mixmag netherlands
The response to that early work arrived faster than expected. Vi- sibility expanded before unders- tanding could catch up, creating a gap between what was being asked of her and what she felt equipped to deliver. That gap in- troduced pressure, but also clari- ty. It forced a decision about di- rection before there was time to settle into comfort.
“‘TRACK ID’ is one of the first
tracks I ever produced on Able- ton, so it’s safe to say I had no clue what I was doing. The over- ly saturated kick and lack of a true bass were due to my limited knowledge of sound design at the
time. It’s amazing in a way, with the little tools that I had, only a sampler and a melody idea stuck in my head, I was able to create something millions of people en- joy today. The track was going viral thanks to TikTok and people were expecting more. ‘When’s the next release?’ I was getting asked in the comments. Meanwhile I still didn’t know how to master a track or properly upload it onto Spotify. I think the scariest part was pi- voting from my once faster and harder sound to music that has more depth and substance. I had to make a choice. Do I want to go down the safe route and conti-
nue making what people are ex- pecting of me or do I take the risk of producing what feels true to me, even if it means losing some fans?”
SOUND AS MEMORY, NOT REFE- RENCE
What followed was not a rejection of the past but a reconfiguration of it. Influence began to operate differently, less as something to follow and more as something to reinterpret. The shift was subtle at first, but it changed the way she approached both production and selection. The focus moved away from fitting within a scene and toward building a language that could move across them.
Early exposure to underground artists expanded that language. It introduced a way of thinking about music that prioritized in- tention over approval. The impact was not just sonic. It reframed what a set could represent, not as a sequence of tracks but as a position, a statement that did not need to be explained.
That perspective opened the door to older sounds, to textu- res and structures that existed outside of current cycles. The pull toward Detroit electro and early techno was immediate, but it was not nostalgic. It was func- tional, offering a different way to construct rhythm and atmos- phere.
“The first DJ I felt truly inspired by was DJ Mell G. Watching her sets back in 2022, I was stun- ned because I had never heard anything like that before. At the time I lived in London and most club nights consisted of UKG, breaks and some techno. Detroit electro was completely foreign to me and I was drawn to it instantly. Her track selections told me the most important thing about her: she wasn’t playing to be admi- red or to gain approval. Her music was quite the opposite, it sym- bolized an act of rebellion. That’s when I became intrigued by the underground scene, I knew there was much more there for me to explore.”
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