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.

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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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‘Dune’ is a captivating voyage to a mystical alien planet with hints of nostalgia sprinkled throughout. Cinematic strings sweep you away to a distant land brimming with danger and intrigue. Snappy percussion and trap grunts set the stage for thundering 808s and gritty vox that instantly inject an epic OG trap feel. It’s the golden era trap sound that we’ve been longing for more artists to revisit. Minimal yet masterful ‘Dune’ brings the bounce while also offering a stunning sonic escape. Clocking in at only a minute and thirty seconds, you’ll be jamming this one on repeat.

“Dune” is supposed to take the listener back into the golden era of SoundCloud trap. Most of my tracks I make in this style are deeply inspired by the years back then and can be considered a homage. To this day, I love the music that got released all these years ago and it’s still utterly unique to me. I can drain endless inspiration from those tunes and have done so until today. I’m hoping my tracks can pass on the spark that I find in that music to todays listeners.
-Lenny

Listen to Lenny’s ‘Dune’ below.

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With the help of Cerdin, ‘NOREST’ is an absolute club weapon with nothing but chaos surrounding it. Packed to the brim with intense and intoxicating energy as well as some hard hitting sound design to get anyone in the club lost in a trance. It’s a fun, exhilarating, and everlasting experience from start to finish. Blowing you away by its’ colorful and organic qualities. So buckle up because you’re in for one wild ride!

“It’s hard to believe, but “NOREST” is my fourth collaboration with Cerdin. As one of my best friends, our in-studio chemistry has always been organic, so having him on my first project was an absolute must. Cerdin created the initial track as a live set throwaway and sent it to me last year. I just loved it from the get go, and although it is virtually unrecognizable from the current one, it always felt like it had a ton of potential. As I was assembling the rest of the EP, we started developing this track as a single on the side, but it quickly became clear that it would be a natural fit for the project. I’m so happy with the result and to have a track immortalized on my debut EP with my best friend is a dream.” – Squired

Both Squired and Cerdin have always been fantastic musicians on their own, but when combining forces, it’s always something to behold sonically and spiritually. You can feel the spirit and vision they intended to showcase throughout the arrangement alone. From a spacious and hypnotic environment to those monstrous drums pounding through the mix perfectly, it compliments electronic music on many scales while showcasing their own signature talents and techniques. Squired and Cerdin did an excellent job capturing that eerie and static essence within a deep underground club or venue. There’s a surprise at every turn, making you want to break the replay button.

“I’m overjoyed to accompany Squired sonically on this track. He pushed me a lot to get this demo idea over to him last year, which for me was just a live-set throwaway. I’m really pleased he did, because we were able to flesh out this idea and it really lit a fire under me to reimagine it alongside him, and bring our sound, bond, and friendship into the studio once again. It’s always such a pleasure and a gift to create art together. I feel lucky to be a part of this track and EP from my guy.” – Cerdin

We’re stoked to hear what the rest of his EP has in store. So make sure to check out ‘NOREST’ below to prepare for what’s in store for his debut EP dropping tomorrow! And don’t forget to secure those tickets for his EP release party happening tomorrow at Brooklyn Monarch in New York City! Artists such as Bafu, Buns and Pixel Prince will be there playing to support. A crazy stacked lineup! You really don’t want to miss out!

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Last year saw Hucci return with a vengeance on the heavy-hitting TroyBoi collaboration ‘Interstellar.‘ The track arrived as part of TroyBoi’s Say Less EP which features a stack of exceptional collaborations with fellow trap royalty. Hot off the release of ‘Cleopatra’ last month comes his latest single ‘Street League,’ a hazy heater that is assured to please longtime fans.

Blurring the boundaries between laid-back and banging, ‘Street League’ occupies that special space that Hucci loves to live within. Stormy samples and distorted riffs set the stage for a cinematic opening with an understated score drifting below snappy drum programming. Swagged-out rap vocals welcome listeners to a hazed-out drop that’s engulfed in kush clouds. Booming 808s and precision percussion cut through the smoke balancing an undeniable bump that contrasts the vibey aesthetic. The description chill banger may seem counterintuitive, but one listen to ‘Street League’ and you’ll be thirsting for more.

Stream Hucci’s ‘Street League’ exclusively below and be sure to listen to it everywhere tomorrow.

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I don’t say this for dramatic effect, or with the purpose of instigating competition, but simply taking objective data into consideration. In the year that saw the highest number of wave events ever, barnacle boi took his iconic blond hair and moustache literally everywhere, performing from Los Angeles to Ho Chi Minh City, touching down in Central and East Europe and touring the length and breadth of the States, playing DEF and Waakan among others. I have to say that, following his adventures tweet after tweet,  filtered through his irreverent and relatable personality, has been one of my guilty pleasures (I’m convinced that a video vlog of the tour would’ve been a hit).

Now, to nitpick, one could say that barnacle boi lacked a blockbuster release to platinum this 2023 (pardon the gamer quote but I’ve been watching a lot of gameplay lately). But things change tomorrow. Or rather, starting from today thanks to this exclusive premiere. In fact, as his brand new EP, titled INTROSPECT, goes public in twenty-four hours, we give you the chance to get an early listen of the single ‘In The Dark’.

