The mix is 38 minutes of heat, including unreleased music from the artist himself, as well as HerShe, KUHLOSUL veng, ANON, and more! If you’re looking for something high-energy and heavy-hitting, this one is for you!

As for the interview, we touch on his 14-year journey as a producer, what prompted him to really lock in, what makes music so special to him, carving out his own lane, why he’ll be making music for the rest of his life, and much more! Dive in below.

Tell us about the mix. Where are we headed when we press play?

You will experience my take on Electronic Music for 38 minutes. This mix includes music I’ve been working on, stuff the homies have sent me, and some of my personal favorite listening material.

You’ve been producing for 14 years, but said you’ve been taking it super seriously for about 4 years. What prompted the switch to really lock in? How did your approach change with this shift in mindset?

My mother’s passing in 2020 really set the shift for me. I went from unmotivated and unfocused to spending all of my days working on music & the JAWNSIN project for hours on end.

Don’t listen to anyone else. Make what YOU want to make. If it sounds right, it is right.

What advice would you offer to new producers trying to improve their craft?

Don’t be afraid to push things. Over-saturate when people tell you not to. Push your levels. Don’t listen to anyone else. Make what YOU want to make. If it sounds right, it is right. Or, as my late father used to say, “If it ain’t broke, don’t fix it.”

How do you go about carving your own lane and breaking out from the rest of the pack in the dubstep scene?

Get two face tattoos like I did, lol. Don’t actually. However, I think genuinely just being yourself is a huge portion of it.

From Wakaanfest to Lost Lands, your music has been getting some major support! What does it feel like to have your music played out on such massive stages? Did it happen organically, or have you been in touch with the artists?

It feels like a dream come true. As someone who has never been to a festival before, I’ve always had a vision of hearing my music played on the big stages.

A little bit of both, organically and just sending IDs out! Zen Selekta & XOTIX are good homies of mine now but the Wakaan rinses were still huge surprises! GTA recently surprised me before Lost Lands, saying that they were going to rinse some tunes. It’s been quite the rollercoaster of events to say the least!

Producing music is a way for me to feel okay in a world that is very tough. Since then, I’ve found a special attachment to having a canvas to express my feelings on.

You told me that music is something that you’ll be doing until your last day on earth. That’s a powerful statement. What makes music so special to you?

It’s an escape for me. I was bullied for being overweight in my early teens. Producing music is a way for me to feel okay in a world that is very tough. Since then, I’ve found a special attachment to having a canvas to express my feelings on.

Do you think your approach to music will be drastically different later in life?

I’ll always stay true to my roots, but it’s inevitable that I’ll grow as an artist!

How did you connect with veng? What makes the chemistry between you two so good?

I met him 2 years ago when I moved to Eugene, OR with my wife, Cassie!

He originally hit me up, we made “ONE MORE TIME” and the rest has been history!

We aren’t afraid to change projects drastically, and we’re both always creatively perceptive without getting irritated with one another.

veng is family. Shoutout my brother.

What brings you happiness outside of music?

Video games (skate., Fortnite, Little Nightmares – to name a few), cooking for Cass, and lifting weights!

What’s the last piece of art that really resonated with you? What made it special? 

Red Dead Redemption 2. I know it sounds silly, but Arthur Morgan’s plot will bring anybody to tears. Absolute cinema.

What’s on the horizon for you musically?

I got a few releases on the horizon! Up next is a single with veng off our EP that we are currently working on. After that, is another collaboration with ANON that’s been getting love nationwide. Finally, I have a 140 tune with Kuhlosul – release date coming soon!

For everyone just joining, thanks for showing up early.

Any final words?

For everyone just joining, thanks for showing up early.

Shoutout to my family, my wife, my manager, all the dope homies, and everyone who has been along for the ride so far.

I love y’all.

JAWNSIN FUXWITHIT Mix Tracklist
HerShe – ID
JAWNSIN & veng – ID
JAWNSIN – RADAR
SVDKO & JAWNSIN – THINGS SHE SAID
ANON & JAWNSIN – ID
RADIOHEAD – EVERYTHING IN ITS RIGHT PLACE (JAWNSIN FLIP)
JAWNSIN – VIBE
JAWNSIN – CARRY ME
A-PAR – MEU GRELINHO DUB
JAWNSIN – DREAM
JAWNSIN – PROPELLER
JAWNSIN & veng – UNO DOS
JAWNSIN & veng – COLORBLIND
DEVOWR – WERK
saint miller – fuck the world
CHARLI XCX – CLUB CLASSICS (WINK & BORNE EDIT)
Tag Team – Whoomp! (There it is) (AYCH FLIP)
JAWNSIN – BREAK YA NECK
XOTIX & DMTREE – FREEWILL
FEEL SUITE – HAMMER TIME
JAWNSIN – WAITING 4 U
ACYAN – NEKOMA
Moore Kismet – Never Be Lonely (Mistrrr Edit)
SUBSICC – ODD111
Anskii & HerShe – ID
JAWNSIN & KUHLOSUL – ID
Rico 56 – ID
M?STIC & VISTUH – 2NITE!

