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Interview by Passion Dzenga | Photography by James Gallagher | Artworks by James LaceyToday we sit down with James Lacey, the creative force behind Pointless Illustrations and founder of Handy Records. Originally from Cardiff, Wales, and now based in Amsterdam, Lacey’s journey as an artist and music curator is marked by a spirit of collaboration and community. He’s got love for both visual art and music, blending the two worlds seamlessly while staying true to his raw, distinctive style.  From humble beginnings as a mechanic to becoming a celebrated illustrator, Lacey launched Pointless Illustrations and founded Handy—initially a skateboarding-themed apparel brand that later evolved into a dynamic music label. With the label about to drop its seventh release and the Natural Frequencies digital sublabel making waves, it’s time to get familiar with how Lacey’s passion for music and visual art drives his creative vision. Lacey’s got love for collaboration, working with like-minded artists to foster a tight-knit community rooted in personal connections and mutual respect. His creative journey also led to a standout contribution to our SS25 collection and as an Artist in Residence in Patta Magazine Volume One.Beyond the label and fashion projects, Lacey co-runs Lost Groove alongside Retromigration, an underground club night that will return Amsterdam’s Doka for a fresh series of events in 2025. With a focus on sound quality, community vibes, and music over profit, Lost Groove is a celebration of the underground scene. Whether it’s through the decks or the sketchpad, Lacey’s always pushing creative boundaries and making sure real connections stay at the heart of it all.  Get familiar with James Lacey as we dive into his creative process, his journey from Cardiff to Amsterdam via London, and how he balances art, music, and community in unexpected and inspiring ways.How have Cardiff, London, and Amsterdam influenced your personality and what you do?Growing up in Cardiff, it’s not as bustling as metropolitan places like London or Bristol. You develop a sense of community and a mindset of working with your friends to help grow their vision. That mentality stayed with me when I moved to London, which made me approach clients and parties in a way where I wanted to be involved, not just profit from it. In Cardiff and Wales in general, people tend to help each other out more because it’s a smaller scene.Were there any artists or movements in Cardiff that inspired you?I was inspired by local event posters—I used to rip them down off the wall and take them home with me. Ben Arfur, Alexander Sullivan, and Sam Jones were designing for Blue Honey, City Bass, and Rotary Club—local dance events I was a regular at. It inspired me to realize I could do it myself, as it was so accessible. Thankfully, after pestering Ben, he showed me some tips to get me going. Your journey started with a hands-on approach. Can you talk about what you used to do and how that led to founding Handy?I’ve always been hands-on, working in builders’ merchants and eventually becoming a mechanic. I worked for Range Rover and Jaguar, and I was pretty good at it. But after my best friend, who was also a mechanic, passed away, I just couldn’t stay in that world anymore. For escapism, I started drawing for fun as a way to cope and launched an Instagram page called Pointless Illustrations as these drawings I was making didn't mean anything, especially when I began. Eventually, I started Handy as a way to put my art on t-shirts and other skate gear.How did you make your first t-shirts?I was working at a screen printer to make ends meet, so I had access to the equipment. I designed everything in Adobe Illustrator and printed the shirts myself. I was selling them by hand at skate parks like LSP and Spit and Sawdust in Cardiff. It was all done by me—from designing, to printing and even selling.How did you start getting commissions from other people?I reached out to places in my community that I was already connected with. One of the first was Gwdihw, a small jazz bar in Cardiff, where my flyer journey began. I also approached Cardiff Skateboard Club, who started selling my Handy merch. That was a big deal for me—seeing my stuff alongside brands like Independent and Spitfire. I also worked with Freestyle Newport and did posters for club nights like Talk to Frank and Polymer in Swansea. I just wanted to support local places that mattered to me. Working with people who I came from my worlds made the most sense as we understood each other without being lost in translation.Why did you move to London, and how was that experience?My partner at the time lost her job as a fashion designer in Cardiff, and there weren’t many opportunities there, so she wanted to move to London. I saw it as an opportunity to grow and be around more creativity, even though I wasn’t making much money at the time. I just took the leap, worked hard, and eventually made it sustainable. Looking back, it still blows my mind that I managed to pull it off.How did music influence your journey?Music has always been a massive part of my life. Growing up, I was always in bands with friends, playing local gigs at places like TJ’s in Newport. I was an emo kid, always in the mosh pit if not down at the skatepark. Later, I joined a band called Astroid Boys, which was more like a nu-metal/rap crossover. My parents were big into funk and soul, and that shaped my taste too. Music gave me a sense of community and connection that I carried into my creative work. I really think their passion for that music early on resonated with me and lead to my appreciation for music also.Did Cardiff’s music scene influence you in any way?Cardiff had a incredibly strong live music scene when I was growing up. There were also local spots like Clwb Ifor Bach and Bar Fly that fostered a tight-knit music community. Sadly, a lot of those places are gone now, but they were crucial to my journey.What inspired Handy to transition from being a skate-focused brand to a music-centered project?After moving from Cardiff to London, I made a skate video that featured an original track from Earl Jeffers. Although I was still selling to skate shops, the skate community around me began to thin out, and my interests shifted more toward music. My record collection was growing and I was mixing more and more and I was finding myself around the music community more often. Managing a skate brand by myself became tough, whereas music felt more manageable with a small team. It just naturally progressed that way.How did the first music release on Handy come about and how did the first few releases with artists like Adam Curtain, Bobby Casanova, and Retromigration come about?Handy001 started as a passion project with a friend I was living with at the time. I had been doing artwork for labels and collecting records, so I thought of trying it myself. The idea was to keep releases close to friends or music I genuinely loved. It felt like a fun project to work on and see where it could go. Most of the collaborations were with people I already knew through working on artwork or being part of the community. I was doing artwork for Adam Curtain's label, Troublemaker, and we became friends. I loved Bobby Casanova’s track and just reached out to him directly. As for Retromigration, I was doing artwork for his breakthrough EP with another label (Healthy Scratch Records). We connected after I moved to Amsterdam, and it turned out we had similar vibes.What's the concept behind the "naughty and nice" sides of Handy Records releases?It’s about giving artists a platform to explore their full range. Many EPs tend to stick to one sound, but I felt artists often had more to offer. So, we have the “naughty” side for club-focused tracks and the “nice” side for something softer or more experimental. It’s about allowing producers to showcase different shades of their creativity.What led to the creation of the sub-imprint Natural Frequencies, and how does it differ from Handy Records?Handy mainly leans toward house music, but I wanted something more club-focused and accessible after lockdown, which was a time of heavy music saturation and pressing plant issues. Natural Frequencies is more digital and club-ready, not meant to be as precious as vinyl but more functional for DJs. It has an abstract art direction inspired by natural aesthetics. The music itself feels more electronic but with a visual style that evokes something organic and earthy.How do you choose the artists for Natural Frequencies?Natural Frequencies has a broader scope compared to Handy. The first release was from Boulderhead, whose sound felt like a natural extension of Handy's style. Retromigration’s EP showed a different, more electronic side of his production. Marma is a friend from Amsterdam, and Kyra Khladi caught my attention after I attended one of DJ sets and was very impressed. The focus is on pushing fresh, club-ready sounds while still staying true to my taste and community.How did the latest V/A project "Keep It in the Family Volume Two" come together?The first "Keep It in the Family" was a collaboration with Shall Not Fade, combining both labels’ artists. For the second one, I wanted to make it more purely Handy. It features label regulars like Earl Jeffers, Retromigration and Cem Mo, as well as new connections like Zoeplar and Monty DJ. It’s all about working with friends and keeping the community vibe strong because that’s what makes it feel safe and supportive in the music industry.Can you tell us about your passion for collaborating, particularly your recent contributions to Patta’s SS25 collection and your role as an artist in residence in Patta Magazine Volume One? How did these collaborations come about, and what was your creative process like?My first connection with Patta was through Lee Stuart, the former brand director, when I was living in London. In 2021, he messaged me on Christmas Eve, asking if I’d like to work on an upcoming collection themed around ska music. I created some graphics for it, but they didn’t make the final cut. Later, when I moved to the Netherlands, I got back in touch with Lee, and he was super supportive. He even helped me out with some trainers from the shop and introduced me to the right people, which really helped me get established in Amsterdam.After that initial collaboration, how did your relationship with Patta develop?After the ska collection didn’t come out, I became the artist-in-residence for Patta Magazine Volume One. That opened up more opportunities, like making posters for Patta x Nike collaborations and further partnerships with the Amsterdam based brand. Around the same time, Lee also involved me in an exhibition called "We All Need Rest" at OSCAM, where I presented two pieces focused on burnout and self-care. One piece was called "Burning the Candle at Both Ends" and the other was a depiction of self-care, with a bonsai tree and a watering can symbolizing nurturing oneself.How did it feel to be a part of that exhibition at OSCAM?It was an honor, especially as an expat in Amsterdam, where it's not easy to build connections. OSCAM is a community-driven space, and being able to showcase my work there was amazing. The exhibition wasn’t just about art on walls—it was an immersive experience, with live meditation sessions and a real sense of community.Your work has also made its way into fashion through your brand Handy and collaborations with Patta and other brands.How do you approach fashion projects differently compared to your illustrative work?I approach these projects differently because fashion is a physical medium. Seeing my artwork on clothes, windows, or even keyrings feels more tangible than digital art, which often just lives on a screen. I love working with big and small brands alike, as long as they believe in my vision. It’s about creating something lasting that people can wear and experience in real life.You mentioned feeling frustrated with the relationship between art and algorithms. Can you explain that a bit more?Art has become so tied to digital spaces that it feels like we’re creating just to feed algorithms. It’s exhausting and takes away from the essence of making something meaningful. I’m drawn to physical mediums because they feel more genuine. This year, I’m hoping to do more graffiti, painting, and workshops—just getting out there and creating real connections with people.How do you see fashion as a medium for art compared to digital spaces?Designing for print is rooted in authenticity because it’s tangible. You’re not just fighting for attention on a screen. Instead, people choose to wear your art and support you directly. I respect how PA does it—they turn their store into an art space, showcasing work on windows, clothes, and even inside the shop itself. It’s like stepping into a world that represents your art.You’ve also been involved in events like Lost Groove. Can you tell us about that project and what makes it special?Lost Groove is a club night I started, and it’s all about creating a space where people can come together, enjoy music, and just vibe. It’s a reflection of my love for music and community. I’m really excited to bring it back in 2025 and keep building that atmosphere where people can feel at home and just be themselves. Lost Groove actually began as a collective of four people, including myself and Retromigration. It wasn’t about making money—we just wanted a platform to share the music Retromigration makes and Handy releases, and to invite friends to play. We still don’t take money from it; we just reinvest in the party when we can afford it. We split from the original collective and carried on with the name, sticking to our vision of honest parties with good music, good people, and good vibes. What can we expect from the next Lost Groove event?The next one is going to be really special—probably as big as our legendary New Year’s party. This time, we’re collaborating with Suckerpunch Records, run by Papa Nugs, who’s killing it right now with his fun, party-centric sound. We’re also bringing in A for Alpha from Bristol, who’s not only an incredible DJ but also a passionate vinyl digger who never gatekeeps music. She’s someone who truly loves and respects the scene, and I couldn’t be more excited to have her on board. It’s happening on King’s Night, April 25th, at Doka—a venue known for its iconic 4-point sound system.  You mentioned earlier that Lost Groove isn’t about making money. How do you balance passion with financial sustainability?It’s tough, but we stick to our principles. We’re not in it to make a profit; we’re in it to build community and celebrate the music we love. If I walk out of a night and haven’t made money but had a good time, that’s fine by me. It’s about creating a space for people to enjoy music without the pressure of commercial gain.  Its important to me to have a space which champions sharing music. I think gatekeeping is selfish. If someone comes up to me asking for a track, I’ll take their phone and snap a pic of the track title. It’s not my music to hoard—it belongs to the artists who made it. Sharing track names could even help get those artists paid someday. Gatekeeping stops the wheel from turning and keeps music from being appreciated and enjoyed by a wider audience.  You’re a multidisciplinary creative—art, music, and more. How do you see these different creative expressions connecting, if at all?  To me, art dresses music, but they’re separate. There’s a blurred line between them, and it really depends on how much the creator values the visual aspect of their work. I think visual language is crucial, whether it’s music, food, or anything else. It gives identity and context, but not everyone sees it that way.  Looking back, what advice would you give your younger self, skateboarding at 17 and dreaming big?Chill out. Seriously, nothing is as deep as you think it is. Keep your head down, stay true to yourself, and don’t worry about what other people say. Everyone deserves a space at the table—it’s just about finding yours. Don’t chase trends or other people’s approval. Focus on what you love, and the right people will find you.  Finally, is there anything exciting coming up that you’d like to share? Definitely. I’m working on a collaboration with Wax Poetics called the Collector’s Edition, which is about creating collectible items—not just editorial pieces but physical, tangible things. I’m really excited because it’s something I’ve never done before. It’s a new challenge, and I think people are going to love it.It’s clear that James Lacey is driven by more than just creative ambition—he’s fueled by a love for community and genuine connection. Whether he’s screen-printing t-shirts, spinning records at Lost Groove, or crafting album art that tells a story, Lacey’s work is grounded in passion and purpose. His journey from Cardiff to Amsterdam isn’t just about getting caught up in the rat race—it’s about people, friendships, and staying true to what matters. Lacey’s story is a reminder that creativity isn’t just about making things—it’s about making spaces for people to come together and share what they love. Whether through music, art, or the simple act of putting on a great party, he’s all about fostering a sense of belonging. So next time you’re at a Lost Groove night or rocking a Handy tee, know that there’s more to it than meets the eye—it’s built on heart, hustle, and a whole lot of love. 