Despite the strong competition (both’ U Were Everything 2 Me’ and, especially, ‘Love Hotel‘ have the potential to become future classics), ‘In The Dark’ immediately became my favourite cut from INTROSPECT. The intro comes in the form of forty seconds of pale and spectral pads with vaporous vocals on top hauntingly chanting “You’ll find me, waiting in the dark.” A combo that effortlessly tickles the soft spots of waveheads like me and sets the perfect warm-up for the main event. Then, out of nowhere, here comes the star of the show. A cavernous synth arises from the darkness, ripping through the air and saturating our senses in a very Lovecraftian fashion. After these initial moments of apnea, during which we were swallowed up in this sonic black hole, ‘In The Dark’ quickly becomes airier again, absorbing the overflowing personality of the synth and integrating it with other elements. Once past this turning point, barnacle boi continues to stratify and evolve the composition during the breakdown and the second drop. The track we find in the second half, truly sounds like a chapter of a whole different story. Personally, I don’t have any doubts, ‘In The Dark’ should be listed in the manuals under the ‘perfect wave track.’

Listen to ‘In The Dark’  exclusively here on FUXWITHIT for the next hours, and be sure to dive into the INTROSPECT EP tomorrow.

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“In the last years I focused on creating wall of sounds and pushing them as hard as I could,” msft. tells us while on a call, almost with a hint of self-criticism, “This time I wanted to step back and change approach. I worked on this track as it was a collaboration between present and ‘old’ msft.” He adds,  “My only guidelines were minimalism and catchiness, and look at this [‘Break It’]. Just a few, right elements, a simple but effective groove and I made one of the songs I’m most proud of.”

Indeed, like a perfect chess match, in nothing but few moves msft. delivers an outright heater, perfect both for tantalizing eardrums through headphones or moving bodies on the dancefloor. It’s definitely a slow burner and not a peak-time tune, but ‘Break It’ is the perfect choice for DJs who want to give their crowds a break (again, pun intended) but do not let the atmosphere cool down. Do you want to trigger some bass faces? Pick the first drop. Do you want to fuel some mosh pits? Pick the second one because that Bloody Beetrots-style synth (‘Warp 1.9’ everyone?) will definitely get tempers flaring and elbows up.

Listen to ‘Break It’ below or on your favorite platform.

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With his previous long-format projects, Through the Forcefield and Neon Tundra, the veteran wave producer had proven to be one of the best storytellers around, capable of creating cohesive, almost conceptual, works that were more than just a jumble of tracks. Meticulously crafted over the course of the past three years, Evolve is imbued with this perfectionism and built following a clear-cut overview that makes it an organic listening experience from start to finish. All five tracks (and in some length, also the Noah B remix) are sewn up by this common theme that sounds artificial but feels more human than ever. iSorin’s intention here seems to be to try to approach the ethereal and elusive world of emotions in a scientific way, to break them down into their source code to find a way to enhance a new evolutionary step in the science-feelings-technology dichotomous relationship.

Each song draws inspiration from different niches of iSorin’s musical background (the classic wave sound of ‘Quad-Helix’, the ambient roots of ‘CRISPR-Cas9’) and results in a unique piece of the puzzle.  Combined with all the other bits, they bring to life this new chapter of the iSorin cinematic audio verse. It’s this deft pairing of influences that allows iSorin to give depth and three-dimensionality to Evolve, elevating the EP into a brilliant gem for aesthetes, audiophiles, and clubbers alike.

Listen to Evolve below or on your favorite platform.

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Today, we have the pleasure of premiering borny’s latest: a track titled ‘Charged’ that is sure to fuel your adrenaline. Speaking about ‘Charged,’ borny states, “I first started the track early March after a binge-listening session of all the early Mr. Carmack and Losco tracks on SoundCloud. I wanted to try something similar tempo-wise. I found a vocal sample that I edited, and pretty much looped it throughout the entire track with variations for every section. Drums, bass, and percussion were implemented after.”

borny wastes no time getting to the meat of the track. After a dozen seconds of brief introductory effects, the artist jumps right into the drop which features a looping sample, punchy percussion, and rugged bass. In the second half, borny adds more diversity to the drop, peppering in some added swagger in the form of swiping synths. The influence from the early days of SoundCloud is ever-present in ‘Charged,’ yet borny finds a way to keep it styling and fresh. Listen below and on your favorite platform. Don’t miss the free download too.

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Dabow gives us insight into how this one came together, “I first heard Carlie’s amazing voice on a song of hers called ‘Highs and Lows,’ then reached out to her and was like “yooooooo let’s collab I love ur music!” She was down from the start so we simply went for it. I showed her a wip’s playlist I had, and she was like “send this one!” (this was March 2021). Vocals were spot on from the start from CARLIE. Track originally was more “trappy” but then started mutating and became a mix between house and trap and baile. KUMO felt like the perfect home for it, and they wanted it. So we sent it!!! I really wanted to get this one released, hope you all love it!”

While we know and love Dabow for his trap bangers, he’s proven his ability to expand his sonic offering beyond the genre. With ‘2MINUTES’ he leans heavily into a house sound while maintaining underlying influences of trap and baile. The fusion makes for an addictive sound palette that’s rich with groove and incredibly infectious. CARLIE injects pop-friendly energy that will have the track playing on loop in your head (and favourite streaming service) all day. With Spring on the horizon, this one is primed to soundtrack the warm weather and sunny days ahead.

CARLIE breaks down the writing process saying, “I wrote this song about how I got so used to turbulence in my life, that when I finally found a state of calm I seemed to try and self-sabotage all the time. It was almost as if I didn’t know how to sit in that comfortable safe space, or didn’t feel like I even deserved it. I love being able to exercise emotions through writing songs, it’s super cathartic and way cheaper than therapy!”

Stream Dabow & CARLIE’s ‘2MINUTES’ everywhere via KUMO Collective.

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