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

A listen-through of Ring Noord’s debut set reveals a simple yet thrilling theme: expect the unexpected. Listeners should not confine themselves to anticipate a certain genre when diving into what Ring Noord has to offer. Their set is genre-fluid, incorporating aspects of drum and bass, techno, hardcore, garage and so much more. In their words, “the set serves as Version 1 of their ongoing experiment – where tracks take shape, shift, and may be entirely reimagined in future iterations.”

Today, the Dutch duo are unveiling ‘Wild Flowers,’ the first single from their newest joint venture. The track merges haunting atmospheres with a rave-inspired edge, featuring ethereal vocals from Former’s sister, Asa. ‘Wild Flowers’ bridges electronic music’s past, present and future, channeling elements of jungle, breakbeat, and early 2000s hardcore into a futuristic drum & bass framework. Highlighted by pristine production and an incredibly unique combination of sounds and textures, ‘Wild Flowers’ offers a glimpse into the creative genius that is Ring Noord. Don’t miss it below and stay tuned for more from the great Groningen minds.

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With the exception of a few vocal-driven moments, huck.jorris lays out a hallucinatory cartography of liminal dubstep, keeping the architectural schemes of the genre while borrowing from ambient and lofi. The result is a mosaic of sub-bass-soaked yet light-handed cuts perfect to listen to while meditating in the early hours of the morning or while admiring the mind-blowing vastness of the cosmos. We have no titles or release dates at the moment, but I could easily see a big portion of this tracklist becoming a full album. Quoting Colin’s Focus Five piece, “I haven’t been as tapped in on the Left Field Bass sound as of late, but stumbling on huck.jorris offered a timely reminder of how good the sound can be when executed at a high level“.

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The post Dive Into The Cosmic Frequencies of huck.jorris’ ‘mile high’ Mix appeared first on FUXWITHIT.

The mix is an hour-plus affair that sees him expertly moving between UKG, trap, 140, DnB, and even some Jersey club with a heavy sprinkling of rap and RnB influences. Featuring IDs from Luhv, Lizdek, Zotti, Hershe, and Klinical, plus bangers from Taiki Nulight, MPH, Hamdi, Saka, Moore Kismet, DMVU, and more, this is a can’t miss. As for our conversation, we dive into what defines his style, his time at Icon Collective, how his relationship with Great Dane evolved from student/teacher to collaborator/friend, what he’s been listening to on repeat, and more.

What should we expect when we press play on the mix? What was your vision when putting it together?

This mix blends my latest inspirations, with UKG and 140 bass grooves at the forefront. It starts fun and danceable, then evolves into heavier vibes, reflecting the energy of my own bass tracks.

I keep it simple, following my intuition—if a track works in the car and on stage, I know I’ve struck the right balance.

Your music often blends emotive elements with a heavy-hitting backbone. How do you go about finding the right balance between the two sounds?

It’s all about allowing both excitement and emotion to thrive without overpowering each other. I keep it simple, following my intuition—if a track works in the car and on stage, I know I’ve struck the right balance.

Success in music is different for everyone, so it’s important to define your own path and stay true to your values.

What’s the greatest lesson you learned at Icon Collective?

Icon taught me to explore various styles and genres of music. When I first arrived, I was only focused on making SoundCloud beats, but by the time I graduated, I had developed an appreciation for pop, hip-hop, R&B, and underground electronic music. It also taught me to truly believe in my vision and embrace what makes my music unique. It’s easy to compare yourself to others, especially in a place filled with so much talent, but the key is to stand out by being yourself. Success in music is different for everyone, so it’s important to define your own path and stay true to your values.

You have had the pleasure of playing some incredible sets including at Burning Man. For those who haven’t been. What makes the festival special? Any wild memories from your time there?

After attending, I wouldn’t even categorize Burning Man as just a festival—it’s more like the world’s biggest party in a city that only exists for two weeks. It’s not just about the party; part of the magic is the endless array of experiences you can have, depending on what you’re seeking. Some of my favorite memories include biking through a sandstorm at night and feeling like a fish in the deep sea as huge glowing art cars would emerge from the dust. I also remember stumbling upon the Sonic Soultribe stage for the first time and wishing I could play there. By the end of the weekend, I was on that very stage—proof of the power of intention. One of the final highlights for me was playing at Camp Q as the sun came up. Burning Man is about the music for me, but I know everyone’s experience is different.