Unknown T has officially dropped Time Flies—the track that’s had the streets buzzing since last year. Fans have been eagerly awaiting this moment, as the song was making waves long before its official release. The wait is finally over, thanks to Janet Jackson clearing the iconic sample that took the track to another level.  2025 is proving to be another landmark year for UK rap, with artists like Unknown T continuing to push boundaries and gain recognition on a global scale. As the genre keeps evolving and thriving, it’s clear that UK rap’s influence is only getting stronger. Time Flies is just the latest example of how the scene keeps leveling up, and we are here for every second of it.

Interview by Joe Leonard-Walters | Edited by Passion Dzenga Launching in 2021, Echobox has been forging a path for community radio by showcasing the diverse characters and concepts that surround them. In this feature, we will be looking into a few of the broadcasts that you can tune into so get locked in and don’t touch that dial. Today, we're diving into the world of experimental electronics with Oneven, the creator and host of PITCH SHIFT on Echobox. Known for its spontaneous and raw approach to live electronic music, PITCH SHIFT has become a staple for boundary-pushing sounds and thought-provoking conversations in Amsterdam’s electronic scene.   Oneven’s show is about community, collaboration and celebrating artistry over clout. Since its inception, the show has showcased both local and international artists, offering a platform where creative minds break down their sounds, setups, and stories. Whether it’s DJ Beukeboom’s live Baile Funk set or Stefhanja’s seismic-inspired soundscapes, Oneven’s open format invites the unexpected.   It’s not just about genres or trends - it’s about diving into the essence of sound and discovering what drives each artist to create. From exploring groundbreaking music gear to hosting icons like Chase Bliss, Oneven’s unprepared, organic style has made PITCH SHIFT a space where authenticity reigns.   We’ll be talking to Oneven about his love for music tech, why live electronic performances deserve more attention in Amsterdam, and his dream guests, from Aphex Twin to Madlib. Plus, we’ll touch on his views of the city’s evolving music scene and why he believes in staying rebellious and raw. Let’s shift some pitches and get into it! You can catch up with this show now on Echobox Radio. Your show has turned into a real touch-point for experimental electronics in Amsterdam. Why was it important to do something so collaborative?I think the show has a healthy mixture of experimental and more traditional electronic music. My first ever guest was DJ Beukeboom who did a live Baile Funk show, but yeah we do also occasionally dive into the more abstract areas of electronic music. It depends on the artist I invite. I never think of genres when finding guests, but rather about what motivates someone to pursue a certain sound, is the sound representative of their background, etcetera. This is important to me as it helps me filter out artists in it for clout vs. Artistry. Anyhow, in terms of collaboration it depends on the guest, some shows go down like that, others don’t. The behind Pitch Shift is simple: an artist comes over, plays some tracks and we talk about how they made it and how they translate their ideas from a studio setting into a live show. But since the show is called Pitch Shift it occasionally goes in a completely different direction. Sort of like when you pitch shift a sample: you have the source material, but what you do with it can change the outcome completely. This also means I never prepare for any of my shows. This works best for me cause it allows the interviewing part to be spontaneous and authentic. I could write down some fictional backstory about why I do this, but honestly it just happened organically. I love it because when the pressure is on your brain starts coming up with some nice questions on the spot. As to the importance of the show: It was and is still important to me to shine a light on artists that perform live. Amsterdam is flooded with DJ’s which is cool, but there are not enough opportunities for live electronic music. To my knowledge bookers are a bit afraid about someone turning up with a whole studio worth of equipment, but really it can be done with just one or two pieces of gear. All in all I just wanted to be selfless and give something back to the community. In my own past experiences I noticed a lot of shows were done to promote the host, that was my inspiration to do things differently. You also talk a lot about technology in music, where did the obsession with music gear start?Growing up in the 90’s there was a lot good electronic music being shared on a commercial level on the TV so it was fairly easy to get exposed to the works of, for example, Aphex Twin. Also video games had a ton of great soundtracks that peaked my interest in the tech. I was always opening up electronics and fucking around with circuits trying to make sense of all those alien components. It’s just so happened I’m naturally attracted to technology that is also used to make electronic instruments. Perhaps I would have been into trains or planes if I hadn’t been exposed to electronic music. That said, I’m still quite into watching videos on how a cockpit works. I like gear a lot, but these days it’s a more a novelty. Like yes a 5K euro 8 voice poly synth sounds good, but there are 15 year old kids out there making absolute bangers on a shitty old laptop. Ultimately it’s all about being able to create and express yourself with as little latency between your idea and output so whatever works best is what you should go for. I am now mostly using a laptop with Ableton and Max/MSP to produce and in the mixing stage run things through hardware. Computers are so powerful and you can basically do anything you want once you become proficient with the software. In my opinion it is a far more exciting place to be than in a studio with tons of analog subtractive synths. Also not being dependant on a physical space is amazing for your creativity. All you need for electronic music these days is to be interested in learning, some software and a pair of decent headphones. Only thing that sucks about computers is that they are built to become obsolete, near impossible to repair as a consumer and some software becomes outdated. What have been particular highlights of your show?My recent ones with Tyler and Liz from Chase Bliss and the one with Stefhanja are my current faves. Chase Bliss was personally amazing to me cause I love the pedals they make. They are really pushing the limits of what you can do with guitar pedals so I was very happy to learn they have a European office in Amsterdam and that they were down to come to the studio and talk. My show with Stefhanja was really fun to do too. She has a device called the Geofón which is made by LOM Audio. It’s like a microphone, but made to detect seismic activity. We ran the signal through a bunch of equipment and made some beautiful soundscapes and textures. It was pure expression and it turned out so nice. We both had no preparation so it could have gone horribly wrong, but in the end I think our honest enjoyment is what kept it going in a good direction. Dream guest?Oh there are multiple ones. Autechre, Aphex Twin and BoC are obvious ones, right? Would be a very autistic show in the best way possible. But also would love to have Madlib or The Alchemist on. I listen to their music more than electronic music(it is technically also electronic though) to be honest. It’s so raw, organic and inspiring to me. Big fan of the Freddie Gibbs records they both did. Actually I know The Alchemist is a fan of Patta and visits Amsterdam often so maybe someone should make this happen. Live beat making on the Echobox airwaves… lets fucking go. Also dead ones would be Florian Schneider of Kraftwerk. Kraftwerk’s influence on music is unparalleled. Computer World laid the foundation for most of the stuff you hear now. What's most exciting to you in the Amsterdam music scene right now?I’m a bit of a hermit and this is probably not the answer people want to read but honestly, compared to The Hague and Rotterdam I think in general Amsterdam is lacking rawness and rebelliousness in the electronic scene so there’s not much for me personally to get excited about.I’m generalising of course as places like Bar San Francisco and events such as Weather Report at Bar Theo are great and resonate with me on a personal level. In the end I think that’s what counts, having a few places that you like to visit. Weather Report always surprises me as I go in blind. To me It’s not even about liking all the music, but seeing people use music as a tool to express themselves will always get me excited.I don’t have much interest in most clubs as they feel too image driven. Would much rather see someone unknown play amazing and unexpected shit they love than another Instagram famous DJ play whatever is trending if you know what I mean. I think Amsterdam clubs have a lot of potential, but we need to remember what made electronic music special in the first place: fuck playing it safe and fuck status. Be rebellious and treat every event like it’s your first and last and don’t worry too much about opinions. Next up we’re diving into the world of Het Kan Wel with Sara Liz and Wies, hosts of the most eclectic and spontaneous breakfast radio show on Echobox. It’s a potpourri of music, conversations, and unfiltered thoughts - where everything is possible. The name itself, Het Kan Wel (It Is Possible), was born from a wild King’s Day party in a bathtub, a playful declaration that nothing is truly impossible - though some things are better left undone (like moving to Mars). Sara Liz and Wies are the kind of duo who embrace the unexpected, bouncing from obscure beats and electronic sounds to slow and soulful vibes all before lunch. Their musical tastes may clash at times - Sara Liz loves starting the day with high-energy beats, while Wies prefers a more gradual wake-up - but that’s exactly what makes their dynamic work. Over the years, their friendship and music tastes have intertwined, creating a show that’s as unpredictable as it is refreshing. Inspired by the casual and humorous format of Charlie Bones’ Do!! You!! radio show, Het Kan Wel feels like an open invitation to just exist, be playful, and let whatever happens, happen. From bird sounds to bold musical statements, the duo’s chemistry keeps listeners guessing and makes space for serendipitous moments. We're gonna take a turn with this week's edition, switching to Dutch so we can  properly champion Het Kan Wel (if you want to get familiar but are not a Dutch speaker feel free to ask your favourite search engine to translate the following chapter). You can catch up with their show now on Echobox Radio.Wat is het verhaal achter de naam van jullie show, Het Kan Wel? W: Het verhaal is ontstaan op een vrij liederlijke en uitzinnige nacht na koningsdag, in een badkuip tijdens een diepte interview in het huis waar wij destijds samen woonden. Tijdens het interview kwamen we allen tot het inzicht dat vrijwel niets niet onmogelijk is.Verder (en nuchter) daarover nadenkend kom je er achter dat alles wel kán, maar je sommige dingen beter kan laten. Zoals bijvoorbeeld naar Mars reizen.  SL: “Wies en ik woonden lang samen, acht jaar in een huis in de Vogelbuurt, ook met Veer en Daaf en Boontje, het hondje. We grepen momenten voor een feestje vaak met velen handen aan. Op een van deze feestjes op Koningsdag dus,  begon een vriendin ons te interviewen in bad en wij vertelden dat we een band waren begonnen (lees; dit is dus fictief, wij hadden verzonnen dat we een band waren). Er werd doorgevraagd en wij gaven een heel interview over onze hit “Het Kan Wel”. De tekst van het liedje was niet bijster intelligent, mede door het tijdstip en alles. Maar wij vonden onze ‘hit’ bij het huis passen en zo is ons huis steeds meer Het Kan Wel gaan heten. Het Kan Wel is een mooie zin om in verschillende gemoedstoestanden te zeggen: overmatig enthousiast, verdrietig, schuldbewust of teleurgesteld. Als je de klemtoon van de zin verandert, krijgt het ook een andere betekenis. Of als je een liedje opzet dat niet ‘in tune’ is met het vorige (het wordt voor mij snel erg zalvig), dan zeg ik vaak tegen Wies: ‘Het kan ook weer wel’.” Tijdens de pandemie waren het vrienden in Antwerpen die een online radioshow begonnen genaamd Tijden van Nood. Alle makers konden vanuit hun woonkamer inpluggen en via muziek op de hoogte blijven van elkaar. Toen is de show officieel zo begonnen te heten.  Is er een andere ontbijt-radioshow die jullie qua format heeft geïnspireerd? W: Natuurlijk Charlie Bones met de Do!! You!! radioshow. Toch wel een soort grondlegger van de ongedwongen radioshow, met veel humor, een breed scala aan muziek en lekker erdoor heen praten.  SL: “Ik heb veel naar Do!! You!! van Charley Bones geluisterd en ik denk dat ik wel elke maand een vogel laat horen, dus ook; “Vroege Vogels.” Hebben jullie een favoriete show tot nu toe? SL: “Moeilijke vraag, want er is zoveel niche en zoveel talent! Donnies Dreamshow, 1.06SS was een poosje na ons, ook echt heerlijk. Joy die nu na ons is, Friday is a Sunday, Recovery Chanel, BSS, Loma Doom… te veel om op te noemen.” W: Vind het ook moeilijk om te zeggen, het is zo leuk om te zien hoe iedereen in die opnamestudio zijn eigen wereld creëert. Het is heel grappig, want je wisselt elkaar natuurlijk af aan het einde van de show, maar dan treedt de volgende persoon altijd echt even jouw wereld binnen of jij in de wereld van de DJ voor je. Ik vind dat zo mooi om te zien, en horen. Maar als ik het moet zeggen: Friday is a sunday, recovery channel, BSS, Joygail.   Hoe vind je het presenteren als duo tot nu toe? Waar zijn jullie het nou echt over oneens? W: Voor we bij echobox begonnen, maakte we tijdens Corona al een show op Tijden van Nood. Een soort piratenzender opgezet door vrienden zodat we allemaal een beetje in contact konden blijven met elkaar. Dat was heel leuk, maar tussen mij en Sara Liz ging dat niet echt zonder slag of stoot haha. We maakte echt live ruzie op de radio soms, wat ook wel heel grappig is achteraf.  We hebben gewoon een vrij uiteenlopende muzieksmaak die soms een beetje botst op sommige punten. Sara Liz is soms vrijwillig bereid om keihard te knallen om 11 uur ‘smorgens, waar ik persoonlijk ook nog even wakker moet worden. Dat kan wel eens in het verkeerde oorgat schieten. Maar Sara Liz vind dat ik soms te sloom draai, wat ik echt complete nonsens vindt.  Ik vind het wel leuk om te merken dat hoe langer we bevriend zijn onze smaken naar elkaar toegroeien, en we tegenwoordig echt vaak dezelfde dingen heel vet vinden. SL: “Wij zijn er rijkelijk vaak oneens geweest over muziek. Beiden komen we uit een andere muzikale interesse en huishouden. Bij mij stond thuis altijd muziek aan van Kink Radio (techno-uurtjes op zaterdag), Moloko, veel elektronische muziek, beats, Burial, Prince en ik maakte bandjes van Afrikaanse obscure radio. In mijn wereld kan dit allemaal door elkaar heen en naast elkaar. Veel bewegen op muziek, het kan me echt even omsluiten, ahh ik hou zo van beats! Wies weet ook veel van muziek, maar kent meer instrumentale bandjes. Dus als ik plots de boel opschud… krijg ik wel een diepe zucht of scheve blik. Maar het laatste jaar heb ik wel steeds meer het gevoel dat we naar elkaar groeien of elkaars input kunnen waarderen.  Bij wat denken jullie nou: “Het kan niet”? Oorlog, Trump, Elon Musk, de anti-abortus beweging, te harde techno om 11 uur smorgens (lul niet Wies!), te veel witte mannen in 1 ruimte, eten met weinig vet en zout, naar mars gaan, de verkoop van sociale huurwoningen, fabel friet, grote Ego’s, dat alles een restaurant moet worden, veel vlees eten, niet nederig zijn, geen humor hebben laat staan zelfspot en enkelsokken bij mannen bij -3, niet zingen op de fiets en niet lachen om een scheet. Tune in to Echobox - broadcasting from below sea level every week, Thursday until Sunday.

