

Creating safe spaces, supporting my people, and growing together is central to everything I do. I’m here for the long run.

Follow XSBULLY on SoundCloud and Instagram.

TOXIMAMI is a Berlin based DJ, vocalist and songwriter. Her recent releases on Urban Universal and Nervous Records showcase the groovy techno, hard house and catchy vocals she plays in her sets too. A key artist of the Teletech events around the world, she is also one part of DJ Duo HARD CANDY alongside DJ Cringey.

You describe your visual identity as bold, feminine and expressive. Can you tell us how you express this and why it’s important to you?

I’m a baddie and I let people know. Being confident and feminine doesn’t mean you have to fit a single image – you can be bold, playful, and hardworking all at once. Expressing myself honestly is what feels real to me. Part of that is creating a space where everyone feels welcome to show up as they are, without needing to fit a label or meet expectations.

Ahead of your HARD CANDY performance at XXL in Manchester, we watched your recent HOR Berlin stream. What can we expect from this weekend’s set? How do you prepare for your shows and your track selections?

Before a show, I spend time digging for tracks that match the energy I want to bring, but I always leave room to experiment. I often include tracks I’ve never played before and see how they work in the set – it keeps things exciting for me and for the crowd. Of course, there are also tracks I love to play again and again because they just work and bring so much fun. I like to switch things up depending on the party and the vibe – It’s all about feeling the energy and keeping the set alive. It’s never perfect, but that’s what I like about it.

Your last solo release was on Nervous Records and followed by HARD CANDY’s collab with Odymel for ‘Fitness’. What’s next for you for the rest of 2025 release wise? Do you have any labels that are your targets for releases?

I don’t have anything specific planned right now. I’m working on a lot of music, but it needs to feel right before I release it. I want to find the right homes for my projects — they mean a lot to me, and I don’t want to just throw them out.

How do you explain your music style to someone who has never heard you?

I blend a lot of styles — like club, hard groove, hard house, Latin core & trancey techno. It’s sexy, bouncy, raw, and real. It’s whatever I’m feeling in the moment. I love switching things up depending on the vibe! I love that trancey, shaky vibe that makes you move your booty no matter what.

Finally, you’ve been part of the Teletech brand for a while, and will be playing their XXL Manchester event this weekend. What do you think the special recipe is for the success of the brand and their events?

Teletech has such a family feel. The backstage, the crowd — everyone is connected. The warehouse parties are huge and wild, but they also keep the club events where everything feels more intimate. That mix is what makes it special.

Follow TOXIMAMI on Instagram and SoundCloud.

Follow HARD CANDY on Instagram and SoundCloud.

It was 2014 when everything changed for Birmingham based DJ, Ryan Robinson aka Skoden. After being introduced to the sound and culture that would later heavily define his career as an artist, the young Robinson poured everything into perfecting his craft and subsequently quickly gained momentum in the UK techno scene.

Skoden launched his own label BDYRT earlier this year, as an outlet for his specific brand of unrestrained hard/industrial techno. With other released on some key techno labels including Go Hard or Go Hardcore, Sacred Court, Cause Records, Broken Strain, Green Fetish Records, NowNow, and HEKATE.

On 23rd May, Skoden released his ‘Louder’ EP via Sarah Landy’s HEKATE Records marking his second release on the label and the follow up to his 2023 EP ‘Break It Down’. “I’m so excited to be back on Hekate for my second EP. These tracks have been a staple in my sets for the last 16 months. They have been my most requested ID’s since early last year and I’m buzzing I can finally share them with everyone and there’s not better home for them than HEKATE” – Skoden

Read about Skoden’s new EP ‘Louder’, his new label BDYRT, his music style, social media, and his upcoming shows.

Hey Ryan, a big return to HEKATE with your upcoming EP ‘Louder’ this month. What is it about HEKATE that you resonate with as a label?

Back in 2023 I released my ‘Arrive together’ EP which got to number 1. This was my first ever number 1 so HEKATE will always have a special place in my heart.

Your sound has always been hard techno, was this a conscious decision to pursue this sound, or has it always been something you have been into?

