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.

‘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.

The post KUREI x Luhv – Know Me appeared first on FUXWITHIT.

‘Don’t’ is a soulful work of art that pulls at your heartstrings while moving your feet. Stirring synths and hauntingly beautiful vocal bends set the stage. The looped and twisted vocal is a mixture of soulful and yearning that will leave you flipping through memories of that special someone like photographs in an old album. The emotional pull is deep but it doesn’t take away from the groove as playful drums inject and undeniable danceablity. Lush atmospherics, immersive low end, and fluttering leads add to the allure. ‘Don’t’ is a tale of two parts as the first remains slightly more subdued. Midway through bouncy synths give way to a stripped echoed vocal that erupts into a bass-driven climax that gives fans what they’ve come to expect from Haan808.

 I’ve been making UKG/Garage/House for as long as I’ve been making hip hop/EDM that I’m mainly known for. Just came naturally, what mainly drew me to the genre was simply living in New Zealand. NZ has a huge UK influence of music specially DnB. My goal was just to make something that I enjoy and feel happy first before anyone else. I didn’t focus much on anything else but enjoying the experience of making it. – Haan808

Stream Haan808’s ‘Don’t’ everywhere and be sure to grab the free download.

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Whether you’re a longtime fan, a recent follower, or completely unsure of who Alexis B is, this mix is an absolute must-listen. It’s the type of masterful showcase that can turn you into an instant fan. Don’t believe me? Just press play. While you’re at it be sure to check out our interview where we discuss his affinity for garage, relationship with borne, distance from social media, what’s on the horizon, and much more.

What can we expect from the mix? Where are we going when we press play?

With this mix I intended to showcase some IDs from my friends and myself. I also included some tracks that I have previously released, as well as some songs that I currently enjoy playing.

Where are you based in Mexico? What’s it like there?

I’m from Irapuato! The city is small, and in recent years, the summers have been so hot. I’d say it’s not the best city for going out and finding distractions since there aren’t many things to do, but I really enjoy having my family and closest friends here!

Does where you live influence your music at all? If not, what does?

Actually, where I live doesn’t directly influence my music. Instead, my inspiration comes from personal experiences and exploring various musical genres that I’m passionate about. I also draw a lot of inspiration from other artists and producers. I’m deeply inspired by the process of learning how other producers create their music and delving into why they do what they do—it’s something I find myself obsessing over quite often.

I first came upon your music through your collaboration ‘Don’t Go’ with borne. You guys just dropped another monster banger in ‘Hush.’ How did you first link up? What makes the chemistry so good between you?

borne and I met on Discord four years ago when he invited me to a server he had created, which was full of talented producers. That’s where I also met my friends Arya and Lynzz. Since then, we’ve built a strong friendship, spending time on Discord calls, producing songs, playing video games, or just chilling. I believe the trust we have and the time we spend together brainstorming ideas are the main reasons we collaborate so well. We can have a lot of fun and work until we find a really cool idea when we’re collaborating.

You’ve been making a lot of Garage in the past few years. What attracted you to the genre? What do you enjoy about producing it?

This genre started to really attract me thanks to my friend Carlos Álvarez, also known as Neluh, who introduced me to UK genres and artists. Carlos studied music production in London, which gave him a deep connection with the music culture there. Of all the genres he showed me, UK Garage was the one I liked the most. What I enjoy most about UK Garage is the ability to create different groovy rhythmic patterns, which makes it very interesting and fun for me!

Your bio lists you as a “Multi – Genre Producer” do you still feel that holds true?

Although I’m currently heavily focused on genres like UK Garage and UK Dubstep, I’ve always enjoyed exploring different genres throughout my career as a producer. This diversity has significantly helped my understanding of music production in recent years. In my artistic journey, I would love to achieve a level similar to producers like Four Tet or James Blake, where I have the freedom to create, release, and perform songs across any genre, from ambient tracks to dubstep.

You’re pretty quiet on social media. This seems like a stark contrast to most artists these days sharing content multiple times a day. Is there a conscious reason behind this approach?

