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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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The mix is (almost) exclusively his own music, featuring collabs, edits, and originals with a ton of unreleased IDs. As for the interview, we dive into his journey as an artist, including his rebrand, the most important thing he has learned as an artist, what’s on the horizon for 2026, and much more.

Give us a preview of the mix. What should we expect when we press play?

I’ve got a ton of unreleased stuff from me and friends of mine, super excited for everyone to get a taste of what I’ve been working on these past few months.

Tell us about your journey as a producer. When did you start? How have you evolved over time?

I started making music when I was 11, currently 24 now. I made tons of mid-tempo and brostep stuff under the alias “DropDead” in my early days and have slowly just incorporated all of the music knowledge learned then to push this project further.

It’s always been about making the kid inside me happy, my 11-year-old self would have loved the stuff I’m doing now.

Scrolling through SoundCloud, it looks like you dropped a few tunes way back in 2018/2019 and then took about 5 years off. What prompted the time away? How did it impact your music?

I began working jobs and life got in the way of music production, I eventually decided to rebrand from “DropDead” to “FEEL SUITE” and take music a bit more seriously in terms of building a proper brand.

What drives you to create?

It’s always been about making the kid inside me happy, my 11-year-old self would have loved the stuff I’m doing now.

Don’t take criticism as a point of failure. People may not like everything you do as an artist, but overcoming that sets you apart from the rest.

What’s the most important learning or “aha” moment you’ve encountered in your production journey?

Don’t take criticism as a point of failure. People may not like everything you do as an artist, but overcoming that sets you apart from the rest.

What are the key ingredients to Feel Suite tune?

There’s always an underlying purpose or goal to every track I put out, I think that translates.

What brings you joy outside of music?

I’ve got a bunch of animals, 2 dogs and 2 cats they bring me more joy than anything!

What’s the last piece of art that truly impacted you? What made it resonate with you so strongly?

The most recent albums Skrillex has been dropping has been really influential on me, not just because of how great the production is, but because of how intentional it all feels.

Dropping a ton of music I’ve kept vaulted away for awhile, it’s going to be nice to share it all with the world!

What do you have planned for the rest of 2026?

Dropping a ton of music I’ve kept vaulted away for awhile, it’s going to be nice to share it all with the world!

Any final words for fans?

Thank each and every one of you for believing in this project and following the journey. I don’t plan to let my fans down any time soon, this is just the beginning.

FEEL SUITE FUXWITHIT Guest Mix Tracklist

FEEL SUITE x NARIEL – ID
FEEL SUITE – HAMMER TIME
FEEL SUITE x WAVHART – ID
FEEL SUITE x SMALLTALK – RUN THA BLOCK
FEEL SUITE x LUHV – SWERV
WRECKX-N-EFFECT – RUMP SHAKER (FEEL SUITE FLIP) VIP
WRECKX-N-EFFECT – RUMP SHAKER (FEEL SUITE FLIP)
FEEL SUITE x MYRIAS – ID
FOSSILS x NORTHSTVR – ID
JUSTIN BIEBER – GHOST (FEEL SUITE x RICO 56 FLIP)
FEEL SUITE – STOP MOTION
FEEL SUITE x SPITFYA – RUDESTAR
FEEL SUITE x RICO 56 – ID
ELVIS CRESPO – SUAVEMENTE (FEEL SUITE FLIP)
FEEL SUITE – RIDE WIT ME
FEEL SUITE x STABBY – ANGEL 099
FEEL SUITE – ID
FEEL SUITE – BIG BAD
FEEL SUITE x CHAMPAGNE DRIP – ID
FEEL SUITE x AEON GREYH – ID

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ablon!

ablon! first landed on my radar last year when his track ‘Andas’ landed as the 20th and final contribution to Good Dub’s THE SOUND DESIGN CLUB II compilation. To be honest, the only thing that brought me to the compilation was Leotrix’s track, but when I started making my way through the rest of the collection, I was pleasantly surprised by the sheer volume of great tracks from artists I had never come across. Among those artists was ablon!,  a young Swedish producer who created the perfect ending to the impressive compilation. ‘Andas’ starts with (presumably) Swedish vocals layered above a minimal instrumental section that isn’t super complex but still drives emotion and movement, before the artist continues to build on that emotive energy. Diving deeper into ablon!’s discography, I discovered a common theme of minimal club energy, future bass, and trap all uniquely intertwined to create a distinct signature sound. Don’t sleep on ablon!.
-SC

Klo

With a style spanning 140, UKG, and bass house, Los Angeles-based producer Klo has been steadily taking over. My first exposure to Klo was ‘ROUND N’ ROUND’ alongside SVDKO, which made me audibly yell out “wooooooooo” on my first listen. The combination of ridiculously catchy vocals, shuffly hats, and those ludicrous basslines is enough to drive any basshead wild. But Klo is far from a one-hit wonder. ‘SAY SOMETHING’ offers a similar catchy 140 energy with a vibey reese bass-driven intro and breaks to mix in some feels. She’s also got a collection of dope flips, including reworks of EsDeeKid, JT, and fred again.., to name a few. She’s also been absolutely exploding on social media while getting support from some of the biggest names in bass music, so expect to see Klo everywhere in 2026.
-C

HLRTY

It’s spelt HLRTY, it’s pronounced HILARITY. This is the moniker behind this Palermo-born, now Bologna-based DJ and producer, who describes himself as “more of a craftsman than a producer.” Closely linked to an artist we’ve previously mentioned here on Focus Five, COIDO, HLRTY is a producer who approaches club music from many different angles without being confined to a single genre. Each of his tracks is an exercise in technical minimalism (he himself says, “I’ve always been afraid of having to complicate the tracks to give them structure”) but more than anything else, an expression of his heart. He pours his whole identity into his beats—his knowledge and experiences, his past and the future he envisions. HLRTY embodies the stereotype of the brilliant Italian producer who is hard to spot in the hyper-fragmentation of the Italian bass scene. He tackles this head-on in the new compilation *ITAITAITA, released by the collective *asterisco, of which he is a co-founder, featuring him alongside seven fellow Italian artists.
-AA

LEWP

UK-based producer LEWP has made a name for himself in the DnB scene with years of dope releases, but it’s his recent foray into 140 that made me really pay attention. ‘Energy’ flips the iconic “Liquid means rewind,  gunshot means forward” vocals into a blistering 140 anthem. Chopped vocals, hypnotic leads, snapping drums, beastly horns, and some killer basslines make this one an undeniable anthem. If you’re looking for something a bit more vibey, his liquid DnB flip of Sampha’s ‘Too Much’ has you covered with minimal groove. And if you’re a grime head, he’s also got a fire flip of JME you have to peep.
-C

Raucous

For a good while now, Raucous has been shattering frequency ceilings with his mind-bending pieces. Showcasing constant evolution with every release, filled to the brim with constant ear candy. Proving to be one of the best in the game. From releases with Partica Artist Group, Dumb Collective, and more, the complexity of his works will make any crowd beg for more. Being heavily underrated, the artist has been working day and night to rise to the top. And in doing so, he’s pushing the electronic trap scene higher and higher. No matter which track of his you choose, you’re in for a wild experience. From his most recent stellar and violent tune, ‘PUMP IT,’ to an earth-shattering tribute to LYNY’s, ‘Fire,’ his perseverance knows no bounds. Completely leaving his audience in a frenzy. It’s overdue for the world to know his name and what he’s truly capable of, and we’re stoked to hear much more from him throughout the year!
-JD

Written by Alessio, Colin, John & Steph

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