I’ve always been into the harder style of electronic music, even pre covid when things were a lot slower I was always into the more industrial / harder sounds of that. I really enjoy the sound design that comes with hard industrial techno, making something out of nothing. At the moment I am enjoying experimenting with different sub genres but still very much on the hard side. I like to include a mix of hard techno, rave, industrial and hardcore into my sets. I think this creates a unique listening experience for the ravers.

You gained momentum in your career fast, can you let us into the success of how you achieved this? Is there a magic formula?

I think the key to standing out is making your own music and a lot of it. When I first started out I was sending out promo playlists every couple of months with 6-8 tracks in. I made it hard for DJ’s to ignore me. It’s important to promote yourself as much as you can with whatever content you have, whether it’s DJ’s playing your music, studio clips or clips of you at your gigs, you just need to be active on social media, it’s so easy these days to get your content in-front of 1000’s of people so utilise this as much as you can.

What job did you have before becoming a full time DJ?

I used to work in recruitment, it was ok at first as I wasn’t getting too many gigs so the odd show on a Saturday didn’t really affect me. When I started gaining momentum and playing out more often, I had to use my annual leave to book Fridays or Mondays off and eventually it got too much so I decided to take the leap and move to DJing full time, I haven’t looked back since.

Do you think social media makes it easier or harder now to become a DJ and grow your presence?

Absolutely easier, like I said before it’s so easy to get your music / content out to 1000’s of people. You can network with DJ’s and promoters from the other side of the world at your fingertips. The tools are there to use so make the most of them. It’s a saturated scene but the cake is big enough for everyone to have a slice if you work hard and put the effort in.

One guilty pleasure track that we would never expect you to like?

Whetus – Teenage Dirtbag

Let’s talk about your label BDYRT – what does that stand for?

So BDYRT is just “Body Art” without the vowels. I’m huge into my tattoos and pretty covered. I wanted to have a personal touch relating to me when it came to naming the label. I think it works well!

Can you tell us about a standout play / moment so far for 2025?

I’d probably have to say a standout show for me so far in 2025 would be for Second Speed at Leeds Warehouse. It was quite a local show, but I’d never played at that venue before. The crowd, energy, atmosphere and vibe were just on point that night. All the DJ’s played amazing sets, it was full from open to close. If I could run it back, I would!

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You’ve got some big shows coming up this year, including three dates at the Verknipt Croatia Holiday Festival in June and July. What are your expectations?

I’ve never played in Croatia before so I’m really excited to get over there and play, especially for such a big brand like Verknipt. I’m even more excited as this is my first summer festival outside of the UK! Verknipt Croatia looked amazing last year from what I saw online and everyone was having an amazing time. I’ve spoken to a few DJ’s who was there and they said it was unreal so I’m expecting the same this year, with high energy, good vibes and lots of sun!

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Follow Skoden on SoundCloud, Instagram and TikTok.

Swedish mainstay Johan S started out in the late 90s, working with local legends from StoneBridge and SweMix to world-renowned artists such as Todd Terry and Robin S, and has since earned multiple gold and platinum record awards across a thirty-year career. 2024 showed no signs of slowing down for the Swede thanks to a slew of releases via Toolroom, Voltaire Music, and his own Subtractive Recordings imprint, and now he returns to Junior Jack’s Adesso Music with dancefloor-ready ‘A New Generation’.

Listen to the 182nd Klubikon Podcast, mixed by Johan S, as you read his thoughts on his new release, his career spanning over 30 years, music production, and more.

Hi Johan S, thanks for joining us today! Your career spans over 30 years in the industry. How do you feel your sound has evolved from your early days with StoneBridge and SweMix to your current productions?

Hi. Thanks for having me! In a technical way my sound has evolved a lot – back in the day I didn’t have so much technical knowledge, it was more like mixing on a feeling and hoping it would sound good. Fortunately most of the time it did haha. But I don’t think my sound hasn’t changed that much really. It has always been – and still is – all about energy and feel good vibes.

Tell us about the mix you recorded for Klubikon Podcast.

For this mix I wanted a more underground vibe featuring some of my favourite current tracks compared to the more commercial mixes that I’ve done.