Interview by Passion Dzenga | Photography by Kala CitéFor filmmaker, photographer, and multidisciplinary artist Thaniel Owusu Agyemang, creativity is about more than just expression - it’s about connection. With Home: Where It All Begins, his first official film release, he takes audiences on a deeply personal journey back to Ghana, exploring themes of heritage, identity, and belonging.Thaniel’s work spans filmmaking, DJing, and photography, allowing him to move fluidly between disciplines while staying rooted in community. He’s got love for all - collaborating with artists and using  the platform Sankofa Archives to create spaces where stories of the African diaspora can thrive.As he gears up for his film screening and the Onyx Vision exhibition at OSCAM, Thaniel invites people to get familiar with his vision - one that’s about archiving, storytelling, and reclaiming narratives through art.    How did you first get into film, and what does it mean to you?Film is a powerful medium of expression. My love for it started in childhood when I watched Nollywood and Ghanaian movies with my parents. I’d always try to predict what would happen next and even create my own plots in my head. Later, as I got into photography, I wanted to bring my photos to life, and film became a way to add new dimensions to my storytelling. You work across multiple disciplines - filmmaking, DJing, photography, and directing. How do these different roles influence each other?Being multidisciplinary allows me to collaborate with a variety of artists and communities. For example, alongside my film event, I’m part of an exhibition, Onyx Vision at OSCAM, featuring artists Lenny Pharrell and Hamilton Chango Harris. Engaging in different mediums broadens my connections, keeps me inspired, and lets me create in different ways.With an exhibition and a film screening happening in the same week, how do you see this film shaping the conversation around your work?This is actually my first official film release. I’ve done short projects before, but nothing on this scale. It marks an important step in my journey, blending all the creative elements I’ve worked with into one larger vision.What inspired the title Home: Where It All Begins?The title reflects my journey of returning to Ghana for the first time. It represents the idea that my journey truly begins now that I have reconnected with my homeland. I want people to feel the importance of returning to their roots, learning from the past, and building for the future. This idea is also tied to the philosophy of Sankofa, which means "return, bring it back"What was the main motivation behind your trip to Ghana?I had always wanted to go back to Ghana, but financial constraints made it difficult. My mother, who has many children, often went alone. When I finally had the opportunity, I decided it was the right time. I wanted my mother to be with me for my first visit, so I paid for her ticket. Later, my friend Ian Bodo, a director of photography, joined me. We started filming spontaneously without planning to make a movie—it just happened organically.Why did you choose to release the film on the same week as Ghana’s Independence Day?It felt symbolic. Ghana’s Independence Day represents freedom and reclaiming identity, which aligns with the film’s theme of reconnecting with one’s roots.What were your expectations before visiting Ghana?My expectations were shaped by stories from my mother and friends, but experiencing it firsthand was completely different. People had always asked if I had ever been to my homeland, and I hadn’t. When I finally went, I realized that stories can only tell so much—you have to feel it yourself.What was the most powerful moment for you during the trip?Seeing an entire space filled with only Black people for the first time in my life. In Europe, I had never experienced that before. It was a profound moment of reflection and belonging. The warmth I felt from the moment I arrived at the airport was overwhelming.How did meeting your family in Ghana impact you?It was deeply emotional. I met many family members for the first time, including my grandmother, whom I hadn’t seen in 15 years. I had talked to my relatives over video calls, but meeting them in person was completely different. You can’t fully understand someone’s presence through a screen—it’s something you have to experience.What was the biggest lesson you learned from your trip?I realized that in Africa, people don’t overthink problems like we do in the West. In Europe, we tend to pile problems on top of problems, but in Ghana, people just go with the flow. They accept that some things are beyond their control and trust in God. This mindset shift was one of the most powerful takeaways for me.What can audiences expect to see in the film?The film captures raw moments of reflection, like me standing in Independence Square in the rain, simply taking in the view. It’s about embracing stillness, something that’s rare in the fast-paced Western world. In Ghana, I felt like I could truly reset and breathe. That’s what I want audiences to experience through the film.How did your trip to Ghana change your sense of identity and connection to your roots?I wouldn’t say I feel more Ghanaian because I already felt Ghanaian. But I do feel more connected to the core—to my great-grandparents, to the land they walked on, and to my ancestors. That deeper connection is what changed for me.Do you see this film as the beginning of a larger project, or is it a standalone adventure?Initially, it was just an adventure I wanted to share with family and friends. I held a small private screening at the Black Activation Month in Amsterdam curated by Bamba Al Mansour, but after that, many people told me it could grow into something bigger—maybe a series or even an exhibition. Right now, I’m still weighing my options, but the message is powerful, and it has the potential to expand in different ways.How does your film differ from other narratives about African heritage and the diaspora?Many African films, like Touki Bouki from 1973, focus on people leaving Africa for Europe. That’s also the story of my parents, so I understand why those narratives exist. But I wanted to do something different—something about going back home and centralizing African countries in the story. The new generation needs to archive our heritage and encourage future generations to return, rather than always seeing Africa as a place to leave.Why is it important to tell stories about returning to Africa, rather than just leaving?Migration stories usually highlight Africans moving to Europe or America, reinforcing the idea that success is found elsewhere. But we also need stories about Afro-Europeans and people in the diaspora going back to Africa - reconnecting with the land, culture, and history. It’s about shifting the narrative and showing that home has value, too.What made this trip particularly special for you?Going with my mother was important because she’s from Ghana, and I wanted to experience it with her first. Then, having my friend join later allowed me to experience Ghana both as a son and as a young man in my early 20s, navigating my own journey. That mix of perspectives made it even more meaningful.Can you tell us about your collaboration with Sankofa Archives and Free the Art? How did it all come together?As the founder of Sankofa Archives, my events always align with building out the archive. My connection with Free the Art happened organically - I’ve known Tim and Berano from Free The Art for a long time. We always talked about supporting each other's projects, and when I did a small, private film screening last October, I wanted to do something bigger. I reached out to Berano about hosting a screening at the Eye Film Museum and expanding it into a full experience. He was on board, and from there, everything came together.Why did you choose the Eye Film Museum as the venue?Growing up, I visited the Eye Film Museum during school trips, and it always inspired me. School wasn’t as creative as I wanted, so these visits felt like an artistic escape. Over time, I kept the idea in my mind that one day, I would screen my film there. Now, it feels like I’m fulfilling a childhood dream.How does the film connect with the exhibition?The exhibition, Onyx Vision by Free The Art, features my photo series Home, which includes pieces made in Ghana. It connects with the film because it visually expresses moments from the film through photography. I took all the pictures myself and some of the pictures from the series also appear in the film. The film is called Home: Where It All Begins, and the photo series is also titled Home. Both capture different aspects of Ghana - the city, the beach, and the people. You often collaborate with Lenny Pharrel. What is it like standing next to your friends in creative spaces?It’s a beautiful moment because we’ve been friends for a long time, and in the beginning, we were both figuring out our paths. Seeing everything come together now feels like a full-circle moment. Exhibiting together in my own neighborhood, Amsterdam Southeast, at OSCAM, alongside Lenny, is really special. We are part of a community - Sankofa Archives - that aligns so well with what we do, so being able to share this moment is incredible.Being able to grow and experience it with friends is a blessing. Creating isn’t just about putting work out into the world - it’s about the act of creating itself. And when you do that alongside your friends, it makes the process even more meaningful. It becomes more of a family affair rather than just work.We've seen Sankofa Archives do their own thing, partner with Patta and provide creative opportunities for people already. What’s next for Sankofa Archives? Sankofa Archives is more of a community platform than a collective. The next goal is to collaborate more while making it clear that it's not just about the people running it - it’s for anyone who has ideas but finds the barriers too high. We want to create opportunities for young and emerging artists.For example, with the Sankofa Archives community, we created an exhibition alongside our film screening to showcase diaspora talent in the Netherlands. Artists like Rarri Jackson, Nora Sofie and Gabriela Akyea, who are incredibly talented but may not always get the platform, are being featured. Our goal is to provide these opportunities through exhibitions, community events, screenings and more.It sounds like you're building something bigger than just an art platform. What’s your long-term vision?Yes, we want to establish a space - both physical and digital - where we archive art, music, film, and culture. We want to document not just the past but also the present, creating an archive for future generations. The next step is expanding our reach, bringing in more people, and forming new connections.If you could take this film and your work anywhere in the world, where would it be?I’m actually traveling to Senegal in March—not for work, but to explore Africa, gather inspiration, and exchange stories. I see a new wave of Afro-European artists reconnecting with their roots, and I want to be part of that. Learning more about where I come from is a big part of my creative journey. My work and my philosophy are deeply rooted in African ways of thinking, and I want to continue developing that perspective.On March 5, the second edition of MovieZone’s: KinoTalk will take place at Eye Filmmuseum, presented by Sankofa Archives and Free The Art. This special edition is led by Thaniel Owusu Agyemang and will feature his film Home: Where It All Begins, a personal account of his journey to Ghana—a deeply meaningful experience that allowed him to explore his identity, connect with his ancestral homeland, and embrace the Sankofa philosophy. Following the film, a panel discussion will take place with Thaniel and other artists, delving into themes of identity, heritage, and cultural connection. To conclude the night, Eye Bar & Restaurant will host a celebratory gathering with drinks and music inspired by the film’s themes. Doors open at 7:15 PM. Admission is free, but registration is required via this RSVP link.