Yeah, I think the reason is that I consider myself an introverted person and rarely feel comfortable posting on social media or sharing aspects of my life. However, I understand that for my music project and career, social media is an essential tool. It allows me to share my music, connect with my audience, and reach new people. That’s why I keep working on overcoming that mental barrier and trying to post more content focused on my music and creative process.

How do you enjoy spending your time when you’re not making music?

When I’m not making music, I enjoy playing online video games, hanging out with my friends and spending time with my family. It really makes me happy and motivates me to create more music when I’m coming back in the studio.

What have you been listening to lately?

Lately, I’ve been really into Hailey Knox’s new EP. I discovered her recently and I’m totally in love with her music and voice! Also, I’ve been listening to the Villager’s EP ‘Sculptor’ and the album ‘Cherry’ from Daphni which have been a big inspiration for me recently while working on new songs.

What’s on the horizon for you for the rest of the year?

I’m focused on releasing more music, from originals to remixes, and exploring new sounds to expand my creative palette. I’m also looking forward to connecting more with my audience through live performances and social media, and continuing to grow as an artist!

Any final words?

Yeah, I would like to thank everyone who has supported my music lately. It’s really nice to know that there are people who enjoy what you do, and I’m very grateful for that! Also, thank you FUXWITHIT for giving me a platform where I can talk and open up more about my project! I hope you all enjoyed the mix and I love you all! <3

Alexis B FUXWITHIT Guest Mix Tracklist

Alexis B – ID
Alexis B – ID
Alexis B – ID
borne & Alexis B – Hush
borne – ID
Skrillex, Hamdi, TAICHU & OFFAIAH – Push (Ugly Lungs Remix)
Yancey – Blue Freestyle (Yizzy – Blue Freestyle Bootleg) [1Forty]
Chopsoe – NOTHING
Alexis B – ID
Alexis B – ID
Escuderia – Chapa Dub
Lynzz – ID
Hydraulix x Oski – HAWT
En:vy & Klinical – Gecko
Alexis B – Don’t Phone Me
Alexis B – ID
Skepta – Too Many Man (Dokku Remix)
Sonny Fodera & MK – Asking (Casey Club Dubstep Bootleg)
Alexis B – ID
Arya – ID
Alexis B – ID

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

To showcase the producer’s captivating sound and to get to know him better, we invited satellite to join us for a Guest Mix + Interview. The mix showcases a number of his originals, a few of his remixes, and additional music from artists like borne, Burial, Pocket, Overmono, and more. Our interview explores his musical journey, his label Unmade Records, the potential impact of AI-generated music, what makes him happy, and more. Dive in below and get familiar with satellite.

Tell us about the mix. What was your vision when putting it together? Where are we going when we press play?

I curated this mix as a playlist with a lot of unreleased music, some new edits, and some songs that I love at the moment. The soundbites throughout are from the Apollo 10 Space Mission and track its descent back to Earth, I wanted the mix to reflect that journey and create something immersive you could lose yourself in.

What first inspired you to start making music? How has your journey evolved?

When I was growing up I was always playing instruments. I had guitar lessons and then taught myself piano over time, although I didn’t really play in bands or anything like that until much later. At Secondary School (High School) I had an English teacher who produced music in his spare time, one day he started covering our music lessons with the plan being to write a song and eventually record it one of the school computers. Sadly, he only covered a few lessons then went back to teaching English. However, it inspired me to start recording music at home, so using my built-in microphone on my first laptop, I downloaded Reaper and started recording guitar multi-tracks and playing over anything I had on my iTunes, mainly Led Zeppelin, Eric Clapton and John Mayer.

From there, I started experimenting more and more with recording and eventually evolved from poorly recorded multi-tracks into writing songs, then gradually moved more and more towards electronic music after hearing The North Borders playing in a HMV, I bought the album immediately and studied it back to front. My car music alternated between that and Channel Orange for so long that the covers were all bleached out, that’s when I really started to pay attention to production. After that, I started to find artists like Burial, Aphex Twin, Tourist and later Bicep and Overmono, and all these artists started informing the music I was making. It was around then I started to realise how powerful a Macbook, Midi keyboard, and a bit of patience could be.

