In the following years, I had the pleasure of sharing some more time with Alex through sporadic and hilarious impromptu video calls where we talked about all things music, life, and beyond. I learned that he is a lovely and kind person with a charming way of talking about his passions and beliefs. Besides of course being a creative mastermind, a natural-born musical storyteller, and a first-class technician, his original compositions are some of the most sophisticated, detail-rich, and heavy releases in my collection. He also belongs to the handful of artists who successfully remixed classics from Deadmau5 and Eric Prydz.

The guest mix perfectly showcases Voliik’s sonic identity and does an incredible job of taking us deep into his raw and uplifting dungeon. In the interview, we start reminiscing about Voliik’s beginnings in Denmark and we go all the way through his recent debut in the video games world, touching upon what it might mean to be a producer in 2024 and, of course, the electro house “revival.”

First and foremost, tell us what the underlying theme of this guest mix is. What should listeners expect?

The theme is all about energy and what I want to bring to my live shows. It includes a lot of early 2010s tracks, as some of the best songs came from that era and would still crush it live today. Of course, it also features some of my released and unreleased songs.

Voliik as a project has been around for around six years now. Can you give a recap of your journey as Voliik since its inception?

Since I started releasing Voliik songs in 2018, a lot has changed. Initially, I had no expectations or goals, just experimenting with FL Studio since I was 15, influenced by Electro House and Dirty Dutch artists like DJ Antoine, Ton!c, Vengeance, and Joel Fletcher. However, hearing Porter Robinson’s remix of ‘We No Speak Americano’ in 2010 inspired me to create similar music. My jaw just dropped when I heard that remix. It took time to get decent, and by 2018, I was releasing music for fun and staying up late to watch major festival live streams. Things changed for me when k?d played a remix I made of his song ‘Zero One’ with Slooze during the Tomorrowland 2018 livestream. That’s when I started dreaming of playing my own songs live. Connecting with people worldwide through my music was surreal. I suddenly had friends across the globe, adding much more meaning and purpose to Voliik. A significant and surreal moment came in 2019 when Porter Robinson played my song ‘Trust’ at Ultra Korea, showing me how far I’d come. However, 2020 through 2023 brought challenges with COVID-19, health issues, getting hacked, and losing my job. To support myself, I started studying and will soon have a Bachelor’s degree in Sound Design, specializing in Sound Engineering for Video Games. Now, with fresh energy and inspiration from working in the games industry, I can focus on rebuilding Voliik and setting new goals.

I believe everything in the world comes in cycles, especially music. Trap and hybrid trap have had their revivals, so why shouldn’t electro?

Electro House is a term that pops up a lot going over your history and, more obviously, while listening to your music. We can say it’s been a constant in your story, way before the current buzz. When did this love start? Do you think in the current mainstream scene there’s space for an “electro” revival?

I LOVE Electro House. It’s been my top genre since I got into electronic music. Off the top of my head I think I started with DJ Antoine, then moved on to old Avicii, old Boys Noize, Deadmau5, Mord Fustang, Charlie Darker, Gregori Klosman, Far Too Loud, Hardwell, Maison & Dragen, Dada Life, Knife Party and many more. But the cream of the crop for me is Porter Robinson and the Danish legend Mikkas. There’s something so satisfying about the fast tempo and complex basslines with digestible rhythms that always give me goosebumps. It gets even crazier when there’s a melodic trance-like break and a melodic second drop—just woooow. There’s absolutely space for an electro revival. I believe everything in the world comes in cycles, especially music. Trap and hybrid trap have had their revivals, so why shouldn’t electro?

For the culture, name three electro classics everyone should know (and explain why).

VERY hard to just name three, but here’s a shout off the top of my head. Porter Robinson ‘Say My Name’: such a classic! Everything from the kickloop intro to the catchy melody, the pluck melody in the break, and all the crazy details in the drop and fills made the song so fresh and unique. The song’s popularity also contributed to the mainstream success of electro house as a genre. Emma Hewitt ‘Rewind’ (Mikkas Remix): one of the best remixes ever made! This remix is so important because it blends melodic and high-energy elements in the perfect way, showcasing Mikkas’s signature top-tier production quality. The intricate vocal details in the drops and the powerful emotional impact of the distorted melody in the second break encapsulate everything great about electro house. Spencer & Hill ‘So Dance’: this song was ahead of its time. This song, along with some of their other tracks, defined and popularized the key elements of the electro house genre. Its energetic pacing, punchy and detailed basslines, and catchy hooks set the standard for what others would try to replicate in electro house. It’s an absolute classic.