You’ve achieved multiple gold and platinum records throughout your career. What do you think has been the key to maintaining longevity in such a competitive industry?

Sticking to my sound at the same time as being able to adapt to how house music evolves. And being interested in music technology, always wanting to learn more and to improve my skills. But also, and it’s a little saddening to say this but being very tough is crucial as this is, just like you say, a very competitive and hard industry!

Your latest release, ‘A New Generation’, dropped in February on Adesso Music. Can you tell us about the inspiration behind the track and the creative process that brought it to life?

Yeah I’d love to tell you about that! In ‘A New Generation’ I wanted to put words to the creative process when writing a track and try to express all the different mental states I need to go through when making music. Joy, pain and suffering all mixed. And when it’s all done the new generation of DJ’s and clubbers will judge your work! Not all tracks are like this of course but ‘A New Generation’ definitely has a story! The sound for this I wanted to be a bit softer than my usual heavy kicks and basslines so ‘A New Generation’ has a more fluffy feel to it but still maintaining a strong groove.

You’ve worked with house music icons like Todd Terry and Robin S, and you’ve been part of massive projects like Alcazar and BWO. What have been some of the most defining moments of your career so far?

Oh there are many moments, small as well as big ones. Receiving gold and platinum records is one, that recognition is very important. The joy of seeing one of my tracks do well in the charts or play one of my own tracks in a club and see it go off, that is so rewarding. When Alcazar’s ‘Crying At The Discoteque’ really took off, that was amazing. And when Low Steppa dubbed me as ‘The King of Kick Drums’ haha. I also remember one time when I went to the local car repair shop and they were hammering my remix of Todd Terry’s ‘On My Way’ on the speaker system, it was like ‘yeah that’s my track’ haha! But perhaps the most important thing of them all is to know that my music can make someone happy, to touch them, that they feel something when they are listening to my music.

With releases on labels like Toolroom, Defected, and Adesso, how do you decide which labels are the right fit for your music?

Oh this is a tricky one, especially nowadays. I can of course have an idea of where to send a specific track that I’ve made but many times tracks have ended up on another label that I didn’t expect them to be on! So it’s all a bit of a gamble and also I try not to overthink stuff. If a track truly is good most labels will like it and would want to sign it. A good track is a good track I suppose and all labels want hit records more than a specific sound.

House music is constantly evolving. How do you stay inspired and keep pushing boundaries in your productions while staying true to your signature style?

Good question! Well I think being curious about how music, and not only house music but music in general evolves is the key to stay on top of things. Listen to a lot of music, be curious and try not to get stuck basically! House music has so much history embedded in it and as I’ve been fortunate enough to grow up with it from the early Chicago days to where house music is today makes me understand house music and where it’s coming from. That helps when choosing sounds and expressing feelings. Exploring new sounds and experimenting is important too of course but when doing so you also need to take a step back in that process and ask yourself if this is still you and your sound so that you don’t get lost and confuse your fans and listeners. Inspiration is a funny thing – it can come from anything really like going through my promos or watching a movie or simply by taking a walk just to clear my head.

Vinyl or digital? Do you use and collect both?

Digital 100%. I think it is so funny when some people still desperately hang on to vinyl haha. I don’t miss vinyl a bit – carrying those heavy cases around to gigs and always worrying about the needle jumping, horrible feedback noises and crackles. No thanks! I still have some essential vinyl records stowed in a box somewhere but I don’t own a record player any more – only CDJ’s so I can’t play that vinyl anyway haha! But I have transferred all the essential stuff to digital so it’s all good.

When touring, do you have some essentials that you can’t live without?

Hmm, let me think… Plenty of water and some Haribo sweets for a good sugar rush haha. And a nice and clean DJ booth with all equipment working is always a good thing!

What’s next for Johan S? Can we expect more releases, collaborations, or live performances in 2025 and beyond?

Yeah I have 2 new releases coming up on Wh0 Plays, I’m working on a new track for Toolroom and also one for Adesso. And some quite exciting collaborations that I can’t reveal just yet… I will also focus a lot on my own label Subtractive this year, trying to sign the right tracks and mastering them for the label. And also releasing own hot new material on Subtractive. Last year I didn’t spend so much time on developing the label but that will all change this year!