What are the key ingredients to a satellite track?

Beat, Emotion, and Me.

Can you expand on the idea of being “Always in Orbit”?

Initially it was a play on words with my artist name, but it also has a correspondence to an idea that I love that ‘someone is always listening’. I personally like to keep my music very insular, but once you put music into the world, it becomes part of people’s lives in ways we can’t expect. So even though my music has left my world it’s always out there in someone else’s orbit, taking on a life of its own and going on its own journey. So ‘Always in Orbit’ is my little ode to the idea somebody is always listening.

Artists and their art are the epicentre of culture, whether that be music, literature, visual art, or film-making. We define eras based on their culture. Artists are the architects of our culture and music soundtracks our lives, therefore the composers of that score should be treated with the respect they deserve.

Your music has been getting a lot of love on BBC Radio 1. What does the support mean to you? Has it had a meaningful impact on your career?

I am just grateful if one person wants to listen to my music, so the fact that it’s been played multiple times to thousands of people on the biggest radio station in the country, if not one of the most notable in the world, is an extremely humbling experience. Regarding the impact on my career, people started to take both me and my music more seriously since it’s been played on Radio 1. I think most artists would agree that it takes a lot of individual factors to really propel a career but without a doubt, Radio 1 has a huge part of that, for which I am thankful.

How did Unmade Records come to life? What made you want to start a label?

I started Unmade Records as a platform to release my music, which all my music, bar one record, has been released on to date. It is still in its early days with regards to building out a roster but my goal with the label is to create an environment and community in which the artist is valued for their artistic and creative vision. There are too many stories now in which the artist has been treated unfairly, had their work deconstructed and reconstructed for corporate gain, or had their careers interfered with due to labels. Of course, it would be naive for me to claim this is a universally applicable statement, but the hope for Unmade Records is to build a welcoming space for artists to feel comfortable in expressing their vision. Artists and their art are the epicentre of culture, whether that be music, literature, visual art, or film-making. We define eras based on their culture. Artists are the architects of our culture and music soundtracks our lives, therefore the composers of that score should be treated with the respect they deserve.

It has been a dream of mine to start a label. I have always been inspired by labels like Ninja Tune, XL, and Erased tapes. Labels that really curate their roster and sign quality music that doesn’t piggyback trends. The aim and unwavering goal for Unmade is to sign artists for their art, without allowing social media metrics to influence the opportunity to share their work.

The next fifty years of human history will see the fastest growth of technology we have ever known. It is just my hope that both creators and consumers retain the sentiment and desire to experience genuine art.

AI-generated music has become a hot-button issue in the past year or so. What are your thoughts on the subject?

Realistically, a computer cannot fully understand the acute nuances of the human spirit. Therefore it’s my opinion that AI wouldn’t be able to create original, meaningful, and purposeful music independently.

That being said, it has the ability to mimic and is exceptionally good at breaking single problems into complex equations that permit the interpretive recreation of anything input into the system. In a few years, I am sure there will be a day that I can write into an AI engine “Write me a song like the Beatles, featuring Hendrix on guitar and bring Chet Baker in as a session guest, emulate a recording in Abbey Road with Rick Rubin producing it, mixed by Spike Stent and mastered by Chris Athens” and it will spit out something that may or may not sound anything like the above.

It’s really like any tool, if you were to try and hammer a nail with a screwdriver, it will break both nail and screwdriver. If we collectively use AI positively it has the potential to significantly enhance how we make music. However, if we use it negatively, then it has the possibility to become an industry standard allowing labels, companies, or whoever else to input data into machines and pump out concurrent Top 40 records, removing all human input from music altogether and turning the industry into a money printing machine.

The next fifty years of human history will see the fastest growth of technology we have ever known. It is just my hope that both creators and consumers retain the sentiment and desire to experience genuine art.

Your press photo is quite unique with you looking into a claw machine filled with golden eggs. Can you tell us the backstory and significance behind the image?