How was building a project like Voliik in Denmark? Was your local culture a huge influence and a resource or did you find your reference points on web communities?

Building a project like Voliik in Denmark has been challenging. The local scene for electronic music here is quite limited; while Denmark once had a vibrant electronic music scene with international artists performing at small venues, that has dwindled significantly. There’s some interest in techno and tech-house, but genres like bass, electro, dubstep, and trap are virtually nonexistent, which can be demotivating. I’ve often felt like an outcast locally, but the internet has reassured me that my music has a place. My primary influences and resources have come from online communities, especially SoundCloud and Instagram. These platforms have been crucial for connecting with artists and producers globally, and I’m grateful for the incredible people I’ve met digitally. The online community has been vital in shaping my sound and growth as an artist. Connecting with like-minded individuals from around the world has been an amazing experience, especially given the limited local scene in Denmark.

Keep focusing on what you can control and celebrate the progress you make, no matter how small.

In a recent tweet, you expressed the difficulty you’ve had finding the motivation to continue with Voliik over the past few years. You mention personal motivations but I also find points in common with what other artists have previously shared on social media. Do you think there is indirect pressure given by the standards of the music scene and industry?

Absolutely, there is significant indirect pressure from the standards of the music scene and industry. We’re in an era where there’s a constant demand for new content—whether it’s music, tweets, reels, TikToks, or photos. This relentless need to stay relevant, keep up with trends, and continuously produce content can be overwhelming, especially if music isn’t your main gig. On top of this, personal challenges can compound the struggle. Over the years, I’ve faced numerous difficulties and lost my core support system. Many of my closest friends and fellow artists have disappeared from social media or stopped their musical careers, which made returning to the scene feel like starting over alone. Social media often amplifies this feeling of isolation by showcasing only the curated highlights of others’ successes, making one’s own struggles seem more pronounced. Balancing industry expectations with personal well-being is a challenge many artists face. It’s okay to not like this pressure and to not want to feed into it. Success in today’s music industry often seems to require more than just being a talented artist—being active on social media is almost essential. However, many artists, including myself, struggle with this because we are sensitive and creative individuals who can easily feel overwhelmed. I’ve been working on finding a balance by stepping back and appreciating the smaller successes, such as simply being able to create and release music. Consistent music production and release have been challenging for me in recent years, so being able to do so now feels like a major achievement. Success is personal and unique to each individual; celebrating small accomplishments and prioritizing your happiness and well-being is crucial. Ultimately, if you face obstacles that are beyond your control—like a full-time job, health issues, or personal problems—it’s important to be kind to yourself. Keep focusing on what you can control and celebrate the progress you make, no matter how small.

You announced you recently started a music-related job in the world of video games. What are you doing and how did it happen?

I recently began working in Game Audio, specializing in sound design, technical audio engineering, music composition, and voice acting. This opportunity arose from my Bachelor’s degree in Sound Design. I’ve just finished an internship as a sound designer at a video game company, which was an incredible experience. Additionally, I’ve co-founded a company with a friend that offers comprehensive audio services for video games. I’ll be sharing more about these projects soon, but there may or may not be Voliik music in some new games

How the skills you developed as Voliik are helping you with this new experience and, vice versa, how is this experience helping you grow as Voliik?

The skills I’ve built as Voliik have been really useful for my work in game audio. Creating sounds and music for Voliik taught me how to craft unique sounds and add special details, which translates directly into designing audio for video games. I’ve learned how to make dynamic sound systems and get creative with sound, which has improved my technical skills. On the flip side, working in game audio has helped me a lot with Voliik. I’ve picked up new techniques for sound design, discovered weird new plugins and mixing tricks, all of which have made my music production more efficient and structured. The experience has sped up my workflow and helped me tackle challenges in my music projects with new approaches. So, it’s been a great exchange of skills between both areas, benefiting both my game audio work and my music as Voliik.

