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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

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The mix is a thrilling ride through the artist’s sonic world, packaging 26 tracks in 30 minutes, and it is chock-full of unreleased IDs. As for the interview, we discuss his drive to create, highlights of his live sets, how to make music that feels clean and minimal yet hits hard, the threat of AI music, and much more. Dive in below.

What can we expect from the mix when we press play? What was your goal when putting it together?

Recently, I’ve been experimenting with a faster, more high-energy mixing style, and I wanted this mix to be more in that lane. I’ve played a few sets in the last month that were either under an hour or b2b, and that’s forced me to figure out how exactly to play all the things I want to play without it feeling crammed.

The byproduct of that is that I’ve really enjoyed mixing a bit quicker and am starting to throw that vibe into the full 60 or 75 minute sets. This mix is a little chunk of that vibe featuring a lot of new music I’ve been working on.

What drives you to create music?

It’s really something I’ve been doing my whole life, I don’t really know what my life looks like without creating. Frankly, if I don’t make something new within a 2-week period, I start to become an asshole, so it’s really a service to those around me.

Less tongue-in-cheek answer though: I just really enjoy exploring the possibilities of music and making the things that I want to hear, whether that be on headphones at home or blasting on a massive club or festival system.

Whenever I find myself in that overthinking mindset, I try to remind myself that the entire reason this project found success in the first place was that I was trusting my gut.

You said, “The whole ethos of this project was to just make what felt right to me and not question it too much.” How do you combat overthinking and consistently keep that ethos alive? Especially as the project continues to see great success?

Overthinking definitely still comes in waves, and I have noticed it coming back up, especially as I’m trying to do bigger and better things, but that’s the whole reason I set that as the ethos. Whenever I find myself in that overthinking mindset, I try to remind myself that the entire reason this project found success in the first place was that I was trusting my gut. It may not get me back there straight away, but it certainly helps.

You’ve been touring and playing some massive festivals. Are there any specific moments during your live sets that really stand out to you?

Absolutely. There’s this chunk where I slow things down to 130/135 and play a couple of my slower hip-hop flips (Tia Tamera, Shabba, etc.), and I really love how it always resets the vibe and gets people grooving in a different way.

On top of that I have this new transition I’ve been doing from Moldae’s ‘Just Dance’ remix into an ID of mine that has just been exploding. Another lesser-known tune that crushes is BASSTRIP – ‘EVERY TIME WE TOUCH THE SUBWOOFER.’ It’s just such a fun blend of songs, and the drop gets that “OHHHHH” reaction every time.

Also, I keep saying that I gotta remove it just because it’s becoming a little dated, but the Baddadan flip hasn’t stopped hitting yet…

Oh yeah, lastly, closing with Acyan and I’s Innerbloom flip just always feels right. Had everyone put their lights up for it at Decadence last NYE, and that was an all-timer for me.

It’s more important to have a few really, really good, effective sounds than 200 sounds that are just okay.

What’s the secret to making music that feels so clean and minimal yet hits so hard?

It’s more important to have a few really, really good, effective sounds than 200 sounds that are just okay.

Start with simple sounds, and then build on them. Don’t try to make the most insane sounds off the bat, just make something that feels good and then mess with the layer or post-processing until it feels right.

Be very particular about your drum samples (and samples in general).

You’ve mentioned that you’re a big fan of pop music and songwriting. Are there any lessons you’ve taken from pop music and been able to apply to bass music?

It really comes back to just keeping things simple and effective. Not overstuffing a track with a bunch of mid elements and hoping it works out, but making sure every piece of the song is intentional and adding to the overall picture.

It’s a bit idealistic of me, but I’d like to think that as the space gets more and more flooded with ‘ai slop’ people are going to crave something from their fellow humans.

Do you see AI music as a threat to real artists? Is there anything that fans and creators can do to help push back against it?

It’s undeniably a threat, especially to the sync music world (TV music, commercials, etc.), but I also don’t really worry about it all that much. At the end of the day, I’m still going to make music no matter what, and I know there are plenty of people like me who have absolutely zero interest in listening to AI-generated work.