Photography by Kristin Lee Moolman | Words by Candy Reding Baloji is a Congolese-born director, art director, and musician who defies labels and transcends boundaries in music, film, and fashion. His layered journey—from receiving an order to leave Belgium to representing the country at the Oscars with his Cannes-winning debut feature—offers powerful lessons on resilience, identity, and the transformative power of art.For Baloji, identity has always been a dual-edged sword, both a question to navigate and a declaration to uphold. His name, translating to “man of science” in Swahili, originally held a sense of pride and purpose. Yet under colonial Christian evangelism, the name morphed into something far darker, twisted into meaning “sorcerer” or “man of occult sciences.” In a world deeply rooted in spiritual traditions and Christian beliefs, his name became a stigma, a provocation, and a challenge. “It’s like calling yourself the devil or a demon in Europe,” he explains. Growing up as a young boy in Belgium, the misunderstanding of his name led to a sense of displacement and alienation. It made people uneasy, forcing him inwards to find ease. “It wasn’t about embodying silence; it was about breaking it,” he reflects, offering a glimpse into the resilience that has since become his signature.Baloji’s path as an artist has been defined by his refusal to accept the limits placed on him. A self-taught creator who built his craft through exploration and persistence, he shaped his artistic identity within the resourceful and rebellious culture of 90s hip-hop. “Hip-hop is the real DIY,” he says, recalling how it taught him creativity and self-reliance. “You’re making your own flyers, photos, fanzines. My specialization was rap, but that naturally evolved into graffiti, graphic design, and architecture. Dance taught me about the movement of damaged Black bodies. DJing and sampling opened my ears to the music of other cultures; Caribbean, Latin American, and even my Congolese heritage.” This constant expansion of his creative field allowed him to embrace his roots while beating the expectations often placed upon them.Baloji’s journey as an artist began with a leap into the unknown when he joined the Belgian hip-hop group Starflam in 1998. It was a transformative moment, “Starflam taught me about life,” he reflects because “I was an undocumented, illegal teenager. I had an order to leave the country and was far from my family.” This disconnection from the familiar, paired with the hardships of his undocumented status, could have stifled his potential. Instead, it fueled his artistry. Through Starflam, Baloji learned to channel his inner world, turning his emotions, struggles, and dreams into powerful lyrical narratives. The collective gave him the tools to survive and thrive, crafting an identity rooted in self-expression and rebellion against societal constraints. This period laid the groundwork for his multifaceted career.While Baloji’s creative independence is unmistakable, collaborators and mentors who believed in his vision have also shaped his journey. Among them was the late Virgil Abloh, whose innovative spirit left a lasting impression. “I learned so much from Virgil”, Baloji shares. “He could move from one project to another without losing focus and was always open to other designers. He supported the Augure film project because it aligned with his mission to uplift Black women and, by extension, Black-owned businesses.” Abloh’s spirit of collaboration and cultural pride resonates deeply with Baloji. His excursion into fashion marks yet another exciting chapter: "I'm working a lot on the fashion and art direction aspect at the moment because I've gained confidence in my skills and aesthetic choices by working with professors at the Fashion Academy in Antwerp.” For Baloji, fashion is about garments and storytelling, how costumes, art direction, and narration create a cohesive and transformative visual language.Fashion, however, is not a newfound interest but a natural extension of his lifelong appreciation for craftsmanship. As he excitedly explains, "I've got a few fashion projects coming up, and I'm working passionately on the crafts that I've discovered by being a great aficionado of Belgian designers.” From Martin Margiela to Anthony Vaccarello, Baloji draws inspiration from the greats. He also admires icons like Karl Lagerfeld, particularly his work with Métiers d'Art, which combines tradition and modernity in high fashion.For an artist whose work resists labels, the interplay of cultural traditions is central to his creative process. Whether in music, film, or fashion, Baloji treats symbols and narratives with a curiosity that invites exploration and connection. “I read the newspaper, I listen to author podcasts, I read biographies, even 50 Cent's is a gold mine, full of knowledge. Culture is about reaching out, stepping out of your comfort zone, and learning from others,” he says. This philosophy extends into his personal life, where he immerses his young daughter in a broad spectrum of experiences. From waacking events - waacking is a street dance style - to art galleries, Congolese snack bars to Korean neighborhoods, opera houses, and street basketball courts, Baloji ensures that she grows up understanding the value of diversity. He says that different opinions and perspectives build character, and that’s something “I want her to carry forward.”The turning point in Baloji’s career came with his evolution from music to filmmaking. This shift, while natural in hindsight, was filled with challenges. He reveals that he went to the European Cinema Commission (the non-profit association that supports filmmaking in Europe) “26 times between 2012 and 2022, and they only gave me the green light once.” Despite the promises of diversity and meritocracy often preached in the industry, the experience disillusioned him. They make you believe in the idea of “when you want it, you can (get funding), but it’s a lie. It’s about knowing who has the power to make it happen.” Despite these barriers, Baloji’s persistence paid off. His film Omen (known locally as Augure) received international acclaim, showcasing his ability to tell deeply resonant stories across mediums. Yet he remains grounded, crediting much of his success to the support of his family. “I owe so much to my daughter’s mother, who supported me through four years of filmmaking without income or certainty. She’s my luck.”Freedom, strength, and rebellion run like threads through Baloji’s work, but these qualities did not come without struggle. He speaks candidly about the sacrifices he has made for his art, describing a pivotal moment when he poured 25k of his own money into a film project. “My cinematographer told me: ‘25K is what I pay for my house mortgage.’ I don’t have a house; I’m still renting. But I see that sum as an investment in my art, in fighting for it to exist despite the obstacles.” For Baloji, creation is a form of resistance and determination. His projects are not simply about aesthetics but about narrative, depth and meaning. “People misunderstand my work; they think it’s just about images. But the visuals tell a story. They look easy to imitate, but it’s the flow of ideas that counts. Execution changes over time, but the narrative is what endures.”Strangely, Baloji’s recognition in the film world solidified his broader reputation. As the president of the Camera d’Or at Cannes, he found himself in a position of respect within an industry that had long resisted his inclusion. “I think I’m one of the first self-taught filmmakers to win a prize at Cannes and represent a country at the Oscars.” His film Augure (known as Omen internationally) was the Belgian entry for Best International Feature Film at the Oscars in 2023. But there’s still a long way to go in breaking glass ceilings for creative minorities and Black men. However groundbreaking, Baloji’s achievements are only one step in a larger journey toward systemic change.Despite the seriousness of his work, Baloji finds ways to invite lightness into his life. “There’s a lot of humor in my films and my work in general, but it’s secondary at first sight”, he explains. Humor is the politeness of despair, but so is poetry. When it’s time to decompress, he turns to simple pleasures: traveling, cooking, watching soccer (his beloved Real Madrid), or indulging in the freedom of not setting the alarm. These moments of lightness, however small, are vital to his sense of balance.Peace, for Baloji, remains an evolving concept. “I don’t know if I’m at peace with my past, but not having all the answers keeps me alert. It inspires me to keep fighting for myself, my loved ones, and for change.” Through his art, he challenges certain ideologies and redefines what it means to belong. “Art shapes how we view identity and culture, but curiosity drives creativity,” he says. With this insatiable curiosity and a refusal to accept limits, Baloji continues to transcend boundaries, inspiring others to embrace their roots while daring to create something entirely their own. Baloji is not just a symbol of resilience; he invites us to dream bigger and create fearlessly.The Patta Magazine Volume 4 will be included for free with each online order of the Patta Angelwings T-shirt while stock lasts. 

While AntsLive & YS Sainté were in town to visit Patta Amsterdam for a meet and greet, the North London rapper took to the streets and filmed a music video for his single Crew Love in and around our beloved Zeedijk area which is home to our Amsterdam chapter store.Get familiar with AntsLive here.

Here’s a look back at the magic from our last Patta x BACARDÍ event! Relive the unforgettable moments from our Valentine’s Day celebration as seen by Dennis Branko, and be sure to RSVP for the next event when it rolls around, you won’t want to miss out on what we’ve got in store!

Words by David KaneWhat Do You Call It? From Grassroots to the Golden Era of UK Rap took me over three years to write. It wasn’t supposed to. Deadlines came and went, and nine months before it was finally finished, I decided to rip it up and start again. Or at least start the start again. Part of that was driven by a change of start date, at first the book begins at the turn of the century a time fraught with tension (remember the ‘millennium bug’?), political machinations, and creative possibilities, where technology and culture were changing faster than it had for decades. But as I dug deeper, I realised I had to go further back, extending the scope to the start of the 1980s, when rap music landed on our odd little island, imported through the electro-driven hip-hop of Afrika Bambaataa, shaped by sound system culture, inspired by punk and accelerated by rave. And one name kept coming up. Thirty years ago, Tricky released Maxinquaye, and that album changed everything.By the early 90s, the excitement and promise of the UK hip-hop 1.0 had almost fizzled out. Dismissed by the media, denied by music industry gatekeepers, and only the most hardcore fans continued to show interest while the US was going through its golden into the gangsta era, attracting a broader—read, white suburban—rap music fan. There was friction within UK hip-hop, as Trevor Jackson, a.k.a Underdog and head of Bite It! Recordings, one of the few labels releasing consistently challenging hip-hop at the time, put it; “Everyone wanted to get a piece of a very small pie. Some UK foundational figures felt they owned everything and were entitled to success.” The energy in the UK had to come from somewhere and sound like something else.Adrian Nicholas Matthews Thaws grew up in Knowle West, a tough, predominantly white working-class area in South Bristol. Thaws was born to a Jamaican father and a Ghanaian-English mother, a poet named Maxine Quaye, who committed suicide when he was just four years old. His grandmother and various aunties brought him up. It was a happy, if unconventional, childhood despite being surrounded by violence;  “Where I come from, a lot of people are either on drugs, in prison or dead,” he later recalled. Fortunately, Thaws found solace in music. First, he was known as Tricky Kid, a rapper and sometime member of The Wild Bunch, a loose collective of musicians and artists who were so hip it hurt. They formed in the early 1980s and played at warehouse parties and Bristol institutions like St Paul’s Carnival, Special K’s cafe and the dingy Dug Out club. The influence of reggae sound system culture, punk, jazz, soul, and hip-hop were all present, but there was an unhurried melancholy to the music that was unique to a notoriously laid-back and diverse city.The Bristol music scene is a storied one, but The Wild Bunch — including Miles Johnson (a.k.a. DJ Milo), producer Nelle Hooper, Robert Del Naja (a.k.a. 3D), Grant Marshall (a.k.a. Daddy G), and Andrew Vowles (Mushroom) — were arguably the inception point and ruled the roost. Confident aesthetes, rolling around town on hi-tech mountain bikes decked out in Stüssy jeans and Vivienne Westwood shirts with an uncanny knack for sound. Milo introduced Tricky to the crew. He was a shy and sensitive teenager, but he had a supernatural talent for lyrics–sounding like a troubadour of darkness who had toked his way through a maze of marijuana. The collective dissolved in 1987, with Hooper joining Soul II Soul and Milo moving to New York, which left 3D, Daddy G, and Mushroom to form Massive Attack. Tricky appeared in three singles — “Daydreaming”, “Five Man Army” and “Blue Lines” — from the group's seminal debut album, Blue Lines (1991). A broody, epic sounding and insular feeling masterpiece, it helped redefine dance music and coin a new subgenre, trip-hop–a name almost every artist associated with it utterly detests, particularly Tricky. Both Tricky and, to a lesser extent, 3D rap with regional British accents, which was unheard of at the time, but the intention behind Blue Lines was to “Create dance music for the head, rather than the feet”, explained Daddy G. Yet Tricky was more interested in hip-hop. Tensions within Massive Attack (and The Wild Bunch before that) always seemed to be brimming close to the surface. While working on Blue Lines, Tricky produced the demo for “Aftermath”, a bluesy, smoky single with esoteric wood pipe samples featuring the dulcet tones of Martina Topley-Bird and Tricky’s haunting vocals. Tricky offered the track to Massive Attack as they were finalising their debut album, but 3D dismissed it, telling Tricky he’s “Never going to make it as a producer”. The single remained moored to tape, unreleased for a further three years. Shortly after the release of Blue Lines, Tricky departed the group and began working on solo material at a stoned snail's pace. Although ‘Aftermath’ laid the blueprint for what would eventually become his 1995 masterpiece, Maxinquaye (named after Thaws’ mother), a strikingly original body of work “Which acknowledged and accelerated what was new in the 90s, technology, cultural pluralism, and genre innovations.” As adroitly proposed by author Mark Fisher, a stark counter to the “reactionary pantomime of Britpop,” with its refuge in the past.That Tricky was even prepared to take centre stage was partly thanks to the mentorship of Mark Stewart, ex-frontman of legendary new-wave outfit The Pop Group and Bristol sound linchpin, who met Tricky via The Wild Bunch. Stewart is credited as ‘executive producer’ for Maxinquaye. If Stewart were the mentor, Martina Topley-Bird would often be framed as the muse (Tricky went on to have a romantic relationship with Topley-Bird). But in reality, Topley-Bird, who came from a well-off family with experience in the music business, helped influence as well as inspire the music for Maxiquaye, conceiving the jingle jangle melody of “Ponderosa” and provided an unexpected new take on the lyrics from Public Enemy’s “Black Steel in the Hour of Chaos” in “Black Steel”. The legend goes that Tricky met 15-year-old schoolgirl Topley-Bird outside his house, waiting for a bus and invited her to make a song on an impulse. That impulse continued in the eventual studio sessions, where all the vocals were recorded in the first take. Alongside the expected hip-hop, dub and soul influences, there is an art-rock weirdness to the sound, a sludgy filter over the percussion and, of course, that famed dark atmosphere with cracks of piercing light courtesy of Topley-Bird’s soothing vocal. “Let me take you down the corridors of my life.” Tricky beckons on “Hell Is Round The Corner”. Tricky was still in his early twenties when he wrote and recorded Maxinquaye. Yet, he had a pool of life experience to draw from, with no shortage of trauma and complexity, having grown up around gangsters with limited familial affection and often went looking for fights in Bristol’s nightclubs, wearing makeup and a dress. Drugs, sex, dysfunctional relationships, and a broader pre-millennium tension are subjects broached in the record. Despite this heaviness, he appears sensitive as he is streetwise and raw. Two things stand out from Maxinquaye and much of the music Tricky has made since. The first is how quietly Tricky raps, a silently disciplined zig to everyone else's clamorous zag, which demands the listeners' attention. The second is his androgyny as a lyricist; in “Suffocated Love”, a seemingly straightforward track on the inner dialogue of a couple where the man gets the sex, and the woman gets the money, isn't quite what it seems with sexual violence and man's dread of intimacy playing the background; “I keep her warm, but we never kiss / She cuts my slender wrists”. “I think ahead of you, I think instead of you”, Topley-Bird’ teases in response. It’s worth remembering that Tricky is responsible for nearly all the lyrics on Maxinquaye, a morass of gender-bending adventure and sonic contortion. In an interview with Mark Fisher for The Wire, Tricky admits his “Lyrics are written from a female perspective a lot of the time.” This takes us to the fourth significant collaborator on the album—there were others, including The Cure producer Mark Stewart and DJ Howie B, who got burned by the experience, but that’s another story—in the voodoo homage to the mother he never knew, claiming that she channelled his lyrics through him and Martina Topley-Bird. The album prompted universal and hyperbolic critical acclaim, perhaps the most memorable of which was David Bowie's 2,000-word paean in Q magazine. In this, Bowie, in typically Bowie-esc glossolalia, acknowledged the arrival of an heir to his shape-shifting crown (or tiara?) and also recognised that his own game might be up. “Here come the horses to drag me to bed,” Bowie concluded. “Here comes Tricky to fuck up my head.”Despite the success of Maxinquaye—the record proved a completely unexpected commercial triumph, reaching number 3 in the UK album chart, selling over half a million copies since, and regularly appearing in ‘best of’ lists—Tricky’s life didn’t get any easier. There have been battles with mental health, problems with guns (his cleaner’s young son accidentally set off a Uzi in his New Jersey apartment), and a hedonistic lifestyle that almost left him in financial ruin. Most tragically, Mazy, his daughter with Topley-Bird, took her own life in 2019.  Like all great minds, Tricky reminds us how noble, tortured, and downright absurd a creature humans can be. And he writes raps as hard as hell. What Do You Call It? From Grassroots to the Golden Era of UK Rap is out now on Velocity Press. The book is available directly from the publisher, all good book and record stores. It’s a book about the evolution of rap music in the UK, when hip-hop landed on our odd little island in the early 1980s. Shaped by sound system culture, inspired by punk, and accelerated by rave, A sound that has evolved from Britcore, UK hip-hop, and trip-hop of the late twentieth century to garage, grime, and drill. What Do You Call It? is also a story about what it means to be seen and to belong to this country. Get familiar with David Kane or head to your local Patta store to get your copy of Patta Magazine Volume 4 now.