How did you connect with Great Dane? How has your relationship evolved over time?

Dane was my Ableton teacher at Icon Collective, and he hosted these 10-minute beat battles during office hours. I made it a point to attend almost every week during my time there. After graduating, I’d run into him at Lo-End Theory and Hypnothesis shows in LA. We reconnected at Burning Man, and shortly after, we both moved to New York around the same time. We started hosting the Halftime shows in Brooklyn, and after I left NY, I helped set up a mini tour for us in Japan with my friend Kowta (another Burn connection). Over time, our relationship has evolved from teacher-student to close friends, and we’ve had some incredible adventures. We’re also working on a collaboration for a project that will be released on his label, ADBC, later this year.

You’ve been throwing shows in Los Angeles, New York, and Japan. What brought you to each of these locales? Is the vibe distinctly different in each city? 

For LA and NY I found myself living in these places for different reasons. LA because it was the hub for music but NY inspired me and left me in awe when I came to visit. All of these places had huge cultural impacts on me from hip-hop to film, anime, fashion, art & more. I felt I wanted to do something to bring the next generation of inspiration to life. 

A room of 50 people who align with the vibe of the event is far more valuable than 300-1000 people who might not feel the same energy.

How do you go about building momentum behind an event series in new places?

Having a strong team is crucial. Consistency and well-curated lineups are essential. I focus on ensuring that everyone involved is showcasing their unique skills and production. But honestly, the most important aspect is the people. A room of 50 people who align with the vibe of the event is far more valuable than 300-1000 people who might not feel the same energy. Of course, great sound is also a key component of any successful show.

What’s the best quote or piece of advice you’ve received lately?

Just finished reading Shantaram and this quote really stuck out to me;

“Fate gives all of us three teachers, three friends, three enemies, and three great loves in our lives. But these twelve are always disguised, and we can never know which one is which until we’ve loved them, left them, or fought them.”

― Gregory David Roberts, Shantaram

What have you been listening to on repeat lately? Why has it captivated your attention?

Right now I’m really digging Douvelle19 especially that song with Cesco. Some other artists I play on repeat include Nujabes, Dj Yung Vamp, Megra, Taiki Nulight, Clams Casino, Burt Cope, Kush Jones, Nic Baker, and Sempra.

I made good momentum with cutting out unhealthy habits and cultivating healthy ones. The result sonically was truly rewarding.

Do you have any major goals for 2025?

I have two projects I’m in the process of getting out atm and my main goal this year is to create the best rollout I can for both. Been trying to grow in my personal life along with my music project. Last year I made good momentum with cutting out unhealthy habits and cultivating healthy ones. The result sonically was truly rewarding. I want to continue that momentum into 2025 while stepping back into playing live events and festivals.

Luhv FUXWITHIT Guest Mix Tracklist

Clavish & Fredo ‘Uh Uh’ (Taiki Nulight rework)
Hershe x Luhv x Kurei x Zaterday – TRAP AINT DEAD (UNRELEASED)
MoreNight – GrapeFruit
Kurupt FM – Your Mum Loves Garage (SOULSTATE Remix)
Luhv – ID
MPH – Brainwashing
Klinical – ID
SVDKO – OUR MOMENT
Lake Hills – Picking Flowers
Luhv – ID
1111 – SOS ft. Aya Anne
Chris Stussy – All Night Long
shygirl – 4eva (sasha rome x clearcast remix)
Luhv x Spencer Flores – ID
Luhv x Hershe – ID
Daft Punk – One More Time (Phrva Flip)
Inspect3r – No Chat
MachineDrum – Habits
Lizdek x Zotti – ID
Taiki Nulight x Hamdi – Patterns
Hershe – ID
Nyptane – Heartstop
DMVU – Run It
FEEL SUITE – STOP MOTION
Moore Kismet – Sun Comes Up
Saka – backitup
don’t cha (vexx flip)
Luhv – ID
No Scrubs (Kurei x Luhv Flip) (UNRELEASED)
Dombresky – In My Room (Risk-E Remix)
Way Too Fly (R3LL x West End Tricks Remix)
2024 (MAGUU Remix)
Mysie, £MONZO – Phases
Detre – Let Go
Charles the First – Work While You Talk (w/ Supertask)
Want It x This is why im hot. (oliedit)
Black Carl! – Higher Life
Koherent, GLXY – Darling Sky
MKJAY & Aaliyah Esprit | On & On
Zaterday x Spencer Flores x Luhv – ID

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

Since moving to the US in late 2023, the artist has played nearly 50 shows, including iconic venues such as Red Rocks, and continues to build momentum with the turn of the new year. With lots on the horizon, we are excited to premiere an ID-filled, all-original COPYCATT mix spanning an electric 60 minutes.