Must-do question at this point, what are your favorite video game soundtracks?

When it comes to video game soundtracks, NieR: Automata is always my top pick. Keiichi Okabe’s work on this game is phenomenal. The music is incredibly immersive and truly stands out as one of the best soundtracks ever created for a game. It’s so powerful that I remember feeling captivated by the menu music alone, it gave me goosebumps. Wolfenstein: The New Order by Mick Gordon is another favorite. His soundtrack is intense and impactful, with a raw, unsettling energy that really gets under your skin. Mick Gordon’s ability to create such a visceral experience with his music is something I deeply admire. Finally, The Elder Scrolls V: Skyrim has a special place in my heart. Jeremy Soule’s soundtrack is both nostalgic and inspiring. I spent countless hours exploring the game’s world, often just walking around to soak in the music. It has a way of making the game’s fantasy world feel real and magical.

Now let’s talk about your music. Tell us about your latest releases, ‘NOX’ produced with ELAC and the collab with Lizdek, ‘KNOCK,’ recently featured in his brand new EP on Ekali’s Awakening Records.

For ‘NOX,’ I worked with ELAC, and it was an awesome experience. We’ve been chatting for about two years, bonding over FL Studio, electro house, and Melbourne bounce. I started the track and sent the stems to ELAC. He made some big changes, which got me inspired to rework the song when he sent it back. The whole process was really fun, and I’m super happy with how it turned out. Working with Lizdek on ‘KNOCK’ was also a great time. He’s been incredibly supportive of my comeback, and our collab went smoothly and quickly. I sent him the initial idea for the first drop and some vocal fills, aiming for a mix of Big Room house and electro house vibes. He asked for the stems and, within 24 hours, returned an amazing final version. It was incredible to see our ideas come together so seamlessly and fast. Both of these projects were fun, and I’m excited for the others collaborations I have in the works. Make sure to check out Lizdek’s new EP and ELAC’s latest release—they’re both awesome!

I’m taking a more relaxed approach: creating music I love, having fun, and releasing it whenever it’s ready.

In the aforementioned tweet, you also express your desire to return to your roots. What will this mean in terms of releases? What should we expect?

Returning to my roots means going back to the basics of what made Voliik special when I first launched in 2018—making and releasing music simply because I enjoy it, without setting overly high expectations. After everything I’ve been through, diving back in with intense goals would be unfair and unrealistic. Instead, I’m taking a more relaxed approach: creating music I love, having fun, and releasing it whenever it’s ready. Right now, I’m not connected to any labels, and that’s okay. What matters is that I’m making music and enjoying the process. You can expect a more carefree and spontaneous Voliik, with regular releases of tracks that I’m passionate about. I’m also taking on the task of creating my own cover art, which is a new challenge for me but adds a personal touch and flexibility to my releases. While I still have dreams and goals for Voliik—like playing shows and meeting the amazing people I’ve connected with online—my main focus right now is to get back to creating and sharing music. Collaborating with other artists and having fun with the music I make is my top priority.

Voliik FUXWITHIT Guest Mix Tracklist

Voliik x FERA – Omen
Voliik – ID
Me and Cosmic Saturn (Mashup)
Lucky Date – Freak
Dj Isaac – Face Down, Ass Up (TON!C Bootleg)
Flowdan, Lil Baby, & Skrillex – Pepper (Voliik Remix)
gyrofield – Superheat
Voliik x VARI – ID
Voliik x Blood ID – ID
Fera – ID
DJ Bam Bam, Hatiras – Thrill Her
Mercer – Bangla vs The Prodigy – Breathe (Mashup)
Desembra – Bust
Baauer & Boys Noize – Fire Like This (Topi Remix)
VARI – ID
Stoltenhoff – Boozy
FERA – ID
Voliik x CZER – ID
Deadmau5 – Raise Your Weapon (Voliik Remix)
Porter Robinson – Unison (Mikkas Remix)
Voliik – Reanimate
Stoneface & Terminal – Skyfall
Porter Robinson – Spitfire (Voliik Remix)

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

For this pilot episode, we decided to kick things off in-house with a b2b between me and FUXWITHIT’s very own Colin aka classyvlassy. He’s a true basshead, so expect some trap bangers from his selection, alongside some hip hop and even drum&bass. From my side, I couldn’t resist selecting some well-known cuts but I believe you won’t be disappointed (the obscure stuff will come in the next episodes, trust me). Also, don’t worry, we don’t have any ‘Rumble’ edits.