Find the tracklist for the 182nd Klubkikon Podcast, mixed by Johan S, HERE.

Follow Johan S on SoundCloud, Spotify and Instagram.

Frankfurt born DJ and producer CARV chooses to keep his identity a secret for reasons that go much deeper than one may imagine. Aside from taking cues from masked hardcore legend Angerfist, CARV believes that as the mask he wears remains mysteriously static, he is then able to truly express himself through his music – which is anything but motionless.

By building a persona that is so intrinsically focused on the music, CARV has become something of a renegade producing a frenetic blend of hardcore, techno and hard dance that defies categorization.

Whilst 2024 was a crucial year for the enigmatic masked man with regards to musical output – launching his own Masked Rules imprint and appearing on labels such as ARTCORE Records, Vermillion Trax, Revised Records, and Trouble Maker Records. In 2025, CARV is looking to take his pulverising sound global with dates already lined up in Lithuania, Germany, Scotland, England, Ireland, Holland, Switzerland, USA, Croatia and Australia.

To coincide with this imminent run of worldwide shows, CARV released a two-track EP titled, ‘Make You Move’ on Sara Landry’s HEKATE Records.

We spoke with CARV about all of this, so let’s hear what he had to say.

Thanks for talking to us CARV. Very big new release on Sara Landry’s HEKATE is coming in February. Have you always been a fan of her label? Can you tell us some of their favourite releases?

Great talking to you as well! Yes, ever since Sara started playing some of my tracks like ‘Say My Name’ and ‘Brembo’, I’ve been following HEKATE closely. The label has built a strong identity and it’s been amazing to see its impact on the scene. Some of my favourite releases include ‘No Sleep’ by Sara Landry, as well as ‘Heaven’ and ‘Rave 2000’ both collaborations between Sara Landry and Alt8.

Let’s talk about the production of the release. Can you tell us some of your key studio gear and software used and how?

For production, I work in Ableton Live. When it comes to creating deep and immersive atmospheres, I love using the Moog Sub37 – its analog warmth adds a unique texture to my sound. Aside from that, I rely on digital plugins like Serum, Sylenth1, and Omnisphere to craft my synths, leads, and pads. For mixing, I use Adam Audio A7 monitors, which give me a clear and precise representation of the sound. This setup allows me to balance analog depth with digital flexibility, helping me shape the energy and power behind my tracks.

This release seems groovier than some of your previous, especially with the vocals. Was this a conscious move and is this a sign of what’s to come from you this year?

I always enjoy experimenting with new elements in my music. With this release, I wanted to bring more groove and vocal work into the mix while still maintaining the signature CARV sound. It’s important for me as an artist to showcase variety without losing my core identity. Pushing boundaries and trying new things is essential for growth, and this year will definitely bring some exciting surprises. Stay tuned!

You’ve remained unknown for years, can you tell us why you like to remain anonymous?

For me, the focus has always been on the music. Staying anonymous allows me to keep the attention on my sound rather than my personal life, which I prefer to keep separate. The mask has also become a strong part of my identity – it’s not just a visual element but a symbol that represents the project. In the end, it’s all about letting the music speak for itself.

Tell us one memory from 2024 which was a turning point in your career?

One of the biggest turning points for me in 2024 was playing at Verknipt Arena. It was an absolutely overwhelming experience – the scale, the energy, and the connection with the crowd were on another level. Seeing 40,000 ravers lose themselves in the music, feeling that intensity in real-time, was something I’ll never forget. Moments like that remind me why I do this and push me to take things even further. It was definitely a defining moment in my career.

We have heard you will be doing a debut Australia tour in February, with 4 dates across the country. What do you expect from the scene there? Is this hardcore sound really developing down under?

I’m really excited for my debut Australia tour in February! I’ll be playing at Shlømo Invites in Sydney, Welcome Back Devil at PICA in Melbourne, then a show in Brisbane with The Garage Session, and last but not least POV in Melbourne again. The scene there is definitely evolving, and you can feel a growing openness to harder sounds. It’s amazing to see how the music is expanding globally, and I’m looking forward to bringing my sound to the Australian crowd for the first time!