In this mix, COPYCATT takes his artistry to new heights, featuring 30 unreleased tracks and showcasing bootlegs of Pusha T, Danny Brown, and the highly sought-after ‘Baddadan’ remix. This mix marks a milestone in COPYCATT’s career, and offers a glimpse into his artistic vision.

We also had the pleasure of catching up with the producer for the first time since 2020, getting a detailed look into his life since then, the mix-creation process, and much more. Don’t miss the mix and interview below!

Let’s dive right into this mix. What prompted you to put it together in the first place?

Honestly I feel like I’ve done a lot more writing than I have released in the last few years and I haven’t really put out any big statement pieces recently so I thought it was about time I give a kind of update on what I’ve been working on.

It’s also a lot more motivating to know I’ve got an outlet for the stuff I’m writing when I’ve got a show or two coming up

33 tracks, 30 of which are unreleased. That’s an insane amount of music. Have you recently found a new wave of productivity? Do you feel more at ease sharing your work compared to a few years ago?

Since I moved out to the US I’ve been basically living off playing shows for the first time so I’ve got a lot more free time than I’ve had previously. It’s also a lot more motivating to know I’ve got an outlet for the stuff I’m writing when I’ve got a show or two coming up. There’s definitely a chunk of things in this mix from the hard drive that date back a while but certainly a larger portion is things I’ve written more recently. I’m glad to air it all out honestly, I haven’t been this excited to upload anything in a while. 

You’ve got a couple of collaborations in the mix, notably one with Chee and one with Zane Schaffer. How did those come about? Collaborations are somewhat rare for you – how do you decide when to work with someone, and why do you feel the two aforementioned artists were good fits for collaborations?

I’m gonna take a bit of license here and say that Lee (Chee) and I have been mutual fans of each other’s music for a while now. I’ve always felt like we have similar influences when it comes to bass music and hip hop so collaborating was on the to-do list for a while. We had a couple of ideas we were working on before I came out to the US, but since I met him in person at the end of 2023 we’ve only added more stuff to the pile. Similar story with Zane – I was a fan of his work through SoundCloud and got to meet him early last year, and we just kinda related on a lot of things musically and ended up churning out a few good ideas pretty quickly. He works hella quick too. I feel like an old man whittling away at my one drum sample while this guy is just cranking out ideas with his wired earbuds like a madman.

The mix also features remixes of artists ranging from Wu-Tang Clan to Pusha T and Danny Brown. What drew you to remix these particular tracks, and how do you approach reimagining these works?

I really only ever bootleg stuff I like. Often times it’s just something that’s really inspiring me and I end up throwing it into the DAW and having fun. The Wu-Tang Clan bootleg was especially significant for me – I was listening to that track a lot back in Brisbane and I wanted to give it a treatment that preserved everything I like about the original, while adding a bit more thrash n bash to it. I worked on that one both in FL Studio and Ableton to try out different ideas, and I’m pretty happy with the result. I’ve also been on a bit of a Danny Brown kick for a sec obviously now that I’m onto my second bootleg. I did make one exception to my bootlegging rule recently after my manager bullied me into flipping Nelly’s ‘Country Grammar’ for a show in St. Louis – it turned out pretty aight so no bad blood, Wes.

It’s been so easy to meet people and make connections

I can’t believe it’s been over four years since we last connected. At that time you had recently moved to Melbourne from the Brisbane area, and now you’re living in Denver, correct? Was Denver a no-brainer for you when you got your visa?

Bizarre. That was during COVID too, which feels like a weird dream in retrospect. I was spending a lot of time on Discord with Frequent, Hudson Lee and the Upscale squad back then. It kinda just worked out that when my visa got approved Nolan (Frequent) had a room free up in the big share house he’s at in Denver so I basically moved straight into the middle of everything. It was extremely serendipitous in a lot of ways – my biggest listener base has been Denver for a long time so I got to meet a lot of people who were either long-time internet friends or long-time fans which was wild. Obviously that included meeting Nolan in person for the first time since we met online in 2013 (Shoutout ‘Adapted Records Up & Comers 2013’), which was bizarre and awesome. We’ve played a lot of fun and atrocious sets together in questionable settings since. Also got to meet Keota who lives out here who I’ve also known since I think 2015. The list goes on and on. It’s been a trip.

What’s the best and worst thing about living in the States?