Maha Eljak Launches the Second Edition of Mahazine: Art as a Form of ResistanceMultidisciplinary artist Maha Eljak is set to launch the second edition of her self-published DIY zine on February 25, and it’s one you won’t want to miss. Titled Art as a Form of Resistance, this issue continues the journey of a project that started as an overblown school assignment in 2021, sparked by frustration with the one-dimensional portrayal of Black Muslim women. What began as an artistic protest against the mainstream narrative has evolved into a powerful platform for Maha to reclaim and center her own voice, presenting her identity on her own terms.The result is nothing short of a creative explosion—a zine packed with vibrant collages, stories, punk influences, poetry, interviews, and photography. Maha’s art challenges society’s assumptions, raises awareness, and, most importantly, encourages others to look beyond surface-level perspectives.From School Project to Creative MovementWhen Mahazine first launched, it took the world by storm. The first batch of Mahazine 1 sold out within two days, leaving readers hungry for more. Now, with Mahazine 2, Maha brings a more mature version, offering even greater depth, reflection, and insight. This edition dives deep into the themes of politics, identity, punk culture, and the fashion industry, all wrapped in the aesthetics of 70s and 80s punk zines, with a dose of her Sudanese roots.By blending these diverse elements, Mahazine becomes more than just a publication—it transforms into a tool of resistance, demonstrating how art can challenge the status quo and provide an authentic space for voices often excluded from mainstream narratives.Why Mahazine Matters: Reader ReactionsThe impact of Mahazine is palpable, with readers praising the zine for its power to break through societal bubbles and offer a fresh perspective. One reader shared:"What I feel after reading Mahazine is just how important your zine is and how much we need more zines like this in the Netherlands. Or rather, we need your voice; it’s invaluable in journalism and art because it enriches perspectives. It’s crucial because Mahazine breaks through bubbles. It brings stories to light that often go untold, offers perspectives outside the mainstream, and gives a voice to experiences overshadowed by dominant narratives."The zine is not only a source of information; it’s a bridge between two worlds—those who live in privilege and those fighting for more diversity and inclusion. Mahazine serves as a reminder that, through art, we can inspire change, challenge the norm, and find strength in authenticity.Another reader expressed the hope that Mahazine instills, saying:"It’s a reminder that change is possible and that every voice can make a difference. ‘Art as a Form of Resistance’ shows that not fitting into norms or conventions isn’t a weakness but a source of strength and authenticity."Join the Resistance: Release Party at ParadisoTo celebrate the launch of Mahazine 2, Maha Eljak will host a release party on February 25 in the Upstairs room of Paradiso. This is no ordinary event—it’s an immersive night of culture, entertainment, and resistance. Expect poetry readings, live bands, inspiring guest speakers, and, of course, delicious food and drinks.And here’s a spoiler: The evening will be filled with Sudanese culture, so get ready for an unforgettable experience. Whether you're an art lover, a punk enthusiast, or someone simply looking for an evening of inspiration, this release party promises to deliver.

Farida’s work doesn’t just engage; it rallies while exploring intersectionality and the influence of monetary economics, heritage, and politics on the future of globalism and community life. Hip-hop, punk activism and social care are all themes the acclaimed multi-disciplinary artist puts on wax via screen prints, textile art, murals and beyond. Her label HOSSELAER (est. 2008) has collaborated with Patta and Junya Watanabe, while her oeuvre includes a partnership with Emory Douglas, artist and former Minister of Culture for the Black Panther Party, in collaboration with HipHopHuis Rotterdam and work for Stedelijk Museum Amsterdam. Farida also recently designed a beautiful book and the visual identity for Our Colonial Inheritance at Wereldmuseum Amsterdam, where her art installation occupies an entire room. As the newly crowned winner of the Amsterdam Prize for the Arts - Work of the Year for her solo show and art market People’s Forum, Farida levelled the field, bum-rushed the show and won big. For those usually left looking up. For the underdog. For the arts. For the people.DOMINIQUE NZEYIMANA: Cover girl!FARIDA SEDOC: “A 44-year-old cover girl! Nice!” (laughs)

DM: Congratulations on your major Amsterdam Prize for the Arts win! I’d love to talk about the process behind People’s Forum, your now award-winning exhibition. I witnessed first-hand how fantastic it was. How did you land on wanting to do it and when did you start building it?

FS: “Some years ago, I had a conversation with Fadwa Naamna, an artist and curator living in Amsterdam. We’d worked together on an exhibition at the Stedelijk Museum Amsterdam. During that time, we talked about W139 - the independent art space squatted in the ‘80s by artists looking for alternatives to the traditional art world. W139, much like major institutions such as the Rijksmuseum or the Stedelijk, is often debated in the Dutch art scene, especially when it comes to its funding and future. The Netherlands has this unique, discourse-driven subsidy system free from commercial influence that supports critical thinking. W139 was on shaky ground financially around then, as Fadwa and I discussed alternative ways to sustain such spaces. The concept of organising a bazaar came up and I suggested an art market where artists could sell anything they wanted, not just their work. The idea clicked, and Fadwa invited me to develop it further when she joined the artistic team at W139. Initially, we planned it for 2021, but the pandemic delayed everything. A couple of years on, we set a date for late 2023. Working with W139’s new team and co-curator Claudio Ritfeld, we started drafting budgets, securing funding and coordinating logistics together with technical and supporting staff. It was a long road. In the Netherlands, curators often have to source their own funding instead of working with a pre-approved budget. It makes the process complex. It’s like: ‘Hey, do you want to do an exhibition?’ If you say: ‘Yeah!’, they reply with: ‘Oh, also, we don’t have any money.’ (laughs) And then if you’re still up for it, you start building a case to get funding.”Photographed by Pieter Kers, W139, 2023, Exhibition People's ForumDM: That takes a lot of faith!

FS: “Of course, you get some money while you’re working on your bid. But it does highlight the vulnerability of the art world. Institutions might provide a buffer but for artists, financial uncertainty is constant. It’s a system that often limits opportunities to the privileged few. After months of development and waiting, we finally secured backing from sponsors. So, after the 2022 group show Non-profit At All Cost I curated at NEST in The Hague, I was officially invited to do my first institutional solo show at W139. I wanted it to serve as the backdrop for a public programme that could engage wider audiences beyond the art world – a decision that also tied back to certain funding requirements. The market became part of this programme, spanning two weekends. Half the vendors were people we know and the other part was curated through an open call. They joined us, offering everything from independent magazines and music to clothing, crafts and handmade goods. Athenaeum Boekhandel hosted a pop-up, vinyl sellers brought their good shit and local artists added something unique. Artist advocacy group Platform BK had an office-in-residence. We also hosted workshops every Friday to help artists professionalise their artistic practices. These sessions covered everything from navigating contracts and understanding AI to owning your rights and working with digital art. Lawyers with art backgrounds guided participants and answered questions. For me, it wasn’t just about the market but about creating a space where artists could experiment, collaborate and exchange. The collectivity of it all was powerful.”DM: How did you approach the Farida Sedoc - Solo Exhibition part of it? 

FS: “I was working on what I love most: screen printing. I had been collecting images and when I thought about the huge space at W139, I initially wanted to make large works that would have an impact. But creating several big pieces wasn’t doable time and budget-wise, so I decided to make about 40 smaller works instead, hung in a single round-about line as one cohesive series. I also want to add that the graphic design and spatial design was done by Heavy Bones, and the success of the show as a whole was greatly impacted by this. It allowed me to focus on the story I wanted to tell rather than being overwhelmed because I had to fill the room. I also love doing research, so I set out to explore feminist archives. But the pandemic made access difficult. Instead, I went to my mom’s house and found a trove of books and self-published ‘80s magazines. The themes were still deeply relevant today, so I took pages that caught my eye and used them to create new prints and collages. One moment that stood out was finding old newspaper clippings about my father and my mother’s university friend. It highlighted the importance of migrant communities documenting and sharing their own stories, rather than having them told by others. This inspired me to create works that imagined new futures while building on past stories - a way of reflecting on our own narratives and shaping what’s to come.”

DM: What was the most important takeaway from the overall experience?