A resident for Verknipt, how has this brand helped your career to date?

I see my relationship with Verknipt as a loyal and respectful collaboration rather than just a residency. They have played a huge role in helping my name grow, giving me the platform and trust to fully express my style. Being able to showcase my sound without limitations has been invaluable, and it’s always a pleasure to work with them.

You’re returning to Croatia for the Verknipt Croatia Holiday Festival. How was your experience here last time, and what do you expect from this year’s edition?

Last year was the first-ever Verknipt Croatia, and it was absolutely insane! The energy, the crowd, and the seaside setting created something truly special. You could feel that everyone was hungry for this kind of event—pure, high-intensity excitement in one of the most stunning locations. It was an unforgettable experience, and being part of that first edition felt incredible.

This year, I expect things to be even bigger, louder, and wilder. With the foundation already set, the energy will be next level. I’m bringing fresh, unreleased tracks, pushing my sets even further, and making sure the crowd goes all in. Verknipt is known for its madness, and I’m ready to take it up another notch!

Finally, we want to know what you listen to at home…..can you tell us one of your favourite tracks of all time for at home listening?

I listen to a wide range of music at home – everything from ’70s and ’80s classics to all kinds of electronic music across different subgenres. My taste is pretty diverse, and I think that variety also influences my own productions. Some of my all-time favorites include Angerfist – Incoming, The Prodigy – Invaders Must Die, and KC & The Sunshine Band – Get Down Tonight.

Follow CARV on SoundCloud, Spotify, TikTok and Instagram.

Jochem Hamerling has been immersed in music all his life and was so taken with House music that he moved from his native Netherlands to Chicago at age 17, taking inspiration from the likes of Derrick Carter and Paul Johnson. Since then, the Dutch talent has established himself as a skilled producer with an impressive back catalogue on labels like Be One, Armada, and CR2 Records, as well as a tastemaking DJ through his weekly Boom Room show on SLAM! Radio.

Hi Jochem, thanks for joining us today! You grew up in a musically inclined family. Can you share some of your earliest memories involving music and how they influenced your career?

I released my first track when I was 17 on one of Cloud9’s sublabels, and I was so proud of that achievement. I checked Beatport every hour that day. At that moment, it felt like I was officially part of dance culture.

Your journey into music started with the piano and then the saxophone. How did these instruments shape your understanding and approach to music production?

Being able to read music and understand chord progressions obviously helps a lot in music production. On the other hand, I know many guys without any musical education who are much better producers than I am. In the end, it’s all about creativity and how you use your instruments. For me, almost every track starts with a certain theme or idea I come up with while just playing around on synthesizers.

Moving to Chicago at 17 must have been a huge transition. How did the Chicago House scene, and legends like Derrick Carter and Paul Johnson, shape your musical direction?

This influenced me massively. Before Chicago, I was into big trance melodies and drops. Chicago taught me the groove and the bassline, and those elements have stayed with me ever since. I still love melody, but a good groove is everything to me.

After returning to Holland post-graduation, you quickly started DJing in clubs and producing music. Can you describe some of the challenges and triumphs you faced during this period?

I loved every genre of dance music and the art of DJing, so I took every opportunity that came my way. If they wanted house, I played house; if they wanted trance, they got trance. This approach led to many bookings and a lot of experience, but the downside was that I couldn’t really establish a distinct sound because no one, including myself, knew what my sound was. I still love every genre, so to some extent, this is still true. However, I think I’ve now found my place somewhere between house, melodic, and techno.

You have an impressive back catalogue with labels like Be One, Armada, and CR2 Records. How did these collaborations come about, and what impact have they had on your career?

I’ve made so much music over the past 20 years and sent it to countless labels. This helped me get gigs, but in the early days, my biggest success was actually a bootleg of Enya’s ‘May It Be’. I sent that out myself, and it got picked up massively. All my heroes at the time played it and I got to play some great festivals because of it. It’s a shame it could never get an official release.