Honestly I don’t know if it’s just that I’m living in the epicenter of the music scene I’ve been a part of for so long or maybe it’s Colorado specifically, but it really feels like Americans are a lot more outgoing than what I’m used to. It’s been so easy to meet people and make connections, and I feel like I get roped into so many things that I normally wouldn’t if I relied solely on my own social battery. There’s always stuff happening. That’s the real difference I feel living here. In Australia, even when things are happening, it feels like the energy stays very slow and relaxed, in both a good way and a bad way. At home I’m relaxed and grounded, but out here I’m motivated and inspired. I’m genuinely grateful for both, but I do miss home a bit. Thankfully planes exist.

I will also say my humour does not always translate out here. The Australian way is to kind of joke in a way that is nearly indistinguishable from being sincere, and that’s created more than a few awkward moments for me since I got here. But on the bright side watching me bewilder someone I just met is entertaining for my friends to watch. Nolan loves it.

This is the first time in my 13 years of making music that I’ve been able to live off of it so I’m very grateful

How has moving to the States had an impact on your career?

It feels cliché to call the US “The Land of Opportunity”, but for me that is true. Most of the artists and events that are relevant to my music are here, so it’s no surprise to me that I’ve felt so busy since I got here. This is the first time in my 13 years of making music that I’ve been able to live off of it so I’m very grateful. The US has literally 10x the population of Australia, so even just from a show standpoint, it’s a lot harder to exhaust the show opportunities than it would be back at home.

Has the move had an impact on your music and creative direction?

It’s funny I think I’ve watched like 3 or 4 different non-US artists I know all move to the US and gradually slide into making 140bpm bass stuff. I was like “I wonder if that will happen to me.” and it definitely has to a degree, but I’m also a sucker for the boom-bap bounce. So my subconscious seems to have found a compromise by slowing my usual 180bpm vibe down to 160bpm. Feels a bit slower and heavier I guess. I am loving the 140bpm stuff though. Dudes like Cesco, Monty, Chee, Kursa, VCTRE, and Ternion Sound have definitely sold me on it.

Aside from that I’ve really just connected more deeply with my own ambitions since I came out here. Despite how deeply I’ve always loved music and the power it has to create culture, getting a decade into it and going through a whole ass burnout phase honestly had me feeling a bit apathetic about actually trying to make something of it. Getting the visa and doing the tour was kind of a leap of faith, and seeing that dream become so real has brought back a lot of old sentiments and dreams about music that I’m more inclined to explore now.

I’m also constantly learning that taking risks and being vulnerable is really the path to great art

When we last spoke, you discussed having an on-and-off relationship with social media in the past, but left us with “trying to make something interactive out of my art using social media is honestly something I’m enjoying exploring at the moment.” Do you feel that that has changed over the last couple of years? Does getting more show opportunities put pressure on you to be more active on social media?

There is definitely an element of having to promote the shows I’m playing and sell tickets that I worry might be taxing for people who just follow me because they wanna hear my music. If I really have to promote something I try to have fun with it and be genuine. I usually make myself laugh at least. At the moment I hope throwing an hour of unreleased music at that problem will mitigate the “promo fatigue” some of my listeners might be feeling. But I’ve also missed out on seeing some really good shows because I didn’t hear about it, and social media really is getting increasingly loud and saturated so I don’t feel too bad about pushing a show or two, especially if it means people actually come and boogie. I also post a lot of silly shit (and put it in my mixes). I don’t know how to feel about that, I just kinda neglect self-control sometimes in that regard, but at least it’s honest. I think as long as I focus on making good art and putting it out there’s a bit of leeway for me to promote a few shows and dick about and be myself.

You also left us with a great paragraph on the importance of only doing the stuff that you like to do. Do you still live by this? Has your recent success put some externally or internally-imposed pressure on you to make music for others instead of yourself, or do you still feel entirely true to yourself?

I’ve only become more confident in the idea that making the thing that you love is always going to be the best thing you have to offer. I will say performing has added an interesting layer to this philosophy I have, because the task when you’re getting on stage is to create an experience and pull people into it. That requires you to get into their shoes a bit and try and understand your music from their perspective. Sometimes I play tracks that I feel sick of or wouldn’t listen to by myself because if I know it’s gonna get the room on the same page and open the vibe up so I can play the stuff I really want to play. But I’m also constantly learning that taking risks and being vulnerable is really the path to great art, so if there’s any pressure I impose on myself it’s just to take the risk with pushing what I love even if I’m worried it might not work. Aside from that I do not care to “hustle”. Somewhere along my 13-year journey I burned that stress out of me and since then I’ve concluded that if I want to sacrifice my joy for the sake of profit or clout I should go home and take up a trade or something. Creating is too precious for that.

Alright, no more deep stuff. You’ve played close to 50 shows, including Red Rocks, since moving here. What are some of your plans for 2025? Any bucket list venues or festivals you’d like to play?