FS: “People’s Forum proved that it can be whatever you want: selling your art, the cookies you baked or even clothes left lingering in your closet. Artists have many facets. The beauty was that you weren’t forced to sell your art, if you made the best hot chocolate in Amsterdam, you were welcome to sell that. It forces you to reconsider what defines your practice and how you want to make a change in the world. At its core, it was about sharing resources and challenging the exclusivity and pretentiousness of the traditional art world. It responded to the idea that artists must follow a set path: go to art school, land a gallerist, make work in a studio and then let the gallery sell it. But that’s not the only way. People’s Forum showed there are many paths to success and no shame in a non-linear journey. The market also brought accessibility to the conversation. Artists reserved tables for 25 euro and sold whatever they felt like, with some making 600 euro, enough to cover their rent for the month. How great is that!”DM: I love how you have this introverted energy that I completely relate to, but yours almost always gets overruled by your care for the collective. FS: “I, myself, love working alone. I’ll be in my studio, minding my business, chugging away. But when I’m ready to step outside, a lot of my work is about shared energy. Not everyone is entrepreneurially inclined, yet the system often demands it. People’s Forum is a DIY approach to the art world system but with a collaborative spirit. Instead of DIY it became DIT, ‘Do It Together’. The Amsterdam Prize jury and the city saw it as something wild and impactful.”DM: So, where do you want to take your work next and what about HOSSELAER? How do you sense when it’s time to tap back into your brand?FS: “Well, it’s more practical. Whenever I have an exhibition, I create HOSSELAER merch, like a T-shirt capsule. It’s always tied to the show and when people are excited about the exhibition but perhaps not yet familiar with my work, they want something to take home. A T-shirt becomes an accessible way for them to connect with the exhibition without necessarily having to buy a piece of art. It’s also a way to communicate the message or context of the show in a simple, affordable format. I also enjoy doing collabs, but not by directly linking HOSSELAER with other brands. Instead, I’ll design T-shirts on commission. Like when I worked with Patta, they reached out and asked: ‘Hey, would you like to design a T-shirt for this project?’ and I said: ‘Bet, let’s do it!’ These collabs are more project-based. Of course, I’d love to keep doing this, but I’ve come to terms with the fact that it’s not my core business. That was hard to accept at first, but I’m okay with it now. Sometimes, I think about improving the quality of the T-shirts. For instance, on a random Monday night, I’ll go: ‘We need to step up the quality’. Recently, my studio mate made a really nice T-shirt and I was shocked by how good the fabric was. I yelled: ‘What is this?! I have the same supplier, but they never sent me these!’ (laughs). Then by Wednesday, I’ll have forgotten about it and three months later, it’ll pop back into my head. My neighbour says, at this pace, I’ll have a successful T-shirt business when I’m 80. Which is fine by me. Hopefully, I can keep collaborating - whether in fashion or another field - and maintain enthusiasm for the creative process. I’ve seen too many artists lose that passion over time, for various reasons, and it’s such a shame. Whether the work is big or small, I want to keep that fire close to me. It’s about having something to say, staying connected with my medium and finding my tribe. That’s what I strive for - to stay true to my art and continue to express myself in ways that resonate with others.”Photographed by Peter Thijhuis, Stedelijk Museum Amsterdam, 2020, The Future Ain't What It Used To BeDM: What’s next? I know you want to retreat a little bit, but momentum is also a real thing. 
FS: “What’s most important for me is that, as an artist, the focus stays on the work. Once your attention shifts to everything around it - negotiating contracts, dealing with different departments, making videos about the project or talking about it - then the quality of the work itself starts to suffer. That’s why I don’t say no just to say no - I do it because I need to stay sane and capable. I need time to sleep well, be able to get out of bed, not burn out and approach projects with the right energy. Whether I’m happy, pissed the fuck off or somewhere in between, I still have to be motivated to create. And that’s where I’m at now. I want to make space for that, and the prize gives me that freedom - to take time and develop new work. Even though I do have exhibitions lined up for 2025, I’m prioritising that deeper engagement with my practice. As for other goals: a solo expo internationally would be cool.”
DM: Any specific museums you have in mind?
FS: “I’ve learned to go where people understand my work without much explanation. In independent, experimental spaces, there’s genuine respect, and people get the work for what it is. That’s where I feel most at home. The gallery world is still new to me, and I’m exploring it to understand what production and storytelling mean in that more commercial setting. I want to dive deeper into that context. Sometimes I feel I may be overthinking it, but it’s a process and I’m open to seeing where it leads. Some of my friends will say: ‘Money is nice, Farida, it’s really fun to have. You don’t have to make it so complicated. Just create something, and then the gallery will sell it.’ (laughs) I’m still figuring out what that balance looks like for me. And finding a good gallerist is almost like finding a lover. You can’t force it.”Photographed by Goedfolk & Charlotte Markus, Nest Art Space, 2022The gallerists I know work so closely with their artists. They call them almost every day just to talk about what’s on their mind. It’s like a marriage. I don’t think I could take on a second husband or wife like that. Speaking of love: the night you won the Amsterdam Prize for the Arts, my IG feed was full of Farida, which was the best. Everybody was rooting for you. You were in a category with Steve McQueen. How do you look back on that moment? FS: “It was amazing to win a prize from the city and the people of Amsterdam, not just the art community. The recognition felt good, especially knowing a lot of this year’s winners were underdogs who have been at it for years and kept pushing against all odds.”Photographed by Goedfolk & Charlotte Markus, Nest Art Space, 2022DM: How did your family react? FS: “My dad is proud. My mom was at the ceremony, and brought along a bunch of elders. They were drinking wine and having an excellent time! (laughs). My daughter and my partner were with me, as were my little niece and my neighbour’s kid - they’d never been up that late. Our crew was rolling 20 or 30 deep. All the nominees were smiling big at the cameras. Everyone wanted that grant! My fellow nominee Ena, who’s won a bunch of Golden Calves (the award for the Netherlands Film Festival), told me backstage that she knew I had this. When they announced People’s Forum as the winner, everyone screamed as loud as they could. It was a great night.”The Patta Magazine Volume 4 will be included for free with each online order of the Patta Angelwings T-shirt while stock lasts.

Interview by Passion DzengaHip-hop has always been more than just music - it’s a movement, a cultural force, and a reflection of its environment. While the U.S. laid the foundation, the UK developed its own voice, shaped by sound system culture, punk rebellion and the raw energy of garage and grime. From Britcore to drill, the evolution of UK Rap has been a story of resilience, reinvention and relentless innovation.Today, we’re joined by David Kane, a writer and cultural historian whose latest work, What Do You Call It? From Grassroots to the Golden Era of UK Rap, charts the first four decades of UK Rap. Through extensive research and exclusive interviews with key figures - from pioneers like Jazzie B, Roots Manuva and Roll Deep to modern trailblazers like Little Simz and CASisDEAD explores how UK Rap carved out its own lane, reflecting British identity and reshaping the global music landscape. If you got love for the culture, this is a conversation you don’t want to miss. David Kane has also been instrumental in the process of bringing the Patta Magazine to life from Volume 1 until now as the editor-in-chief of our seasonal offering. On the eve of the release of Patta Magazine Volume 4, we want to share the thought process and teachings from the brand new book so on a cold Tuesday morning, we met up with him in the heart of Amsterdam to discuss his brand new book.We’ll be breaking down the scene’s defining moments, the role of radio and social media, and the shifts that turned UK Rap from a grassroots movement into a dominant cultural force. So get familiar with David Kane.How does UK Rap reflect British identity?UK Rap has been a powerful medium for exploring British identity, especially for people from diverse backgrounds. Through the book, many artists have discussed what it means to be British in a multicultural society, using music as a platform to engage with complex social issues.There’s often talk about using an authentic British voice in UK Rap. What are your thoughts on that?I think it’s something every country goes through when they first adopt rap music. Early Dutch rap sounded American, for example. After working through the US accent thing, there was a little bit of a North-South divide, but artists like Tricky showed that you could rap in a non-London accent with authenticity and skill.How did UK hip-hop artists approach grime, and how did timing affect their success?In the mid-noughties, I began writing for magazines such as Touch, Big Smoke, Trace, and nascent blogs like UKHH.com. These titles specialised in what was then known as urban music. I tended to write about hip-hop and grime, convinced there was a connection between the two. I interviewed a few UK hip-hop MCs at the time who were not receptive to this and saw grime as a passing fad, while fans were often less kind. Speaking to Juice Aleem about the relationship many years later—his group New Flesh has frequently been described as “proto-grime”—he made a wise point: “There was a disconnect, [it was like] ‘Hey, young man, come off the mic,’ ‘Hey, fuck off, old man.’ And that’s the nature of be-bop to fusion, blues to jazz.” Like many things, timing can be everything. Klashnekoff—who collaborated with Terra Firma and was very positive about grime despite being considered a UK hip-hop MC—could have been huge if he had been born ten years later. He’s a versatile MC with great imagination, but he was probably too raw for the time. Durrty Goodz is another example, albeit coming from a grime background with an openness to hip-hop. Outside the scene, these artists were met with a mostly uninterested music and media industry. It’s changed now. You have someone like Loyle Carner jumping on a track with Unknown T that slaps, someone from hip-hop (or jazz or alt. rap as it's sometimes known) with a drill MC. There are still different scenes in some respects, but the barriers have come down.How did grime evolve from being club music to street music?Garage and jungle were dance genres built for clubs. Towards the end of the halcyon period of garage you had this MC-strain coming through, the aforementioned Heartless and Pay As U Go, plus the humongous (in every sense) So Solid Crew. Grime started in that space, but when MCs moved away from club-oriented themes - aspirations, champagne, heartbreak - and started telling real street stories, that shift happened.What changed when rap became financially viable in the UK?A few records charted in the late 80s, like Street Tuff by Rebel MC (who would later become Congo Natty) and Derek B’s Bad Young Brother, but these were the exceptions rather than the rule, and they didn’t make too much money by all accounts. The UK looked to the U.S. for formulas. Artists realized that by rapping over 95 BPM boom-bap beats and adding a hook, they could replicate the success of American acts like A Tribe Called Quest. British rap was still figuring itself out. It took a few decades before it became financially viable. Although, DJ Target told me a good story about Wiley making six figures in white label releases “easily” in the mid-noughties, and So Solid Crew enjoyed financial success, but even that was relatively fleeting. Around the late 2000s, things began to change. The pendulum started to swing from indie rock to artists like Tinie Tempah, with tracks like Pass Out, blending pop-friendly sounds with grime and drum & bass. Even though it was a bit of messy period—I doubt Skepta or Wiley look back with much creative satisfaction at Rolex Sweep and Wearing my Rolex (although I do maintain Dizzee Rascal’s Bonkers is a bit of a tune)—it helped grime and UK rap reach a bigger audience and find new opportunities.Who were some of the early UK Rap pioneers that inspired you?The earliest UK Rappers that inspired me came from two paths: the first was the garage MCs I went raving to in my late teens, the likes of Bushkin and Mighty Moe from Heartless Crew, Ms. Dynamite, and Pay As U Go, the precursor to Roll Deep, their sound took elements of dancehall, jungle and what we can now describe as proto-grime. It was more about the vibe. On the other path was UK hip-hop, artists like Roots Manuva, Ty, Jehst, and Skinnyman, who were more lyrical. It’s not to say that one is better than the other; I feel fortunate enough to have grown up with both, and it’s a—not-always-easy—relationship that I explore in What Do You Call It?How important was radio for UK street music?In the first 20-30 years of UK Rap, radio was crucial - it could make or break careers. Stations like Capital, Kiss FM, and BBC Radio 1Xtra played a massive role. However, with YouTube and social media creating their own ecosystems, radio lost some influence. The democratization of media meant artists no longer needed gatekeepers to gain exposure.How did hood videos contribute to UK Rap culture?Hood videos were essential in showcasing artists’ environments. They were the pirate radio of video, giving a face to street music. Channel U and, later, video platforms like SBTV & Grime Daily provided a visual to the culture. Before this, people outside of major cities had little exposure to the music beyond pirate radio (which had a limited signal reach), a few live shows and raves that were often shut down by police, and the trickle of mixtape releases available at record shops. (Although, as I write about, Napster certainly helped from an audio perspective).How did social media change UK Rap?The rise of social media and streaming platforms like Spotify created a digital revolution. Artists could connect with fans directly instead of relying on radio stations and magazines for their narrative. This was both a blessing and a curse: It meant fans could get a deeper insight into an artist's lifestyle, but often without the critical context that good music journalism provides.What role did Stormzy play in the recognition of UK Rap?It’s big and has a lot to do with the headline show at Glastonbury in 2019. I’m going to include a short extract from my book to explain why:Whether you like Stormzy’s music or not, it doesn’t matter. Everyone from Adele to Wiley and Jeremy Corbyn lavished the performance with praise. This was UK rap’s Woodstock moment. The culture had entered a new world where it would remain: the realm of superstardom and commerce. But to Big Mike’s credit, his performance was as much about everyone else—the legends of UK rap he thanked and, more importantly, those who lost loved ones after the Grenfell disaster—as himself. Do you think UK Rap will keep evolving?Absolutely. Music always progresses, and the UK scene has moved far. We’re seeing MCs from all over the country breaking through, rapping in a style with storytelling unique to where they’re from; whether it’s Pa Salieu in Coventry or Nemzzz from Manchester, it keeps getting richer. And externally, the influence keeps growing; you have Afrobeats and UK drill shaping sound, language and culture globally. It’s a beautiful thing to see. David Kane has written about music and popular culture for nearly 15 years. Bylines include Esquire, Dazed, CRACK, The Financial Times, and Wax Poetics magazine. He is the editor and publisher of Patta's bi-annual magazine. What Do You Call It?: From Grass Roots to the Golden Era of UK Rap is out now on Velocity Press. You can find an excerpt from the book in our Patta Magazine Volume 4.