It’s a bit idealistic of me, but I’d like to think that as the space gets more and more flooded with ‘ai slop’ people are going to crave something from their fellow humans. We already see this in social media trends now – the artists who are doing the best are generally the ones who are personable, and someone fans want to connect with. You don’t really get that with AI Music (see Timbaland’s failed AI Artist project).

What goals are you striving to achieve in the next year?

I’m really trying to sort out what the next large body of work is for myself, whether that be an EP or something larger. As you’ll hear in this mix, I have a ton of unreleased music, but it’s important to me that a project is intentional and has music that truly fits together. No plans to stop releasing music though, just really aiming to make that next great project.

What makes you happy outside of music?

Friends and family, working out, going to shows that have nothing to do with dance music (no disrespect, just to switch the vibe up), good movies & good food.

Always make what you want to make. Don’t get caught up in the noise of everything else going on online or what you think you ‘should’ be making.

Any final words of wisdom?

Always make what you want to make. Don’t get caught up in the noise of everything else going on online or what you think you ‘should’ be making.

PHRVA FUXWITHIT Guest Mix Tracklist

1. Sub Focus – Siren (Phrva Flip) w/ A$AP Ferg – Work
2. Phrva & Flozone – ID
3. Crankdat – Movement (Phrva Flip)
4. Showtek, We Are Loud, Sonny Wilson – Booyah (Phrva Flip)
5. Phrva – ID
6. Phrva – Mind x Moody Good – Humid
7. Phrva & Snowy – ID
8. Phrva & Saka – ID
9. Phrva & STVSH – ID
10. Phrva & Dennett – ID
11. Phrva – ID w/ Flo Milli – Beef
12. Tiga – Bugatti (Phrva & Noctiil Flip)
13. Phrva x Flozone – ID
14. Joey Valence & Brae, Ayesha Erotica – The Baddest (Badder) (Phrva Flip)
15. Addison Rae – Fame Is A Gun (Phrva & Borne Flip)
16. Phrva & OkayJake – ID
17. G Jones – Helix (Phrva Flip)
18. Billie Eilish – Lunch (Phrva Flip)
19. Phrva – ID
20. Phrva & Ero808 – I Need The x Annix & Trolley Snatcha – Kill Switch
21. Phrva & Jiqui – Do It
22. Phrva & Rakjay – ID
23. Phrva – ID w/ Fred Again – Victory Lap
24. Skrillex – Bangarang (Phrva Flip)
25. NERO – Innocence (Phrva Flip) x ID – ID
26. Afrojack, Eva Simons – Take Over Control (Phrva Flip)

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Omadhaun

Hailing from Bristol, U.K., Omadhaun is the next up-and-coming producer you need to know about. Combining a variety of vibes and flavours, his new project, ‘Hornets’ is a fresh take on DnB, utilising eclectic Jungle rhythms and different timbres from across the world. It’s like nothing you’ve ever heard before… and yet somehow feels so right and familiar. The intro track ‘Hornets’ has a plucked section which feels both Middle Eastern & Hispanic, before the Bristolian decides to blow your head off with some pointy bass lines.

To say that Omadhaun has a unique sound would be an understatement; he’s almost incomparable. The production quality is up there with the best, something even Billain would be proud of. One minute you have some of the cleanest string sections ever featured on a DnB track in ‘String Theory’ & then you suddenly get thrown into the Bristol rave scene with some crazy jungle drum patterns and Reese basses that will melt your face. This new project has been signed to Inspected, so it’s only a matter of time before he blows. Don’t miss the opportunity to tell your friends, ‘I heard him first’.
-PV

Oyubi

The more years go by, the more fun it is to browse FUXWITHIT’s website. In the extensive archive that our fantastic team has built up, you can find ever-surprising easter eggs. Once I’d decided to write about Oyubi for this 90th edition of Focus Five, I did the usual check to make sure no one had already written about him (89 issues, i.e. 445 artists, are hard to remember off the top of my head). When I saw a result pop up on the screen, my reaction was very much along the lines of “Who? When?” It turned out it wasn’t another Focus Five feature, but one of his songs, ‘BOTA’, was played in a 2021 guest mix by Sinistarr (curated by the one and only Arielle). A little cathartic moment that made me reflect on our legacy as a blog, on the importance of the documentation work on the web (that is carried out by far too few people), and on how culture travels through time.

