mixmag netherlands
That realization, the recognition of lineage, becomes a turning point. It transforms listening into understanding. Clubs stop being isolated experiences and begin to connect to a broader history. What follows is not loyalty to a genre, but to a continuum.
“Over time, I have played many different genres, but the core feeling has always stayed the same. Those influences are still part of what I do now and come together naturally in my sets wi- thout feeling forced.”
“What defines me most at this stage is the energy and feeling of a track. I have never really thou- ght in genres when I play. For me, it is about creating moments in a set that feel unexpected, swit- ching the energy or direction in a way that keeps people on edge and fully present on the dance- floor. That sense of surprise is what I have always loved most about music.”
There is a deliberate unpredic- tability in that approach. Not chaos, but controlled deviation. A constant recalibration that re- sists stagnation.
“Now my USB has everything from breakbeat and electro to techno, hard house, ambient, trance, electronic pop, new wave, disco, and basically every corner of house music. A lot of what I collect comes from the late 80s, 90s, and early 2000s, and that era still shapes the sound and mood I am drawn to today.”
Digging as a Way of Thinking
“Digging for me started online, especially around the time I first began going out. I became pre- tty obsessive about it. After a weekend out, I would often lock myself in for days, going through the deeper corners of the inter- net looking for new tracks. That was really the first phase of how I learned to search for music.”
Digging, in this context, is not a technique. It is a mindset. A form of attention that extends beyond
platforms and formats. The early isolation of searching becomes a foundation for how he processes sound altogether.
“Later, I came into contact with Clone and Triphouse Rotterdam, and through those record stores, a whole new world opened up. That’s when I started buying vin- yl and exploring music in a more physical way. After that, I slowly moved back into digging online again because it felt more effi- cient for me, but in reality, I use every moment to search for new music in one way or another.”
The oscillation between physi- cal and digital spaces reflects a broader
against tactility. Speed against depth. Neither replaces the other. They coexist.
“These day,s it can come from anywhere. Sometimes it is a car passing by with a track I do not know but that stays in my head for months until I find it. Some- times it is a random YouTube or Spotify playlist I end up in. It is not really tied to one method; it is more a constant awareness of sound that is always running in the background.”
That awareness becomes ins- tinct.
“For me, a ‘find’ is something that really hits me emotionally, or so- mething I immediately feel could work perfectly in a set. It is that instinct of how a track fits into a bigger story.”
“I do feel like it is getting harder to find music that really surprises me, simply because I have already heard so much over the years. At the same time, it depends a lot on where I am mentally. Disco- vering something new that exci- tes me can completely shift my energy, and even rediscovering older music I forgot about can feel just as powerful. On the other hand, it can also be frustrating to search for hours and come away with nothing.”
balance. Efficiency
“What I hope in general is that the next generation of DJs and producers stays open, and does not only focus on what is cu- rrently popular within a sma- ll subgenre, but allows itself to be influenced by a much wider spectrum of electronic music. There is so much history and so many sounds in this culture, and it feels like a waste not to explore that fully.”
Cruise Terminal and the Discipli- ne of Finishing
“My first EP is called Cruise Ter- minal. I have been producing mu- sic on and off for years, but I never really had the confidence to fully finish tracks to the point where I would even consider releasing an EP. So in that sense, this release feels like a big step for me and the beginning of a new phase.”
Finishing is often the real thres- hold. Not starting, not experi- menting, but deciding that so- mething is complete enough to exist outside of you.
“The tracks were made at the be- ginning of 2025 and will be relea- sed on vinyl on the 4th of Sep- tember 2026. The music, just like my DJ sets, is quite hard to de- fine in genres. I made everything purely based on feeling, without thinking too much about where it should fit or what “sound” it re- presents.”
“I am really grateful to Cryme and Glenn from Seven for their su- pport and for immediately being open to releasing my music. That trust meant a lot to me, espe- cially at this point in my journey. A big part of being able to finish things also came from learning to ask for help from friends and trusting that process more.”
“In a way it reflects a newer ver- sion of myself, but it also shows how much I have grown through the process of finishing it. That is something I want to keep buil- ding on. As soon as this is out, I already feel motivated to move forward and focus on releasing more music more consistently.”
08
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82