Interview by Candy Reding & Passion DzengaIn 1986, Mrs. Elfriede Sinester founded the Mi Oso Es Mi Kas Foundation, a groundbreaking initiative that became the first center dedicated to supporting girls and teenage mothers in Amsterdam South-East. What started as a safe space for Surinamese and Antillean young women in the Bijlmer has since evolved into a powerful, cross-cultural organization that provides education, housing, guidance, personal development, and parenting support to women from all walks of life. The foundation, which closed its doors in 2007, was instrumental in addressing the needs of teenage mothers in the Bijlmer, offering them opportunities to build brighter futures. Mi Oso Es Mi Kas also left a cultural mark, hosting annual festivals, organizing international exchange programs, and establishing a celebrated African ballet dance group. Among its many accomplishments, the foundation launched the first female Kawina band, which proudly bears its name.We had the chance to sit down with Giorgio Toppin, Marina Toppin, Marjorie Toppin and Horees Augustuszoon, who are about to share their journey through an exhibition and documentary on February 7th at Amsterdam Stadsarchief. Get familiar with this story of resilience and empowerment.Could you tell us a bit more about the foundation - how it started, and why it was important to come together and create this community?The foundation was started by Elfriede Sinester. Initially, it was meant to help teenage girls, but she began hearing about young girls who had become mothers and were washing their babies in sinks, unsure of what to do next. These girls weren’t receiving help because the system categorized them as too young for adult services but too old for teenage services. So, she started focusing on them. We helped them find housing, deal with bureaucracy, and navigate the system. We were a safe haven, offering immediate support when others wouldn’t. Many of these young mothers were cast aside by their families and needed a place to stay. Mi Oso Es Mi Kas stepped in to offer them shelter and support, making sure they had a place to go even if we had to work late to find them one.What was life like for these teenage mothers, and how did Mi Oso Es Mi Kas make a difference?Many of these girls were kicked out of their homes and had nowhere to go. They often wandered the streets with their babies, looking for shelter. Mi Oso Es Mi Kas provided that immediate support, helping them find shelter, navigate their paperwork, and connect them with other organizations that could help. We didn’t turn anyone away. We also offered education, workshops, and even organized fun events to give them a sense of balance and community. The goal was always to help them regain control of their lives and empower them to build a future for themselves and their children.The foundation mainly worked with Surinamese and Antillean communities in Southeast Amsterdam and very quickly addressed issues that affected the whole demographic of young mothers, not just people of black descent. What legacy do you hope Mi Oso Es Mi Kas left behind?The legacy we hoped to leave was one of self-sufficiency and empowerment. We taught the young mothers to be proud of who they are and not to be ashamed of their circumstances. Many of them felt stigmatized as teenage mothers, but we showed them that having a child didn’t mean their future was over. We instilled the idea that they could still pursue their dreams, go to school, and succeed. The legacy we’re most proud of is that many of the girls we helped went on to become independent, successful women with their own businesses, stable homes, and positive impacts on their communities. They’ve passed on the teachings of Mi Oso Es Mi Kas, and now, they help others in turn.How did Mi Oso Es Mi Kas encourage these women to take control of their lives?We taught them simple yet vital skills: how to manage their finances, how to talk to other organizations, and how to navigate the systems that often felt impossible to penetrate. We offered more support than just help finding shelter, our aim was to empower them. We treated them like family, made sure they felt welcome and helped them gain the skills they needed to manage their own lives. They didn’t have to wait for help; they got it immediately.What’s your proudest achievement from your time with Mi Oso Es Mi Kas?I think our proudest achievement is that we helped stabilize so many young women’s lives. They came to us lost and uncertain, and they left as confident, self-sufficient individuals. We were able to help them build a foundation for their futures, and many of them, like a lawyer or business owners, are now successful in their own right. We were there for them when no one else was. That’s the legacy of Mi Oso Es Mi Kas: helping people rise from difficult circumstances and providing them with the tools to succeed.It sounds like Mi Oso Es Mi Kas really created a community. How do you hope that community continues to thrive?The community that Mi Oso Es Mi Kas created is one based on empathy, love, and support. We had an open door policy - you were always welcome! This sense of belonging is something we hope the women who came through Mi Oso Es Mi Kas continue to pass on. We believe in a ripple effect - each of these women have the tools to help others, whether they’re family, friends, or even strangers. Mi Oso Es Mi Kas was more than just a foundation; it was a family, and that spirit continues to live on in the women we helped.It’s clear the impact has been significant. How do you see the ripple effect of Mi Oso Es Mi Kas continuing today?We see it in the women who’ve grown into community leaders, mothers, entrepreneurs, lawyers, business owners and more. They’ve carried forward what they learned and now share it with others. The legacy of Mi Oso Es Mi Kas is not just in the work we did but in how these women go out into the world and make a positive difference, whether that’s helping other young mothers or pursuing their own dreams. Our community continues to grow, and it’s amazing to see how the work of Mi Oso Es Mi Kas has inspired so many to keep going. The goal has always been to give young people, especially young women, a solid foundation to raise their kids confidently and to succeed in life, whether in education, business, or personal growth. These are all essential parts of the process.You mentioned earlier that you've had success stories. Are there any individuals who really stand out to you - people you helped who went on to become the best versions of themselves? Marjorie: Oh, there are a lot of stories. Sometimes when I walk down the street, I’ll bump into former teenage moms, and they’ll tell me how far they've come. Some have started their own businesses, and it's incredibly rewarding to hear their success stories. One girl stands out. She had a child at a very young age - around 16 or 17. Her family didn't support her much, especially her sister, who was in politics. Her sister looked down on her because she was a teenage mom and kept pushing her to become a lawyer, but this girl didn’t want that. We had a conversation, and I told her to follow what she wanted to do, not what anyone else thought. Eventually, she left law school and started her own business, which is very successful now. She even got into real estate. Mission accomplished!That's incredible! So many young people might feel like having a child means the end of their dreams. How did you help those who wanted to continue their education?Marina: The educational aspect was a big focus for us. We had a program that helped young mothers continue their education by providing childcare. We made arrangements so the teen girls without kids could babysit the children of the teenage moms so they could attend school or pursue academic achievements in school. It wasn’t just about education - it was about empowerment. We also emphasized the importance of having a diploma, especially back in those days when it was so crucial for women’s independence.It sounds like the foundation focused heavily on empowerment. You also mentioned helping people with housing. How did you help teenage moms who needed a place to live?Marjorie: Housing was a huge part of our support system. We had connections with the social housing system. When a young mother came to us, struggling to stay with her family, I’d write a letter detailing her situation and send it to the housing organization. We had a strong relationship with the housing officials, and they would often approve the request very quickly. Once they got housing, we continued to guide them for a year, helping them with financial literacy and responsibility, like paying rent and managing an apartment. This was an essential part of setting them up for success.It seems like financial literacy was a key part of the program. How else did you equip these young women to be independent and confident?Financial literacy was important. But we also worked on building their confidence and self-esteem. Many of the girls felt like failures because they had children young, and society had a stigma about that. We made sure to constantly remind them that they were not failures—they could still achieve whatever they set their minds to.Beyond education and housing, the organization also had a cultural component, right? You mentioned the African ballet and the first female Kawina band. Could you tell me more about that?Yes! We started with African dance and singing. The African ballet was the first of its kind in the Netherlands. The girls performed and even won awards. It gave them something to be proud of and helped build a sense of community within the center. We also had the first female Kawina band, which was a huge deal because the genre was traditionally male-dominated. The girls not only sang but also learned to play instruments, which was unique. One of their songs even became a hit in Suriname! It was amazing to see them gain confidence and recognition for their talents.It’s remarkable that music and culture played such an important role. You mentioned how their album became a cult classic. Is there anything else you'd like to share about that?The band was also called Mi Oso Es Mi Kas (named after the organization), and they went on to produce two albums. Their first album became a cult classic, especially in the Surinamese community. They performed internationally in places like Germany and Belgium. What was really special was that they were the first all-female Kawina band, which was groundbreaking. It was a source of empowerment and pride for the girls involved.So, from dance to music, it sounds like the foundation also helped young women express themselves artistically and culturally. How do you hope younger generations, who didn’t get the chance to benefit from this initiative before 2007, can create their own initiatives today?We hope they take inspiration from what we did - creating community spaces where young women can support each other. Right now, there’s a lack of community support for young women. Many organizations today tend to focus more on young men, but the girls are often left behind. Initiatives like ours were crucial because we provided a safe space for women to come together, share experiences, and lift each other up. It’s vital that younger generations continue this work, whether it’s through social initiatives, education, or cultural projects.You mentioned that today’s young women don’t have enough support. What do you think has changed since 2008, and what support do young women need today?Marjorie: The challenges are still the same - teenage mothers need support, but today there’s a lack of organizations focused on them. Unfortunately, many teenage mothers today face the risk of having their children taken away and placed in foster care. That’s a sad reality because we were always focused on keeping mothers and children together, providing them with the support they needed. There’s definitely a gap now. Many young women feel isolated and unsupported, and I think that’s something we need to address.There seems to be a bias where social initiatives focus on helping young men, and young women are often overlooked.Exactly! Young boys often get more attention because there’s a perception that they’re at risk of becoming involved in crime or violence. But the needs of young girls are just as important, especially when it comes to providing safe spaces for them. That’s why we started the first girl-centered initiative in the Netherlands. The girls needed a place to be themselves without fear of harassment or judgment.We wanted to give these young women a place where they didn’t have to perform or be something they weren’t. Mi Oso Es Mi Kas was a place for them to just be, to discover who they wanted to be in life and find ways to navigate their future with the right tools - without any judgment. It was like coming home, just like being at your mom's house. They’d come in, get a meal, and we’d all eat together in a communal kitchen. They could also talk to a psychologist if they needed. It was all about support.The idea was to create a space where they could meet others their age who were going through similar experiences. Young men were invited for special events such as open discussions about sexualty, gender roles and parenting. Because of the financial strain of the foundation they were always female focused.And it sounds like you really invested a lot of time and energy into this. Was there any financial backing for this work?Honestly, no. We worked on a shoestring budget. The pay was minimal - if anything - but we did it because we cared. People nowadays are more focused on getting paid, but back then, it was about helping, not about money. We worked long hours, often from 9 in the morning until 11 at night, and we didn’t leave until every woman was taken care of. It was demanding, but we knew it was needed.Even though there might not be an initiative like ours now, especially with the current climate of individualism, it’s crucial to have places that offer these kinds of tools and support. The system still fails to adequately support young mothers. They still need a space where they can go and get the help they need.Did the initiative provide accountability and support for the fathers?The families of the fathers often protected their sons and didn't hold them accountable. Mi Oso Es Mi Kas held workshops to address this and encourage fathers to take responsibility. There was a definite stigma and conservatism around having children out of wedlock, and sex education was still taboo in the 1980s.Did Mi Oso Es Mi Kas have a program for sexual education?They were developing a program to teach responsibility and awareness about sex and relationships, but it was cut short due to lack of funding.Did the organization discover anything about the teenage girls that surprised them?Yes, they discovered that 99% of the teenage girls they worked with had experienced sexual abuse, often incest and rape, leading to trauma.What inspired you to partner with the Amsterdam Stadsarchief and Patta to honor this initiative, and why is it important to do so now?The goal is to celebrate and highlight projects that have had a major impact on the cultural scene in Amsterdam at large. The initiative, Mi Oso Es Mi Kas, worked with many teenage mothers, young adults and children in the Southeast and had a significant role in the emancipation of these women. It's been nearly 20 years since the organization closed, and I think it's vital to highlight its impact now, especially as the city is rapidly changing due to gentrification. It's crucial for newcomers to understand the history of the area and why it developed the way it did.We're approaching the 20-year mark since the organization closed in 2007. The history of the city is changing, and we’re seeing a lot of displacement and gentrification. It's important that people living here now understand the foundations of the community and how it came to be what it is today. History shouldn't be forgotten, especially when it's tied to social movements that helped shape the local culture.The initiative played a key role in empowering young women, especially teenage mothers in Amsterdam Southeast. How does your current exhibition and documentary seek to amplify this legacy?The exhibition focuses on the timeline and celebration of the organization's impact, while the documentary goes deeper into telling the story of the women who founded Mi Oso Es Mi Kas and the experiences of the women who were part of it. The exhibition showcases the organization's work, but it would also be interesting to hear from the women who were involved and ask them what it meant for them to be part of such a project.What about the upcoming exhibition on February 7th? Will it highlight the importance of this work?Giorgio: The exhibition will be at the City Archives Amsterdam, running from February 8th until June 15th. It’s called The Treasure Chest Room and will showcase the history of Mi Oso Es Mi Kas through photographs, documents, and stories. We’ll also highlight some of the struggles the organization faced, including financial challenges, and why it eventually closed. It's a tribute to the incredible work that was done and will feature a documentary about my grandmother, Elfriede Sinester, who started the organization. It’s the first time that they’ll get to tell their own story in this way.How did you gather the materials for the exhibition? Was it from family archives?A lot of it came from Marina, who kept all the photographs and materials from the organization. She’s the keeper of the "treasure chest" of Mi Oso Es Mi Kas history. We also found some things online and through articles, but the bulk of it was in her collection. We had to narrow it down to fit the space and tell a clear story. It’s been a beautiful process of rediscovering these memories.It must be amazing to find these lost pieces of history. What’s been your experience in piecing this all together?It’s been both fulfilling and bittersweet. A lot of the physical things - awards, dance costumes, got lost or destroyed over the years. But seeing the value of what we had and how it tells this story, it’s clear that these things mattered, even though they’re missing now. The biggest shame is that the organization couldn’t continue, especially since we still see the same problems with young moms today.So, the exhibition isn’t just a trip down memory lane but also a way to inspire others, right?We hope that people who see the exhibition will be inspired to help others in their own communities. And it’s also a message to the government—to show that this work wasn’t "money thrown away." These women achieved so much because they had support. It’s about showing the importance of self-esteem, and the value of believing in yourself, no matter where you come from.You’ve mentioned the fathers of these children. How did Mi Oso Es Mi Kas address the role of fathers in the lives of these young mothers?We had a workshop called "Where is Daddy?" where we invited both teen moms and the fathers of their children to discuss their roles. It was an emotional process. Many of the fathers were also teenagers and often didn’t understand the responsibility of being a father. The workshops were meant to help them see that responsibility and understand the emotional impact of being absent. We even had a male trainer to guide these discussions, and it was amazing to see how quickly they changed. In just two days, their whole attitude would shift.It seems like the work you did went beyond just helping moms; you were helping the entire community.That’s right. It wasn’t just about the moms, but about everyone involved - especially the fathers. A lot of these young men didn’t have role models, and nobody held them accountable. To see them change, to see them start taking responsibility, was incredibly satisfying. It was a reminder that people can grow and change if they’re given the right tools.You mentioned that this exhibition will highlight the struggles faced by Mi Oso Es Mi Kas, but do you think it will help shed light on the struggles of today’s young parents?I think it’s absolutely necessary. The struggles haven’t changed much. Teen mothers are still facing the same issues today. This exhibition isn’t just about remembering the past—it’s about addressing the ongoing needs of these women and their families. It’s about sending a message to society that these issues still matter and that we need to do more to support them.There is also a documentary coming out, could you give us some insight regarding the narrative of the film?The narrative of the documentary is the story of the org through the life of Elfriede Sinester, the founder of Mi Oso Es Mi Kas. She arrived in the Netherlands as an immigrant in the 1960s married with 4 children at 24, getting her bachelor's degree in her 40s and founding Mi Oso Es Mi Kas and being knighted for this work by the Queen.We invite you to join us in celebrating this legacy at the opening of the exhibition and documentary on Friday, February 7, 2025. Discover the untold stories of Mi Oso Es Mi Kas, a foundation that redefined the landscape of social and cultural support for women of color in the Netherlands. As a brand rooted in community, culture and leadership, Patta is proud to support this initiative, recognizing the impact of Mi Oso Es Mi Kas on countless lives. Join us on Friday, February 7, 2025 from 18:30 at Vijzelstraat 32, 1017 HL Amsterdam. You can register now here.  If you can't make it at the opening, the exhibition is open till June 15, 2025 and the documentary will be playing at the Amsterdam Stadsarchief for a month - entrance is free. 