I wish there was something more subliminal about that image. The truth of it is I was on the south coast of England, close to where I live getting some more press shots for a release back in September 2023 and the wind picked up, so we went into the arcade on the seafront for a little while and the lighting in there worked quite nicely, so we just got a few shots in there and that was one of them. Did you notice the little Satellite easter egg in the photo?

What do you have in the works musically?

There is a lot of music waiting in the wings that I am hoping to release in the latter part of this year, including my EP titled Test Flight which I currently finishing up and working on the release schedule as we speak.

give yourself some time to breathe, go out, and find inspiration, all those experiences will inform whatever it is you are creating.

What makes you happy outside of music?

Through Covid I convinced myself that I had to work on music 24/7 and shelter myself away from the world to do so, which I know is a common outlook and a sign of the times, but it is also complete rubbish. It’s important to get out and enjoy life and detach yourself from your work for a while. If you are in creative and reading this thinking the same thing, give yourself some time to breathe, go out, and find inspiration, all those experiences will inform whatever it is you are creating.

To answer your question, outside of music what makes me happy? I spend time with my dogs, I recently took up golf, I love reading, and I try and get outdoors as much as possible. Taking time for myself and enjoying my surroundings me makes me happy.

Any final words?

Thank you for all of your support and giving me the opportunity to share my music.

satellite FUXWITHIT Guest Mix Tracklist

Satellite – Brooklyn
Satellite – On My Own
Satellite ft Drey Armani – The City
Bfoursix – day n night interlude
Rosalia – A Pale (Overmono Remix)
Vaarwell – Real (Satellite Remix)
Holdo – Alene
Pocket ft Gbnga – Another Night in London
Benomorph – Siempre
Sugababes – Round Round (Two Shell Remix)
Capo Lee – Liff (Satellite Remix)
Little Simz – I aint Feeling It (Satellite Remix)
Baby Keem, Kendrick Lamar – Vent (Satellite Remix)
Central Cee – entrepreneur (Borne Remix)
Drake – Sticky (Satellite Remix)
Burial – UK

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

There is a pleasant homogeneity to the four tracks on lowercasE, but it would be shortsighted to say that any of them sound exactly the same. While clearly sharing the same UK-based influences, each track is unique with differing energy levels and moods. ‘dontwaiT’ and ‘inthedarK,’ for example, both share sultry vocals and rolling basslines that could get any crowd to break out their best moves. ‘aaaH’ and ‘elevateD (feat. Rakjay)’ feel more like transitional tracks that a DJ could throw in their repertoire to keep crowds moving without sacrificing the vivacity of the set. This back-and-forth on the EP makes for an easy listening session, with the caveat that if used tastefully, any of these four tracks have the potential to make a dance floor explode.

I’m all for the continued resurgence of garage- and breakbeat-inspired tunes we’re seeing across the music landscape at the moment. To that end, msft. here is 100% doing his part. Check out lowercasE below and get those knees up high while you two-step the night away.

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We love a good two-step beat here at FUXWITHIT and ‘Ghost Dance’ fully delivers on that premise. Rhythmic sub-bass meanders through the track like a mountain road while impeccably clean hi-hats keep the two-step structure consistent. A brief pause in the percussion lasts just long enough to give the impression that the track might be ending before the drums circle entrancingly back in for another round. A faintly dark-sounding but not quite melancholy track, ‘Ghost Dance’ captures the aura of a pitch-black basement dancefloor mover.

The year is not yet over for Charles Nimbus. With an end-of-the-year support slot still lined up for Jade Cicada in Brooklyn, his 2023 success story is poised to continue unabated well into 2024. While you await your chance to hear his exhilarating sets live in the flesh, check out ‘Ghost Dance’ below.

The post Charles Nimbus Delivers a Phantasmic Two-Step Hit with ‘Ghost Dance’ appeared first on FUXWITHIT.

