With a promise of “Less noise | More bounce,” zero point has quickly become a favourite on our site. His approach to trap and bass forgoes the maximal chaotic sound that has been dominating the scene and instead focuses on groove, bounce, and impact. The result is an infectious hip-hop influenced style that we simply cannot get enough of. From stellar flips of Fred Agian, Nikita, The Wicked, Justin Timberlake, Ludacris, and more, to a stream of even more impressive originals, including ‘Who,’ Shake,’ ‘2HAWT’ and ‘Drift,’ it appears that zero point simply can’t miss. He has been exploding over the past few months, and we are expecting 2026 to be his breakout year. With that in mind, it’s only right that we connect with the producer for a guest mix + interview to help share his sound with the world.
The mix is a half-hour of heat featuring predominantly his own productions, including a number of unreleased IDs, plus a few bangers from Mr. Carmack, Jon Casey, episcool, insowmya, Golden Child, fred again.., and a few others for good measure. The interview explores his evolution as an artist, going against the grain sonically, his nomadic lifestyle, social media success, production tips, and more. Dive in below.
What can we expect from the mix? What was your vision when putting it together?
The mix is fun. It covers a lot of ground across a few different bpm pockets. It’s, of course, bouncy with a lot of hip hop influence. I tossed in some new and old favorites from producers I love, my favorite zero point releases from the last year or so, and a handful of IDs!
there’s zero point to any of this, so just do the things you wanna do and make the things you wanna make
What does zero point represent? How does it tie into your music?
The name was initially inspired by a research rabbit hole into free energy, Tesla’s work, etc. Then another layer got added to it as a reminder that there’s zero point to any of this, so just do the things you wanna do and make the things you wanna make (I had been severely overthinking my previous project).
Tell us a little bit about your journey as a producer. When did you start making music? How have your sound and skills evolved over time?
So I got Virtual DJ first around 2012 and started making little mixes and mashups. I knew I wanted to try making music as well, but figured I needed to wait until I was done with school because I knew if I got into it, my already mediocre grades would suffer, and I didn’t wanna have to argue with my parents (lol). Jumped into Ableton in 2014 and was STOKED to try to emulate Mr. Carmack, Pretty Lights, RL Grime… all the hip hop/trap crossover stuff that was popping at the time.
Quite honestly I took the long road. I had 0 musical experience when I started. I had never played any instruments or anything, but I wanted to learn how to do everything myself and was very resistant to using presets or samples (unless it was a vocal). After a while I realized all of my best work came when making remixes of pop or hip hop songs, but at that time acapellas were a lot harder to find, and options were limited. I also knew I had no chance of being able to release them officially and wanted to start putting stuff on DSP’s, so since I didn’t know any vocalists, I decided I needed to learn how to do my own vocals. Needless to say, this all took a LONG time.
I spent a few years working on a more bedroom pop-leaning project during the pandemic, but after a while I wanted to get back into making dance music again. The pop project had been at an overthinking-fueled standstill for over a year, so I decided to just send it and start making trap stuff again.
zero point was initially going to be a harder trap project, but after the first few tunes I made, things started to get more minimal, groovy, and bouncy. I also have severe bpm ADD and could never stick to a tempo/genre for more than a song or two, but I loved the direction, so I let it happen, and now we’re here!
Making bass music that’s still musical and listenable at any volume is important to me. When you strip back all of the energy generated by the bigger, faster, louder approach, what’s left to move the dance floor? The groove, the bounce.. and it better be dialed.
Your mantra, “Less noise | More bounce” is something that resonates with me really heavily. In a time where it seems bass artists are trying to make the heaviest and most hectic tracks, what made you want to take a different approach?
I think you hit the nail on the head man. The bass music world right now is dominated by impact. It feels like a competition to be the biggest, hardest, fastest, loudest, and quite frankly it’s exhausting…to me and to a lot of potential new fans. Don’t get me wrong, I’ve had my season as a fan of the heavier side of bass music, but never wanted to make it and certainly never listen to it outside of a live environment.
Making bass music that’s still musical and listenable at any volume is important to me. When you strip back all of the energy generated by the bigger, faster, louder approach, what’s left to move the dance floor? The groove, the bounce.. and it better be dialed. House music has been doing this for decades. The biggest house tunes are always a catchy vocal & a really nice groove, nothing more, and they move people by the millions.
To me, there’s an effortless ‘cool’ factor that house music has and bass music, in its current form, does not have. But I think we can get it there if we turn down the noise and turn up the bounce 🫧
I saw that you live a nomadic lifestyle. What does that look like in practice? Where are you now? How do you decide where you’ll stay and for how long?
This is funny to me because I’ve felt pretty stationary for the last year or so, most of it was spent around Denver, and I even had a spot rented for 6 months! …but I was just on Maui for a month, and I’m around LA right now and will probably be based here until the middle of June. For a while I had gotten used to moving between places to stay every couple weeks or even weekly at times, so spending full months in places now feels slow and luxurious, but I can see that it’s still not ‘normal’ haha.