January seems to be when all the promoters start to count their chickens and make plans so there’s a lot of offers coming in but not many announced yet. I’m looking forward to playing the Slander show in Arizona next month going b2b with VCTRE (also finally get to see Chee b2b Moody Good at that show). Also Starbase in April. The lineup for that is stacked. 

As far as shows I’d like to play, I’m kinda just down to see what pops up. I’m hanging out to hit a few of the cities I haven’t played so far like NYC and also there’s definitely a few gigs I’ve played that I’d love a rerun on – Infrasound, Submersion, Flash Club in DC, Tampa FL, and Sioux Falls were all standouts.

I’ve only become more confident in the idea that making the thing that you love is always going to be the best thing you have to offer

And we have to ask, how much of this mix material is going to get an official release?

This is a great question that I’ve been asking myself to be honest. I definitely intend to release an EP in the first half of this year, and two or three of those bootlegs are coming out very soon. I’m certainly not invulnerable to external validation so it’s likely if some particular track on the mix gets a lot of love I’ll probably put it out sooner. I’ve also thrown a few tracks in from this more melodic guitar-infused album I’ve been nursing which was kind of intended to piggyback off of ‘SUIT UP‘, a track that I only ever put up on SoundCloud. I’ve refused to put a deadline on that stuff because it feels like a sound I’ve been developing and honing for a while. I think this mix might be the first time a few of those tracks are uploaded anywhere. I also performed a few of them at Submersion last year so I can tentatively say I’m moving towards that sound more and more, and might blast that one out into the world this year, but that’s one of those creative risks I’m talking about. We shall see.

The post PREMIERE: COPYCATT Shares ID-Filled, All-Original 2025 Mix appeared first on FUXWITHIT.

If December is canonically a month monopolized by throwbacks and charts, January is the month devoted to IDs. As expected, in the past few weeks SoundCloud and YouTube have been flooded with unreleased-original production-deep dive mixes, stuffed with songs that could become hits in the next twelve months… or never see the light of day. It’s always a fun yet tricky game to play. You could spot an early banger whose knowledge you can flex to your friends at the next rave or find your new obsession that will never be available to buy or play on streaming platforms.

If you’re willing to get involved in this wicked game, we have handpicked eight unmissable mixes, spanning UKG, wave, trap, club bass, which altogether will feed you more than 100 IDs.

The post 9 ID Mixes To Kick Off 2025 appeared first on FUXWITHIT.

After six years away from Inspected, a label that the artist has called home on multiple occasions, Culprate recently announced his return to the imprint with the Normal EP, an eight-track journey that promises to resonate deeply with fans both old and new. Due for release on October 31st, the project showcases the artist’s signature technical mastery while delivering a fresh blend of stylistically diverse tracks, finding a perfect home on Inspected where innovation strives. Ahead of the release, we have the extreme pleasure of premiering ‘Area 51’ today.

‘Area 51’ plunges listeners into a sonic enigma, embodying the secrecy and speculation surrounding its namesake. True to his signature style, Culprate crafts a relentless neurofunk soundscape that feels both sinister and otherworldly, mirroring the myths of hidden technologies tied to Area 51. The track unfolds with an eerie atmosphere, as echoing synths and futuristic, metallic clinks build tension as if drawing closer to an unknown threshold. When the drums finally kick in, they do so with surgical precision, driving the track forward with a mechanical rhythm. Culprate uses sharp, punchy, and unpredictable drops and breaks, keeping listeners guessing just as Area 51 mysteries have done so for decades. The relentless bassline twists and mutates throughout, inducing controlled confusion through its intricate, sinister sound design.

‘Area 51’ is a drum and bass experience for the curious and the brave. Don’t miss it below and be sure to check out the rest of the Normal EP tomorrow.

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‘Know Me’ is an emotive and addictive cut that fuses new garage vibes with a heavy-hitting West Coast bass influence. Built around the forlorn vocals, the track possesses a distinct sense of longing driven by the impassioned delivery and intimate lyrics. The filtered vocals drift into focus as commanding drums drive the track forward. Delicate pads and wistful melodies intertwine deepening the emotional arc. Thunderous basslines and energetic percussion offset the somber emotions with a club-friendly feel that delivers a powerful contrast without losing the emotional weight. Drifting between sentimental and banging, ‘Know Me’ will have you in your feels while shaking your ass at the club.

KUREI opens up about the contrast created on ‘Know Me’ saying, “Personally for me my goal with my music lately has been finding this balance between creating emotional and ethereal soundscapes matched with upbeat danceability. If a song can make me cry and shake my ass all in the same 3 minutes, it’s a perfect song to me.” 