Anyway, enough with the rhetoric. Let’s talk about this month’s protagonist: Oyubi. The Tokyo-based producer first caught my attention last year with the release of the Sin Jyuk Guen EP, a mesmerising and hallucinatory project in collaboration with Kush Jones, whose title track is undoubtedly one of the most criminally underrated tracks of 2025. Close to the phenomenal TREKKIE TRAX crew and co-founder, alongside Fetus, of his own club night and later label called Turing, Oyubi is responsible for another of my current favourite tunes, ‘Letzgo’, published back in November. His latest EP titled Since I (released via TREKKIE TRAX), is yet another brilliant work. An unpredictable explosion of creativity that flirts with both personal listening and the club dimension. Once again, the analytical mastery Oyubi brings to the programming of these sound structures sheds its electronic nature the moment it escapes the headphones and reaches human eardrums, transforming into a hedonistic, and sensual energy. Be sure to closely follow Oyubi because who knows what his next move will be. Go and read the bio for Since I  on Bandcamp to discover some fascinating insights into his creative process, and follow him everywhere so you don’t miss his next move.
-AA

Tej

This month’s pick comes from the usually-crappy, sometimes-lucky Spotify algorithm. I make a point to listen to my entire Release Radar every week in case I stumble upon a hidden gem, and while this usually leads me to listening to a bunch of subpar music, it’s worth it when it leads me to an artist like Tej. Hailing from San Francisco, the producer landed on my radar (no pun intended) a few weeks back with his bass-driven tune ‘more_time.wav’ that uniquely blends the groovy elements of house with a more futuristic, trap-leaning second half. This interesting combination led me further down the Tej rabbit hole, and I was highly impressed by the artist’s distinctly captivating sound. His latest project, (some sort of mania…), is riddled with exciting cuts, with ‘right_here_(right_now).wav’ standing out in particular. With his last two projects coming out on bitbird, it’s obvious some bigger names in the scene have already taken note of Tej, but it’s time to get him a bigger following! He’s got some banging bootlegs of big tracks such as ‘hit me where it hurts x’ and ‘Winny’ on his SoundCloud, so don’t sleep on this rising star.
-SC

Xyn

Hailing from Seoul, Korea, Xyn is an artist within the sonic spectrum you need to know about. From euphoric melodies, eternal storytelling from his arrangements alone, to integrating pure emotion in each track, we heavily suggest keeping him on your radar. His most recent singles are truly elegant in nature. ‘When I’m Gone’ provides a touch of hard wave while still presenting itself as a mellow entity. While ‘I Don’t Wanna Wake Up’ integrates a fun hip-hop feel while still stepping into a vast open space in the following sections of the track. The vocals he uses also provide such heavy support and are perfect for the environment he creates. So definitely don’t sleep because we have a wonderful feeling he has even more stacked heat ready for the future!
-JD

zero point

“Who? Who? Who? Who? Who? Who? Who? Who da fuck?” The simple repeated vocal chops and bouncy basslines from zero point‘s ‘Who’ have been on a constant loop in my head since before the track was even officially released last month. They also embody my reaction when I first found zero point’s music. With the tagline “Less noise | More bounce” zero point is working to bring the bounce and swagger back to electronic trap. ‘Who’ is the perfect embodiment of the minimal yet banging trap and bass sound I’ve been wishing there was more of. ‘Who’ is the ideal introduction to the artist, showcasing his production mastery and infectious style. Keeping the momentum going, he just dropped another banger with our friends at Presently Lifted with ‘Shake’. The track offers a similar infectiousness and knock, with a touch of added grittiness. For something a little more vibey, may I recommend ‘Drift’ alongside ‘PANDO!’ The track mixes a summery sound palette, breathy vocal samples, a majestic pluck lead, and a dirty south vocal that you won’t be able to get enough of.  If those three tracks don’t convince you to become a fan, you’re probably reading the wrong site. And those 3 just scratch the surface of his catalog, don’t sleep on his recent Justin Timberlake and fred again.. flips. zero point isn’t just one of the best of artist finds I’ve come across this month, but one of my favourite discoveries in the past twelve months at least. 2026 is going to be zero point’s year. Trust me.
-C

Written by Alessio, Colin, John, Paul & Steph

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