Rude Boy (Klean Remix)

Hold on and read what I have to say before rage-quitting this article. I know this remix has almost half a million plays on SoundCloud alone and has been spammed all over the internet in the past week. But that’s exactly the reason why it’s here. It perfectly embodies the spirit of this column. Think about it: the most talked about moment of 2023’s Super Bowl (musically speaking) has been an unofficial edit uploaded by a Brazillian teenager on his SIDE ACCOUNT, with just a few thousand followers. Crazy, eh? I’ll say it one more time, unofficial creations keep the music world fresh and exciting.  That’s why I wanted to open Bootleg Business with this track. It’s its manifesto.
-A

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CLB – Bootlegs [002]

The title alone makes this a must for our selections. Chicago’s CLB is well known for his ability to give tracks he loves a darker and dirtier spin, and that’s just what he delivers on his second release of bootlegs. The 3-track offering sees CLB flipping tracks from Kunta Kinte, Skelecta x Distinkt, and Wiley Cat. The pack provides an insight into the sounds that influence the artist, shines a light on often-overlooked underground gems, and simply fucking bangs. Exploring the realms of 140 and grime, the icy bangers are built for dingy basements and beastly sound systems. Those looking to embrace the dark recesses of bass music will be delighted. Fans hoping for pop-friendly EDM bops will be frightened. Bootlegs [002]  is yet another example of why we love CLB.
-C

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Dennis Ferrer – Hey Hey (camoufly Remix)

The first time I heard this remix I was languishing in a complete hangover after one of the many nights out during ADE. Once I heard the drop, I was reborn, ready for another party. This remix is a certified banger. It hits harder than a bottle of Jäger gulped down in one breath. When thinking about ‘Hey Hey’ I used to recall the sensual house vibes of the original or the hyperactive disco groove of the Riva Starr remix. Now all I can think about is me fighting for my life in a mosh-pit. Good job camoufly.
-A

[soundcloud url=”https://api.soundcloud.com/tracks/1408623886″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

Fred again.. – Kammy (like i do) (So Dope Bootleg)

So Dope flexes his talents as a remixer with a unique flip of Fred again’s ‘Kammy (like i do).’ The fresh take embodies all of the emotion of the original while injecting a distinct level of knock. The original vocals tie the track together as So Dope adds in lush pads and beefed-up drums before exploring three unique drops. Moving from trap, to club and wave, this bootleg truly checks all of the boxes, making it primed to ring off at clubs without sacrificing any of the feels.
-C

[soundcloud url=”https://api.soundcloud.com/tracks/1437670804″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

Polarkreis 18 – Allein, Alene feat. Nephew (Voliik remix)

Let’s go step by step. I’m a huge fan of Eric Prydz. His remix of ‘Allein Allein’ is one of my favorite tracks from him and it made me fall in love with these vocals. Voliik is one of the most fascinating and skilled producers I know. What could go wrong with the combination of all these elements? Voliik’s electro treatment is brutal and extreme as always, but it perfectly matches the adrenaline rush triggered by the vocals, in this version sung by the Danish band Nephew.  Indeed, this is actually a remix of a rework of the original Polarkreis 18′ song. Confused? Read the SoundCloud description for the full, beautiful story behind this remix.
-A

[soundcloud url=”https://api.soundcloud.com/tracks/829202374″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

Lil Yachty – Poland (Formula & Nautika Bootleg)

I’ll admit that I’m a bit behind on this one. Released late last year, Formula & Nautika take Lil Yachty’s ‘Poland’ into the world of DnB. Let me start by saying this really shouldn’t be this good. That’s not a knock on Formula & Nautika’s talents because they prove them in stripes. It’s just rare that a DnB flip of a SoundCloud rap hit sounds this well crafted. Yachty’s addictive and simplistic vocals make it feel instantly familiar but the way they’re bent and stretched creates melodic layers that are damn near spiritual. The drops hit with maximum impact while still remaining infectious and uplifting. This song is simply too much fun. Don’t blame me if this is stuck on repeat for the foreseeable future.
-C