I’ll say a couple of things on it: First, I’ve spent a good amount of time over the last few years doing pet sitting for people, so the accommodations have essentially been free during those times. Second, I’ve spent years building ways to support myself financially through the internet instead. That’s what gives the flexibility to take what might seem like endless sidequests.
Usually when I’m moving around, I’ll just pick a general area and book whatever looks cool and fits my schedule, so I always have a place to stay while I’m there. These last couple of stays (Maui & LA) have been roughly centered around tour dates. I’m curious to see how this evolves as more of those get added to the schedule.
Do the places that you have lived impact the music you create?
My creative process is pretty slow, so I don’t think I’m in places long enough to be influenced by them stylistically. I do tend to remember exactly where I was when I started my tunes though, so it’s always fun revisiting the memories when finishing one up 6-12 months down the road.
(maybe even more important than the motif itself) is having the courage to stop adding things to it and trust the idea to carry the tune.
What’s the key to making music that feels minimal but is still very full and powerful?
If you find out, let me know! Haha. But for real, for me step 1 has been coming up with or finding a central motif that’s really strong. Usually for me that’s a bass pattern and/or a vocal. Then step 2 (maybe even more important than the motif itself) is having the courage to stop adding things to it and trust the idea to carry the tune.
Are there any plug-ins or production techniques that are essential to your sound?
Hmmmm, I’ve been really loving the Bass Shaper setting in Saturator (I’m in Ableton) because it lets you dial in the exact softness/hardness of the clipper for each sound. I’m also a Serum 2 ho, but who isn’t. Overall I like to keep my processing chains relatively simple and let the sound selection do the work.
If you could give one piece of advice to up-and-coming artists, what would it be?
Stop making 140 for a bit. Give your skills the chance to develop on some different stuff. Also, pay for feedback/mentorship from artists you look up to. For me that’s what finally got me over the “is my stuff good enough?!” mental hurdle.
It’s good to have a strong position on something so people can know what you’re about, chameleons get ignored. The growth has shown me that I’m not the only one that feels the way I described earlier about the bass music scene.
Your social media has really blown up in the past year. It’s actually how I originally found you. What do you feel are the biggest contributors to your success in that area?
Honestly it all really got going in December (2025). Stoked it was able to connect us!
The biggest unlock for me that got everything rolling was sorting out a way to make a large volume of content in a short amount of time. I’m sure there have been periods of time where I’ve felt omnipresent on people’s feeds, and one would probably guess that I just do content full-time, but I really only spend a few hours per week on it.
Volume aside, there’s some other important pieces that have helped me. First and foremost is having music that cuts through the noise. I’m not gonna sit here and pretend that I knew my music would do that, no one does. The way to find out is to test, a lot. If nothing works, get better. Second, having a background in camera stuff has been helpful to make sure the videos I make are at least semi-aesthetically pleasing. Third, having a background in business & marketing has been helpful when writing text hooks that inspire people to pay attention and engage. Lastly, it’s good to have a strong position on something so people can know what you’re about, chameleons get ignored. The growth has shown me that I’m not the only one that feels the way I described earlier about the bass music scene.
Combining all of these elements with a high posting volume has gotten me well on my way to establishing a solid brand.
PS: If you’re reading this and thinking, “Well, I don’t have a background in cameras and marketing, so I guess I’m screwed.” Not true. You just have some catching up to do if you want to take this approach. YouTube is your friend.
What do you enjoy doing when you need a break from music?
I like going outside and hanging out on top of and/or jumping off of stuff.
What’s on the horizon for you for the rest of the year?
My Denver debut & first-ever hard ticket show with my dawg PANDO! On May 29!!! Really excited for that one. Nothing else on the calendar yet though. I think I popped out a little late to get anything really crazy going for the 2026 summer season, but I’m looking forward to dropping a ton more music this year and hopefully playing music in some new cities!
Any final words for fans?
First of all, shout out to FUXWITHIT for the support! I’ve followed the blog for years. Have downloaded many tunes and discovered many artists through you guys, so it’s an honor to be in this position now.
Also, massive shoutout to everyone that’s seen my silly little gun finger videos and decided to follow along. I don’t take it lightly. It’s an honor to have people I’ve never met listening to and loving my music, and I really look forward to meeting you all at shows in the future!
zero point FUXWITHIT Tracklist
zero point, NYRUS – ID
Jon Casey – French Love Poem
PANDO!, zero point – Drift
CRASTINATE, KOLLABA – MAYBEBETTER
Fred again.., Sammy Virji, Winny – Winny
Fred again.., Sammy Virji, Winny – Winny (zero point flip)
Mr. Carmack – Rappers
Shoku – tpsy
zero point – Polar Bear
Port London – WILDFIRE v2
zero point, Lily Fangz – ID
episcool, insowmya, Golden Child – CGOT (can’t get over this)
zero point – ID
zero point – Who
zero point, NYRUS – ID
Nikita, the Wicked – Like Me (zero point flip)
zero point – ID
Don Toliver – Body (zero point flip)
zero point – To The Moon
Huey – Pop Lock & Drop It (zero point flip VIP)
zero point, PANDO! – 2 HAWT