If you’ve never heard of borne before, ‘deep end’ has the power to make you an instant fan. Classic rave-inspired vocals lure you in while cavernous basslines and snappy percussion will leave you blown away. ‘DIEDA’ doubles down on the dark energy of the opener, swapping in a Portuguese vocal hook and an expanded sonic palette. The output is the perfect contrast of escapist soundscapes and pounding bass that results in a mystical club-ready anthem. Switching the energy comes ‘Don’t Go’ with Alexis B. Pensive keys intertwine with the moody vocal for a rich emotional pull. The first drop mixes masterful vocal chops with airy basslines to create a feeling of weightlessness, while the second takes a darker brain-bending swerve. ‘Save U’ serves as a fitting follow-up using a similar formula of emotive vocals and brutish basslines for yet another addictive yet effecting club cut. Providing a powerful close comes ‘To U’ a blistering DnB that carries the thematic tie-in felt throughout while chartering new ground.

Deep End cements borne’s status as one the most exciting new prospects in electronic music.

Art is a journey, and sometimes you have to dive headfirst into the deep end to discover the hidden treasures of creativity.
—borne

Listen to borne’s ‘Deep End’ EP below.

The post borne Drops Statement Making EP ‘Deep End’ appeared first on FUXWITHIT.

Inspired by the likes of Sampha, James Blake, and Toro y Moi, Gellaitry has in recent years begun experimenting more with his own vocals alongside his iconic production. The result is a cohesive project which aims for each track to be more than “just a beat,” as he describes in a recent interview with Lucid Monday. Evolving his sound is the goal and in that respect, UNDER THE ILLUSION is a stand-out step forward.

The melodies and vocals on UNDER THE ILLUSION are reminiscent of old 1980s synth-pop hits from the likes of New Order, Gary Numan, and The Human League. The near-minimalist approach and clever use of empty space Gellaitry used when producing tracks like ‘LONG DISTANCE‘ and ‘Monochrome‘ in the past has been replaced with an array of feel-good, bouncy synths and guitar riffs played by the man himself.

‘UNDER THE ILLUSION’ and ‘ALONE’ perfectly capture this new direction of sound. Gellaitry’s voice is an instrument unto itself with the way the tracks have been mastered, blending seamlessly with the wall of sounds underneath. ‘LIKE THIS / LIKE THAT’ is a slower, more pensive track with deeper vocals and a chunky bass guitar riff that absolutely will get stuck in listeners’ heads. The characteristic Gellaitry groove makes a return in ‘THINK I KNOW’ with bass-heavy percussion and similarly deep vocals. Seemingly a callback to the sounds of his prior projects, this experimental, bass-heavy masterpiece is a welcome addition as the final track of the EP.

If an evolution of his sound is what Sam Gellaitry is trying to achieve with UNDER THE ILLUSION, it’s safe to say he’s nailed it. The future is indeed bright for this producer. Gellaitry has at times hinted at his interest in producing and composing for visual media, such as short films or video games. With that in mind, perhaps the next project will stray even further from the sounds that initially made him famous as a teenager. With such a dedicated fanbase, whatever direction he chooses to take next is sure to blow listeners away. Until then, stream UNDER THE ILLUSION below.

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‘I Ain’t Playin’ is a certified bop that’s at home motivating you through a tough break-up or tearing up the dancefloor. It’s a groove-filled anthem that mixes elements of Haan808’s bass-leaning signature style with hints of UKG for a fresh feel.  The impassioned vocals loop for an infectious and emotive impact. The introduction combines lush pads, crisp percussion, and airy synths for a dreamy vibe. Hitting listeners with a wild switch-up, the track ups its energy with dancey drum programming, pulsing low-end, ghostly vocal chops, and commanding melodies. 

After watching Skrillex, Four Tet & Fred again.. play they are set at Coachella live stream, all the songs had crazy switch ups and all the songs had such a groove to me. It also looked like they were just having a jam, nothing planned—big inspo for this song. I approached the song the same way. No intention just see what happens.  I enjoyed making something a bit more upbeat than usual. There is a lot of sound design in this track for me – Haan808

Listen to ‘I Ain’t Playin’ below and be sure to grab the free download.

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