The post FUXWITHITFRIDAYS – 625 appeared first on FUXWITHIT.

With the summer right around the corner and TF Marz steadily killing it, we thought now would be the perfect time to connect for a guest mix + interview. The mix showcases his own works along with the tunes that inspire him, and is perfect for a day where you’re trying to kick back and relax. Our interview explores his background as an artist, the challenges and benefits of straddling multiple genres, what makes music so special, his favourite albums of all time, and much more. Dive in below.

What’s the vibe that we should expect when we press play on the mix?

The vibe is before the party, after the party, cruisin in the whip on a summer evening, kickin it with the homies, or maybe even spending time with that special someone. I’ve been playing music out at shows so much recently, and I haven’t done a studio mix for a while, so I wanted to take this mix as an opportunity to share some of the music I don’t really get to play out as much. This one really is a dive into my taste and influences. I sprinkled a few unreleased bits of my own in there too ;)

Can you tell us a little bit about your musical journey? How long have you been producing? Has your relationship with music changed over the years?

In a way, my musical journey kinda feels like it started the day I was born. Those who are familiar with me probably know this, but my parents put on music festivals while I was growing up, and they put their first festival on 3 days before I was born. My parents had me try out different instruments growing up for as long as I can really remember, but when I saw artists like Kanye and Dilla using the MPC, I knew I wanted to do that. I think I started around 14, so I’ve been producing for like 18 years. Sheesh, that’s a while haha.

music is one of the most incredible things in life. Like just these waves of pressure in the air that can make you feel all the emotions, make you move, bring people together. Music is really the closest thing I’ve found to god.

What drives you to make music?

I mean, it just feels like something I have to do. I’ve had periods in these past 18 years where making music wasn’t very central to my life, and I thought maybe there was something else I would do with my life (for work that is), but I was always drawn back to it. There is just something so magical about that moment when you’re in the studio, and the idea clicks, and it’s like you could just listen to that loop over and over for hours. Plus, I just think music is one of the most incredible things in life. Like just these waves of pressure in the air that can make you feel all the emotions, make you move, bring people together. Music is really the closest thing I’ve found to god.

Your music lives in this beautiful place between hip-hop, RnB, and bass music. Have you ever felt pressure to lean into one side vs. combining them all together? How do you find the perfect balance?

Yeah, I absolutely feel the pressure. It’s been something I’ve really been navigating in my career and path as an artist recently. And I guess since the beginning too. I’ve never really felt like I fit into a specific scene. Always felt too Hip-Hop/R&B for the Electronic scene and too Electronic for the Hip-Hop/R&B scene. I try to remind myself that in ways, that’s my superpower, what’s allowed me to make my own lane. But I’d be lying if I said I don’t feel pressure, especially with getting more opportunities in the Electronic world, to somehow fit into that more. But I have to give a big shout to my all:Lo family and my friends who continually encourage me to be me.

Can you tell a little bit about your approach to sampling? Is there anything you would never sample?

Ahh, sampling is the best. Probably one of my favorite things about producing and something I’ll do in almost everything I make. Sampling is like continuing the story of the original work while often giving it a whole new meaning or context. In terms of things I’d never sample… Idk, I hate to say never, but I’m not super into the idea of sampling like a classic rock song; at the same time, if I could completely flip it on its head, then I’m with it. I mean, look at a song like ‘Paper Planes’ by MIA, Diplo sampled the Clash on that and made an absolutely bangin tune.

There is this pressure to make crazy sounds and bangers and whatnot, and if that’s who you are, then that’s great, but that’s not all people want to hear, and in the end I think people really just want to connect with something real, something genuine.

What advice would you give to new producers who are trying to level up their skills and stand out from the crowd?

My biggest advice is BE YOU. Harkening back to your question earlier, I feel like, especially in electronic music, there is this pressure to make crazy sounds and bangers and whatnot, and if that’s who you are, then that’s great, but that’s not all people want to hear, and in the end I think people really just want to connect with something real, something genuine. I mean, look at what we’ve done with all:Lo. No one cared for a really long time, until they did. And I think we’ve built a really strong, loyal fanbase because they know that everything we bring to the table is genuine and from the heart. Beyond that, just keep working and learning new techniques, especially with mixing. That might be the secret: be original with your ideas, and if you can make it sound clean and mixed nicely, someone is gonna connect with it.

Congratulations on the release of Reflections Pt. II with parkbreezy. What’s your collaborative process like with parkbreezy? What makes your chemistry so strong?

Thanks! Working with Parker is such a pleasure and a gift. We really see eye to eye musically and just on things in life in general, and when we disagree, we are both very open to one another’s perspective. We also have a ton of trust in one another, so when we get in the studio, we start throwing ideas out there until something grabs us. Parker is great at generating ideas, and I think I have a knack for kind of seeing the direction for the song, so we just work really well with one another. Also, I think we both do a great job of putting our egos in the backseat. Making the song the best it can be is always the goal, no matter whose idea it was or wasn’t. Just make sure it sounds good and reflects who we are as artists.

What makes all:Lo special is that we have paved our own path by doing things our way and being exactly who we are, even when nobody understood it. We hope that our label and path can be an inspiration for other artists and creatives to do the same.

How did all:Lo come together? What makes it special?