Your latest project on Adesso Music, ‘The Water Of Life’ EP, is a four-tracker inspired by the Scottish whisky regions. Can you tell us more about the creative process behind this release and how the whisky regions influenced your music?

I was looking for a way to tie four different tracks together in a cohesive manner. Each of these tracks has a minimalistic approach, featuring only a few elements and a basic theme throughout. This is similar to whisky, a product made with only a few ingredients yet offering an extreme variety of flavours. Those who know me, know I have an extensive whisky collection, so this project also serves as a way for me to honour this beautiful product.

What advice would you give to aspiring producers and DJs who are just starting out in the industry?

Stick to what you love and don’t make any concessions. The music industry is extremely tough, and you need to work hard and seize every opportunity. Make sure you pursue this path only if you truly love what you do. The future will become increasingly challenging with AI and all its consequences on the horizon.

Looking ahead, what are some of your future goals and projects that you’re excited about? How do you see your sound evolving in the coming years?

I’ll stick to doing what I love: creating the music I enjoy and playing gigs that excite me. I plan to release an album next year and have many club releases and remixes coming out in the next few months. Additionally, I’ll continue curating for radio shows, which I absolutely love. I’m also very curious to see how AI will impact the music world. We’re in for some massive changes, for sure.

Follow Jochem Hamerling on SoundCloud, Facebook and Instagram.

Scotland-based DJ and producer Mha Iri is undoubtedly a rising force within the techno circuit, having been heralded as the top-selling female artist in Hard Techno on Beatport in 2023, consistently dominating the Top 10 charts with her releases on labels like Drumcode and Filth On Acid, and appearances scheduled at Awakenings, Junction 2, and many more.

Read about what Mha Iri says about her debut release on Patrick Topping’s Trick label, ‘Take My Love’, her creative process, and much more.

Hi Mha Iri! Thanks for joining us today. How has your 2024 been so far?

Thanks for having me. It’s been a great year so far. This is going to be my biggest year to date event wise with some amazing festivals and club shows already ticked off and upcoming.

Tell us about your journey; what got you to where you are today?

I started presenting an underground radio show in Australia and learned to DJ so if the guest DJs didn’t make it for the show I could take their place. From there my love of djing and production grew into a career when I started getting booked and then inevitably learned to produce music.

You were born and raised in Scotland; what was the dance music scene like growing up there?

It was really good growing up, I attended a lot of illegal raves as a teenager and that’s where my love of techno came from. I also attended some awesome nightclubs in Edinburgh such as Cabaret Voltaire, The Caves and Studio 24 which were all pushing that sound.

Talk us through your latest EP ‘Take My Love’ on Patrick Topping’s Trick imprint – how did this one come together?

I wrote ‘Take My Love’ about 6 years ago and I wasn’t happy with how it turned out but I loved the vocals that I did so I decided to rework it last year and ended up loving it. Although it’s quite different to my usual sound so I decided to do a hard version that I could play at gigs as well.

What was your creative process in the studio? Were there any key plugins or gear used?

My creative process varies from track to track, sometimes I might have a melody or vocal in my head that I want to get into the project and base a track around. Other time when I don’t have a specific idea in mind I’ll just play around and see what happens usually listening to other melody samples on splice and converting audio to midi then manipulating and reordering that until something comes up that has potential. I always use serum nowadays and diva-uhe is still a go to for me and has been for years.

You’ve played for some huge audiences in the past. Do you prefer performing in large spaces with big crowds or small, intimate venues? Does your approach differ between the two?

Both can be equally special and I don’t have a preference. It really depends on the vibe of the audience, the atmosphere and how I’m feeling at the time. My approach is the same, it’s always about giving the crowd the best experience that I can and having fun.

Last year you were heralded as the top-selling female artist in Hard Techno on Beatport, congratulations! What are your goals for 2024?

I don’t have any specific goal in mind, I just want to keep growing as an artist and staying true to myself whilst exploring my creativity.

Lastly, what plans have you got coming up for the Summer and beyond?

I have a number of amazing festivals such as Awakenings and Tomorrowland so I’m really excited for that and beyond that I also have an exciting project that I’m working on which should launch at the end of the year but I can’t say more than that for now.

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