Luhv expands on how the track came to life, “This song was the seed of inspiration that flowered into a fresh sound combining melodic storytelling along with danceable grooves and heavy sound design. I’m excited to share more of this style not only within our collabs but also in my solo tracks coming up in the future.”

Stream ‘Know Me’ everywhere and grab the free download.

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‘Snapback’ is a shadowy banger built for renegade raves, late-night forest festivals, and dank basement sets. Pitched-down and looped rap vocals give the track a menacing swagger that i’s amplified by the gritty sound design, cavernous bass, and snappy drum programming. The simple vocal is pitched, looped, and flipped giving it a catchy hook that pulls you through the darkness. The distorted basslines offer soul-shaking low end that will push speakers to their limits. Monstrous growls, shifting frequencies, and subtle ear candy round out the sound for a truly masterful 140 heater. smalltalk are one the most promising duos in bass music right now and ‘Snapback’ showcases why.

This one is super deep and dark, so probably some late-night renegade party in the woods. Or at your grandma’s birthday party. – Smalltalk

Stream ‘Snapback’ everywhere and be sure to grab the free download.

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Modestly calling his new project an EP, Sorza unveiled this newest chapter last week in the form of a nine-track collection titled Pillars released via Noisia’s VISION. Demonstrating an evolution in his production and in his personality, Sorza has elevated his art to another level with the release of Pillars, taking listeners on a voyage through many facets of bass music and beyond. In tracks such as ‘Visions of what could be’ and ‘Hiding in the sea,’ Sorza showcases his ability to engulf listeners through ethereal textures and airy soundscapes. In ‘Take me’ and ‘I’m here,’ the artist flexes his versatility, going from a swagger-filled halftime cut to a boundary-pushing dubstep/future bass/trap hybrid. Through the other five tracks, Sorza further displays this knack for creating meaningful narratives that very few artists have replicated this year, attesting to why he, and his project, landed on a label as coveted as VISION. Pillars is a beautiful project that any fan of electronic music should dive into.

We had the extreme pleasure of connecting with Sorza to talk about his journey as a solo artist, the creation of Pillars, other avenues of artistic expression, and more. In addition, we have been graced with a guest mix riddled with unreleased material, giving us a taste into what a Sorza live experience would resemble. Don’t miss Pillars, as well as the mix and interview, below.

Welcome, Sorza. We’re really stoked to have you on for a mix and interview today. First, can you tell us a bit about the mix you put together? What’s the best setting for listening? Is this a cut from a typical Sorza live set, or something different meant for individual listening?

Thanks for having me over for an interview. It’s a mix between a dance set and a listening experience at home. Depending on the occasion and the type of event or audience, I love incorporating breakdowns in my live sets to create more ambiance, rather than just spamming drop after drop. I drew inspiration from a B2B set I performed with Jukaa (Jozef from The Outsiders) at Liquicity Festival last month. There was something truly magical about that set.

What initially prompted you to create the Sorza alias?

Before I started Sorza, I had always made music as part of a duo and never really explored my solo potential. During the 2020 lockdown, it felt only natural to focus on an alias that was fully me and to let people into the sound world that was inside my head.

When approaching production, how is your mindset different when creating a track for Sorza as opposed to a track for The Outsiders? Is it difficult to separate the two?

I think I have different modes, and I can switch between them depending on what the track needs. For example, ‘Does it Hurt Me’ really needed a rough, dusty, and not-overly-clean production. I wanted to give it an analog/modular feel. In contrast, the track ‘Never’ had to be ultra-clean, synthetic, and overproduced. I’ve stopped trying to pull everything together too much. I feel like I don’t have much influence on what the tracks want to be – I just go where the production takes me.

Singles push artists to create tracks that stand on their own, but it’s hard to create depth if all your music is meant to stand alone.

Congratulations on your latest release, Pillars, released via VISION. Can you tell us a bit about how the project came together?

Thank you! I never thought it would turn into such a big project. I’ve known Noisia (and their team) for quite a few years. At the end of 2022, we released an EP with The Outsiders on VISION. Now, Jozef (Jukaa) and I are more focused on our solo projects, so it made perfect sense to do a full project with Sorza.

I think the idea for a solo EP on VISION started in March 2023. There was a huge A&R process, with tons of demos and concepts. It was a real struggle to determine what this project was going to represent and what shape it would take.
Instead of pursuing one clear direction, we combined multiple EP ideas into one big project. We came up with the Pillars concept, which showcases different sides of me and the various sonic directions I’ve explored.

You don’t seem to be the type to release individual singles. Is this intentional? Have you been in album-mode since the release of I IDENTIFY?

