and everything’s about being a brand, and I think you have to be with the times, but also you have to trust in the process. The Martinez Brothers answered it right when they were asked how they become an overnight success, and they said it took them 15 years to become an overnight success, so I believe in that and I’m looking forward to the next 20 years.
Extensive Record Collection: “With a record collection exploring various genres, how do you keep your selections fresh and engaging, and is there a particular genre or record that holds special significance to you?”
Back in the day when I first started collecting records it was all about getting the freshest, the newest records you could get. So, one way of doing that was recording pirate radio stations with tape from illegal radio stations, and then taking that tape around London to all different types of record shops to give to the shop owner to have a listen to see if they was able to give me that record. A lot of the records that were coming out or on white labels pressed, and so you had to have the in it to win it kind of mentality which I absolutely love the hustle from that. Coming into the digital age I started to understand that all of this music is available to everyone so it’s not about what music you have now it’s how you actually deliver those say 30 tracks in a two-hour set. So then, with my 10-15 years collection, I started to dig back into those local collections, into those labels and obviously my ear back then hadn’t fermented as much as it has now. Currently I’m playing a lot of speed garage and old 90s house and garage, but then I’m mixing it with the Australian/Berlin sound that’s come out of Berlin like D. Tiffany, Mara and Spray. So, mixing and blending all these different genres, connecting the dots is probably what’s given me my unique sound rather than just focusing on being a master of one particular genre.
Fusion of Sounds: “Your sets are known for fusing diverse sounds from House to Minimal. How do you approach blending these different genres to create a cohesive and dynamic experience?”
My motto which I say is I don’t play music I play people, I’m a very kinesthetic feeling person and nowadays kids have access to the internet they’re able to find music much quicker, so I’m able to link all these genres together. But in each of those genres they
have
something in there that connects with me, I never play a track just
to play it, I always have something
that has a sound or a feeling that represents Rossko, the DJ, the brand. I understand in this industry now it’s probably much easier to be a master of one sound, but I’m like a rainbow I have all different colours and different flavours, and I feel like it’s my duty to go a little bit extra and try to update people’s ears with fresh, new sounds or fresh
old sounds and put them all together in one big mixing pot and present in a cool/professional way.o
Connection with Dutch Vibe: “How does your music connect with the Dutch vibe, and have your recent performances in the Netherlands influenced or inspired your musical direction?”
I absolutely love the Netherlands especially Amsterdam, Rotterdam also interests me a lot for the faster techno, but coincidentally my first ever gig outside of my bedroom was not even in the UK it was in Amsterdam at a club called Escape. The Dutch promoter had heard my mix which I used to do b2b with a friend on MySpace and brought us over for our first ever gig which was absolutely crazy. But in general, I think the UK and and the Netherlands have a lot of good things in connection, high energy, good baseline house, positive music, we hold
in very similar stead. When I’m
digging backwards through records there’s a lot that came from the Netherlands in the 90s to the early 2000s that I completely missed, so in the in this moment in time I’m connecting a lot with the Dutch scene and the Dutch ravers. Every time I’ve come over
to Amsterdam or anywhere
else in the Netherlands, I seem to connect with them really well and I’m hoping to push on and play more in the next
mixmagnl.com 43
Evolution and Recognition: “Having received nominations for ‘Best Newcomer’ and ‘Best Breakthrough Artist’ by the DJ Awards, how do you see your sound and approach evolving in the future, and what does such recognition mean to you?”
I think evolution as a DJ is very important in this day and age, music is like fashion it goes round and round, and to be going for the last 20 years and still be relevant is an achievement in itself. It seems that life is speeding up exponentially that you always have to be evolving and keeping your finger on the button. But also, what I’ve learned is stay true to yourself, you’re not here to please everyone. I say that music is like pizza some people do ham and mushroom, some do peppero- ni, but there’s enough pizza to go round. It’s just making sure that you give them your pizza and you resonate those people like that flavour. Obviously mine is a pizza with everything, with all the toppings of all the flavours, with the stuffed crust. So I strive to continue to do that and it seems to be working.
From vinyl-collecting days in the UK to resonating with the Dutch vibe, Rossko’s dedication to his craft and love for music remains unparalleled. His ability to communicate through sound, blending old with new, and ensuring his sets remain fresh and engaging are attributes that set him apart. Rossko’s narrative, layered with experiences, challenges, and victories, not only offers a glimpse into his personal journey but serves as an inspiration for upcoming DJs. As he continues to influence dance- floors worldwide, one can only anticipate the melodies, beats, and stories yet to unfold in his colorful career.
coming years.
Audience Engagement: “Given your ability to cross-boun- daries with your music, how do you ensure your sound resonates with different audiences, and what has been your experience with audience reactions in different countries?”
Growing up I was heavily into the house and garage scene, and I know that there are some house and garage tracks that I can only play in in the UK, as only those crowds will truly resonate with those frequencies. But if I took those tracks to Italy it probably wouldn’t work, so I have to be smart and understand where I’m playing, who I’m playing for the size of the venue etc. So, it’s not about me coming in always playing the same genres, it’s just understanding when and where to play these tracks. For instance, if I’m playing in Italy I might only drop one house and garage track, but then I’ll go to Amsterdam and I’ll drop 5, 6, 7 speed garage tracks. There is so many moving parts to my sets and I think that it just comes down to experience now of understanding what to play, where and when.
Energy in the DJ Booth: “You describe your energy in and around the DJ booth as ‘XL’. Can you expand on what this means to you and how you maintain this energy during your performances?”
Music is my escape, my moment of meditation. I really do have a passion and a connection for music and that comes out when I get in the DJ booth, when everything starts to come together and I want to share that feeling. Because not only is it about the music, it’s about your presence and your aura behind the booth. Watching Sven Vath many years in Ibiza for Cocoon I understood that it’s also his performance behind the decks which made people fall in love with him. Now, I don’t perform like Sven but I understood that I want to show and I want to capture those feelings and emotions that are here in those tracks and what I want to play and share with them with the people. I believe in this day and age it’s not very often people actually live in the moment of now, as they’re normally too busy thinking about yesterday and tomorrow. So, energy in the booth, along with energy in the music I think is a great way to transmit my frequency.
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