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Mr. Carmack – lean on rmx (1great dane totally helped too)

Here’s another widely popular, or I should probably say iconic, remix. I’ve been sharing this version of ‘Lean On’ left and right for six years now, it would simply be a crime to not include it in Bootleg Business. Long life to Carmack (and Great Dane too) for this gem and for that album full of random beats he dropped in 2017.
-A

[soundcloud url=”https://api.soundcloud.com/tracks/273749040″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

PRYZMS – TALES FROM THE DIRTY SOUTH RE:MIXTAPE

What happens when you flip Atlanta rap classics into hard-hitting bass cuts? ATL native PRYZMS decided to find out and we couldn’t be more grateful for it. Leaning into his early influences, TALES FROM THE DIRTY SOUTH RE:MIXTAPE is a love letter to the iconic sounds of his city that also show off his undeniable skills. Blistering trap and bass is elevated by vocal samples from rap staples that include ‘In The A,’ ‘Kryptonite,’ ‘Dirty South,’ ‘ATLiens’ and more. This is untapped SoundCloud gold that’s ripe for mining. Bask in the sonic riches.
-C

[soundcloud url=”https://api.soundcloud.com/playlists/1569514078″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”320″ iframe=”true” /]

SOOHAN – Missy Tribute

“A supercut of Missy Elliot’s hardest lines running atop a selection of Timbaland’s best cuts.” This is how SOOHAN himself described this cut, and to be honest, it’s pretty self explicative. There’s nothing much to add about the song (it slaps!) but I can’t stress you enough to check SOOHAN’s full discography. He’s a remix wizard and sample genius. On top of that, he doesn’t limit himself to pop remixes but he mainly incorporates and explores sounds from all over the world. His SoundCloud profile is a true encyclopedia.
-A

[soundcloud url=”https://api.soundcloud.com/tracks/344577876″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

Skrillex – Scary Monsters & Nice Sprites (Fabian Mazur Remix)

With the recent release of not one, but two new Skrillex albums, it’s probably safe to say you’ve been inundated with Skrillex remixes as of late. So why not lean into it with a fresh approach? Rather than taking on ‘Rumble’ or one of the iconic producer’s recent releases, Fabian Mazur has instead opted to take on Sonny’s all-time classic ‘Scary Monsters & Nice Sprites.’ With the original now well over a decade old, a fresh flip actually feels like a unique take. Fabian Mazur leverages the vocals and signatures from OG while completely flipping it on its head for a trapped-out twist that’s primed for the FUXWITHIT audience. Flipping a classic is always a difficult task, but Fabian Mazur always rises to the challenges ahead of him.
-C

[soundcloud url=”https://api.soundcloud.com/tracks/1441934500″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]

Words by Alessio & Colin

The post Bootleg Business – Vol. 1 appeared first on FUXWITHIT.

As Voliik himself stated, ‘Destroy’ is the direct sequel of his and FERA’s previous collaboration ‘Omen’ which, in case you missed, I highly suggest you check out as well. “Making music together is so much fun. Once we finished Omen, we immediately started working on ideas for a follow-up. That became DESTROY. We’re so proud of this song”. While ‘Omen’ has a powerful haunting aura that makes it sound like a soundtrack of a big-budget sci-fi horror videogame, with ‘Destroy’ the two producers have taken a more dancefloor-oriented approach. The eighty-second intro is definitely not for the impatient pits, but as my grandma used to say, patience is a virtue and the ravers who can faithfully wait for the drop will be rewarded. In addition, there’re actually many interesting elements to appreciate in this section, including some old-school Deadmau5-style chords that really lit up the atmosphere. The drop is clearly when the magic happens, if by magic you mean a carpet bombing of on-steroids kicks and boisterous synths. It is raw, minimalist, but it has everything it needs to make your inner raver scream with joy. The very best way to describe it was found by a SoundCloud user who perfectly summarized ‘Destroy’ in this comment: “There’s a point where a tune isn’t dirty anymore but just straight filth. Smashed it guys. Love it!”.

Stream ‘Destroy’ below and download it for free here.

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The post Voliik & FERA’s New Collaboration Is Here To ‘Destroy’ Everything appeared first on FUXWITHIT.