So it really starts with Parker and Phil. They were living together in Denver in 2017 and had connected through working at the Black Box. That same summer, I met my friend Hunter, and he was helping me start up this event focused on “Hip Hop, R&B and cutting edge Bass music” called The Curation Series at a venue called Your Mom’s House in Denver. We needed CDJs, and Hunter suggested he had some homies who had some (Parker and Phil), and they played similar music, so we decided to invite them out. We immediately clicked, and I asked if they wanted to be residents with me, and they were down. We did that for about 6 months, with Thought Process being a part of the last one. That winter, Parker and Phil wanted to start putting music on streaming platforms, so they started releasing under all:Lo. The following summer, we were chatting, and Parker and Phil wanted to put out a compilation and make the label more of a thing, so they invited me to be a part of it, and since that point on it’s been fam.

What makes all:Lo special is that we have paved our own path by doing things our way and being exactly who we are, even when nobody understood it. We hope that our label and path can be an inspiration for other artists and creatives to do the same. We’re all about lifting each other and our communities up, and I know I speak for all of us when I say how grateful we are for how far it’s come.

What’s the best meal you’ve ever had on the road?

Ooooof, that is tough, but the first meal that comes to mind is this dish that I had at a restaurant called Nanban in Pittsburgh, PA. It was a gochujang fried chicken with biscuits and tonkatsu gravy.

What is your favourite hip hop, and favourite RnB album of all time? What makes each of them special to you?

Okay, RnB is easy; that’s D’Angelo’s Voodoo. My favorite album of all time. It’s literally perfect. The fusion of Soul with Hip Hop sensibilities and production is just pure magic. Hard for me to put into words what this album means to me. If you’re not familiar, I encourage you to go listen right now. Rest in peace to the legend.

Hip Hop is a bit tougher… I really can’t pick one, so I’m gonna say three that have been super influential to me. Outkast’s Speakerboxxx/Love Below, Kendrick Lamar’s To Pimp a Butterfly, and Kanye’s Dark Twisted Fantasy. All three of these albums are so forward-thinking and purely creative. They all show me the possibilities of what Hip Hop can be.

What are you most looking forward to in 2026?

I’m really excited for the all:Lo takeovers we’re getting to do at festivals this year, including the Grove at Shambhala, my favourite stage in the whole world. Also excited to release this new music I’m working on, and finally I’m really excited for something I’m planning for my city, Denver. More deets on that soon!

Any final words for fans?

Just thank you. This is the first year I’ve gotten to do music as my full-time job, and I try to remind myself often just how lucky I am to get to do this. If you’ve been listening for years, I truly appreciate it so much; I know it’s been a slow burn. If you’re new here, thanks for giving me a shot; that’s all I can ask for. Really excited for what’s to come, so I hope you come along with me. From the bottom of my heart, thank you so so much <3

Oh and FUCK ICE AND FUCK DONALD TRUMP.

TF Marz FUXWITHIT Guest Mix Tracklist

FCUK (ft. Mahalia) – H.LLS
Esa Nena – Young Miko
ID – TF Marz
thasit – TF Marz
IT’S OK – Bryson Tiller
All Mine (ft. Kaya Ko & Kapok) – TF Marz
10 – El Londo
R U THAT SOMEBODY – Mr. Genius Idiot x nikø.
choosy – Cityboymoe
Days Go By – James Blake
Windows Down (ft. Guapdad 4000) – Moslikely
Lil Mama – Lo Village & Dirty Shafi
Want It All (ft. Polo G) – Burna Boy
Handsome (ft. Megan The Stallion) – Chance The Rapper
Mine – Tiacorine
Pick Up The Pace (feat. Bayka) – Mahalia
Anxious – Latto
no doubt – Ragz Originale
2 Charming – Skiifall
The Point (ft. Kaya Ko & Trayce Chapman) – parkbreezy & TF Marz
So Sweet – FALCONS
Good Flirts (TF’s edit) – Baby Keem
FWT (ft. Isaiah Falls) – Icee Red
Day After Day (ft. Big Sad 1900) – BLXST

The post TF Marz – Guest Mix + Interview appeared first on FUXWITHIT.

New for this year comes the addition of a second stage featuring some of Halifax’s finest, including Troy Power, Sir Real, DJ Decision, Sister Ric, Vero, and more! You can check out the full line-up below.

I’ve had the pleasure of attending Vibrancy in previous years, and I can assure you, there is nothing like raving in one of the most iconic spaces in Canada. This year promises to be their best edition yet, so be sure to grab your tickets now.

The post Vibrancy Festival Returns To Halifax for 2026 appeared first on FUXWITHIT.

The post FUXWITHITFRIDAYS – 624 appeared first on FUXWITHIT.

The post FUXWITHITFRIDAYS – 623 appeared first on FUXWITHIT.

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

The post zero point – Guest Mix + Interview appeared first on FUXWITHIT.

The post FUXWITHITFRIDAYS – 622 appeared first on FUXWITHIT.

The post FUXWITHITFRIDAYS – 621 appeared first on FUXWITHIT.

The post FUXWITHITFRIDAYS – 620 appeared first on FUXWITHIT.

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)

The post PHRVA – Guest Mix + Interview appeared first on FUXWITHIT.