It’s true I’m not a fan of the single-release format. I think it pushes artists more and more to create tracks that stand on their own, but it’s hard to create depth if all your music is meant to stand alone. I’ve developed quite an obsession with the way an album flows. I love it when one track sets the vibe for the next, with everything moving toward a certain climax followed by an aftermath, creating a cohesive journey.

About I IDENTIFY, you said “I was in a really weird headspace and I definitely wouldn’t say that it felt very good, but on the flip side I have never felt more connected to the music I made before. I could fully express myself through audio.” How was the mental journey of creating Pillars compared to I IDENTIFY?

To be honest, I don’t think I’ll ever be able to get into that headspace again, and I’m totally fine with that. The entire 9-track record was written in just 2 months, but figuring out what should come after that took me over 2 years. So, to answer your previous question, it wasn’t entirely intentional to stay silent with original material for so long and then return with such a big project, but I’m very happy I did. I needed that time to figure out what I wanted with Sorza.

Pillars feels like the project where you can hear my search, explorations, and development since the release of I IDENTIFY.

Your music really transcends a number of genres, fusing elements from all walks of bass music and beyond, with ‘Sonyo’ carrying a particularly interesting story. Could you tell us about some of your musical inspirations and what they mean to you?

I’ve been into what you might call “non-Western” music for quite a while now. It all started with Indonesian microtonal gamelan music. I won’t go too deep in the microtonal rabbit hole now, but it’s something I’m really into. More recently, my interest in foreign music has shifted towards Middle Eastern and Balkan music, which you can hear in ‘Sonyo’ and ‘Does It Hurt Me.’

I’m currently working on a record where I’m diving really deep into this microtonal exploration. It’s also something that came out of the A&R process for Pillars, but I won’t bore you with that for now ;)

Would you say you make music more for yourself, or for your listeners? Do you ever feel pressured to change a track you’ve written because it might not be what listeners expect?

It’s always a bit of a mix. I want to create music that’s enjoyable for people who are into bass music or experimental electronica. Music needs to have a certain purpose, and for me, it’s important that listeners engage with the entire project and really get into it.

During the A&R process, there was some struggle because we were missing a “banger” track. When I was working on ‘Never,’ I was very conscious of the type of track I wanted to create. My brief to myself was: “I want a modern dubstep track with Hamdi grooves and Skrillex vibes, something that would fit well for a UKF upload.” I really wanted to create a track like that, but I also did it to serve the overall project because we needed a track like that. So, it was for myself, but also for the audience.

I think Sorza will develop in a way that is not directly linked to bass music, but rather into an even freer electronic realm.

Can you tell us a bit about ARSYN? Does that work translate to things you do for the Sorza project? If so, how?

Definitely, ARSYN is the name we gave to my collaborative project with visual artist Aidan Mulcahy, one of my closest friends. He is also involved in all the visual content we create for Sorza. We are currently working on a full A/V set that will be finished very soon.

ARSYN is a bit more focused locally. When we do A/V performances and installations or work with theaters, it sometimes diverges from what we do with Sorza, so using a different name makes a lot of sense.

Where do you see yourself in 5 years?

I’ll be one of the artists at the forefront of experimental bass music in Europe. I’m currently focused on establishing a scene and building a community in the Netherlands for the music I make and for more experimental club music in general.
I think Sorza will develop in a way that is not directly linked to bass music, but rather into an even freer electronic realm, similar to where artists like Lapalux and Flying Lotus operate. I love bass music, but I think I’ll be moving more towards music that’s made primarily for the listening experience.

Tracklist

1. Sorza – Never
2. The Glitch Mob – Higher (Sorza Remix)
3. Sorza – ID
4. Sorza – Dumble
5. Sorza – Visions of what could be
6. Sorza – Hiding in the sea
7. Sorza x Gaszia – ID (Sorza Flip)
8. Sorza x Gaszia – ID (Sorza Flip)
9. Keenan Mundane – O.U.Y.S – (Sorza UK Flip)
10. Sorza x ID – ID
11. Keenan Mundane – Die Broke (Sorza Remix)
12. Sorza – ID
13. Sorza – ID (DnB flip)
14. Sorza – ID
15. Sorza – Does it hurt me
16. Razat – D Worry (Doubled)
17. Sorza – Lucid Disconnect (ID Remix)
18. Chase & Status, Bou – Baddadan ft. IRAH, Flowdan, Trigga, Takura (ID x ID Bootleg)
19. Willow – Whip My Hair (Sorza Bootleg)
20. Keenan Mundane – Black Enough (Sorza Loud Halftime Bootleg)
21. Sorza – I’m here
22. Sorza – Creating An Oasis (ID Remix)

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