Interview by Passion Dzenga | Creative Direction by Rogier de Reiger | Photography by Maria VaroGot love for bass-heavy beats with soulful roots? Get familiar with JAEL, one of the most compelling new talents in Bass and Garage music today. Known for his unique blend of deep bass, 140 bpm and UKG tropes, JAEL is making waves in the scene. On January 31st, he’ll be supporting Sammy Virji at O2 Brixton Academy, the same day he drops his highly anticipated EP Motion Sickness. This project is what he calls a “cocktail of garage, 140 and deep bass,” packed with infectious rhythms and layers of soul.JAEL’s journey is one of reinvention. Formerly known for his R&B and future beats work, he’s now carving out a lane for himself in the world of electronic music. As a long-time member of Soulection, he’s built a global following, touring the world and lighting up stages at Boiler Room Festival and Village Underground. His track Motion Sickness is already a standout, with its skippy, sub-heavy UKG beat and bars from Ghanaian rapper Michael Ekow. And that’s not all – on the same day as the EP release, JAEL’s got a guest mix on Tiffany Calver’s BBC 1Xtra show, giving us even more to be excited about.With Motion Sickness just days away, Jael is not only helping to shape the growing mainstream presence of bass and garage music but is also looking ahead to new projects, remixes, and collaborations—all while maintaining a playful, intuitive approach to music-making. Join us as we unpack Jael’s unique blend of influences, their vision for the future, and what fans can expect from this exciting new chapter.JAEL’s sound is all about balancing his soulful past with his present as an electronic producer. Whether he's performing on massive stages or delivering his music on the radio, it's clear: he’s got love for the culture, the energy, and the people. In this interview, we’re diving into his journey, his influences, and how he’s merging the best of both worlds to create something fresh, real, and full of feeling. Get ready to get familiar with the next wave of JAEL’s already illustrious career.Your new EP Motion Sickness is dropping on January 31st. It’s been described as a mix of Garage, 140, and bass. Can you break that down for us? How would you describe the sound to someone who's never heard it before?For those unfamiliar with the music, it’s got heavy bass with upbeat drums around 137-140 BPM. The 140 track has dubstep influences, with a bit of grimy energy. It’s very rooted in the UK music scene. I grew up listening to UK Garage, 2step beats, and artists like MJ Cole, so it’s that kind of vibe. When I started DJing, I was drawn to that sound, so this project is really me going back to my roots and producing something that resonates with me.You’re from the Netherlands, but your sound has strong UK influences. How prominent was UK dance music like UKG, Dubstep, Grime, and Garage when you were growing up?Well, I’m from Maluku, and in the Netherlands, especially in the Maluku community, everyone loves UK Garage and 2step. Back in the day, at most 2step events, like Speedfreakz, the crowd was mostly Maluku people. It was our sound, and it just stuck with me. That’s why I started DJing in this space, and eventually, I decided to produce it myself.Motion Sickness features Michael Eko, how did that collaboration come about, and what’s it like working with him?I got the vocal topline through my manager and I was like, “This is sick!” I was on a flight to China, didn’t sleep at all, worked on the track, and tested it the same night in the club. That’s when Michael and I got in touch. He’s amazing - his style and vocals are incredible, and he’s into so many different genres. We definitely want to work together more. I didn’t know him before this project, but now we’re planning more tunes together.The blend of your background in UK music and Michael’s international roots is quite a melting pot. What’s it like combining your influences?We both come from different places, and it just works. I think that blend of UK influence, mixed with his roots, really gives the track an exciting energy. It makes total sense for us to work together.Your new EP represents a shift toward more bass-heavy electronic music. What made you decide to make this transition?My DJ sets have always been high-energy, and I’ve played a lot of bass-heavy music. But I never thought about producing it until recently. I was a bit caught between DJing, singing, and producing R&B music. I even made an R&B album in 2021. But I realized I needed to push myself forward as a DJ, so I started focusing on producing electronic music with heavy bass and original tracks. It’s a new direction for me, but it feels right.Do you think your R&B influences will still be present in your new electronic music, or are they separate projects?They’re definitely going to blend. I’m working on a few tracks that mix jungle drums with R&B vocals. So, I’ll be singing on top of those bass-heavy productions. It’s still an experiment, but I have a clear idea of where I want to go with it.How did your time with Soulection shape your current sound and approach to music? Is there anything from that time that you still carry with you today?Soulection was a game-changer for me. I discovered future beats and that whole sound, which was a missing link for me. It opened up my mind to mixing genres. It’s not just about house, R&B, or hip-hop, but combining all of them. Soulection taught me to be open-minded with music, and that’s something I still carry with me today.How do you plan on mixing your soulful background with bass music?Early garage music was all about samples - chopping up vocal bits and pitch-shifting them. What I’m doing with Michael, and what I plan to do in the future, is bringing original soul vocals back into the mix. I love sampling, but I also enjoy recreating samples in a more soulful way, either by playing them live or even sampling myself and my own music. It’s all about layering that soul back into the sound.You’ve got a huge upcoming performance with Sammy Virji at the O2 Brixton Academy. How are you feeling about it, and what can we expect from your set?I’m still trying to wrap my head around it! Sammy Virji is a legend in the UK scene, and I’ve been a fan for so long. It means a lot to me, especially as someone new to this scene. The Brixton Academy is iconic, and I’ve played there before with Soulection, but this is on a whole other level. I’m excited to play a mix of garage, 140, and maybe even some jungle. I want to test the energy and just go with the flow.You’ve also recently played a sold out show at Village Underground in London. There seems to be a strong connection between you and the London crowd. What do you think it is?London has always been a special place for me. I’ve been playing there since I was around 24 or 25, especially during the golden Soundcloud era. I linked up with producers and DJs there, and the crowd always felt right. The UK electronic scene has always inspired me, and when I lived in London for 18 months, I was fully immersed in the scene, doing radio at Rinse and connecting with promoters. It just resonates with me, and the crowd there gives that energy right back.You’ve done some massive performances, including the iconic show at Boiler Room Festival. What does it mean to you to play at these big events?These big shows are crucial. I use them to test new ideas and take risks. For example, at the Boiler Room Festival in London, I played an edit I’d made the night before, and I was nervous since it was a jungle edit in the UK, the birthplace of jungle music. But those moments, where you take risks and see how the crowd reacts, are everything to me. It’s all about pushing myself and challenging myself to grow as a DJ. Even though big crowds can be tough to read, when you hit the right vibe, it’s pure magic.With your improv-heavy sets, how do you prepare for a radio show like your upcoming guest mix for Tiffany Calvin on BBC Radio 1Xtra?For radio shows, I definitely prepare a bit more. For this one, since it’s dropping on the release day of my EP, I focused on tracks that fit the vibe of the EP. I dig for new music, pick tracks that fit the mood, and then create a playlist. I usually go in with about 40 to 50 tracks, even though the set is only 30 minutes. I like having options, so I can freestyle and decide what feels right in the moment.It seems like you're getting quite a lot of support from BBC Radio One and BBC Radio One Extra. How important is radio to you, and how has it influenced your career?It’s huge! Radio is still an amazing platform for me. Not everyone is checking music blogs or streaming platforms, so hearing your track on the radio is a big deal, especially for people who aren’t tuned into the usual platforms. It’s also great for reaching new listeners, which is something I really want to do. Radio still means a lot to me. I’m one of those who only really listens to radio when I’m deep cleaning my house, but when I do, I tune into Jamz Supernova or Benji B. They’ve really supported me a lot, especially with their radio plays and by picking me as the EP of the month.It’s one of the best ways to share and connect with a broader audience. Streaming is big, but radio still plays a big role, especially in reaching those who aren’t as involved in the digital space. The power of taste-makers like Jamz Supernova and Benji B has been key in helping drive music forward. Radio can create entire scenes, just as these taste-makers have shaped the future of festival and club culture. With garage music and bass music making a big comeback in the last five years, what do you think your role is in pushing the genre forward?I’m really excited that garage and bass are making their way into the mainstream. It's something I’ve been watching for years, and I’m so happy to see it getting recognition. As a DJ and producer, I feel like I’m helping introduce new sounds. We were playing things like Brazilian Funk or Amapiano before they hit the mainstream, and it’s exciting to see that movement evolve. As DJs, we’re kind of like educators, introducing new genres to listeners, and when they finally click, it's amazing. I’m always curious about where this scene is going, especially how bass music is blending with other genres. It’s an exciting time.Do you think the mainstream recognition of these genres is beneficial for the culture?Yeah, 100%. It’s great to see these genres get bigger visibility. For young people who only see house or techno parties around them, having bass and garage in the mainstream gives them more options and spaces to explore. It’s important to keep these scenes alive and growing, especially for young, new fans.With all that in mind, can you walk us through your creative process for this EP? Were there any specific rituals or environments that helped you channel your sound?A lot of my inspiration came from festivals I went to last year, like Bass Coast, Lowlands, and Boiler Room in London. I went with the mindset of not just partying, but really observing, absorbing, and getting inspired. I started playing more electronic stuff, which opened up my mind to different sounds. I didn’t want to overthink it like I had in the past. I just wanted to create what I felt. When I was traveling, I’d get super excited about creating something special for the show I was heading to. That energy made its way into the EP.It sounds like you have been really living for the music. With that in mind, what are your long-term goals? Where do you see yourself in five years?My main goal is to keep creating music that resonates with people, whether it's electronic, soulful, or even commercial music down the line. I just want to continue making music from the heart that connects with my fans. Right now, I’m diving deep into bass and electronic music, but I’m also combining it with my soulful side. Who knows where it will go, but I’m open to any style of music. It’s all about evolving and growing, both as an artist and as a person.If you could speak to your younger self, the one who was listening to D'Angelo, what would you say?I’d tell that younger me to keep going and not stop. All that time spent listening closely, soaking in every part of the music, that’s what helped shape the artist I am today. Don’t give up, just keep doing what you're doing, and believe in yourself.That’s some solid advice. One last question—your music comes from such a genuine, soulful place. Do you think that no matter where your sound goes in the future, that joy and soul will always be there?Yeah, definitely. Whatever direction I go in, that soul and joy will always be there. It’s the heart of my music. Whether I’m making bass, garage, or even something completely different, that energy will always be there because it’s part of who I am.Before we wrap up, anyone you want to shout out or thank for this project?Definitely. Shout out to Killing Skills, who’s been mastering my music for the last five years. He’s been a huge part of the sound of my work. Thanks to him for always making my music sound amazing.On January 31st, not only is he dropping his brand new self released EP Motion Sickness, but he’s also supporting Sammy Virji at O2 Academy Brixton - a night you don’t want to miss! This EP is packed with percussive rhythms and soulful layers, blending garage, deep bass, and 140 beats in ways you’ve never heard before from the artist. But that's not all - catch JAEL on BBC 1Xtra that same day, where he'll be dropping a guest mix for Tiffany Calver. Talk about a day full of pure music! With years of global touring and a signature style that merges soulful R&B vibes with electronic beats, JAEL is about to take over. His journey from Soulection member to electronic innovator is just getting started, and Motion Sickness is the perfect introduction to the next chapter of his career. So, what are you waiting for? Stream the EP, grab your tickets to see him live at Brixton, and get familiar with the magic of JAEL. Let the Motion Sickness take over - you won’t regret it. 

Interview by Joe Leonard-Walters | Edited by Passion DzengaLaunching in 2021, Echobox has been forging a path for community radio by showcasing the diverse characters and concepts that surround them. In this feature, we will be looking into a few of the broadcasts that you can tune into so get locked in and don’t touch that dial.From one-half of Black Cadmium to the mastermind behind GLXY Records, Joginda is a force to be reckoned with in the electronic music scene. Known for his no-filter, everything-goes approach, his creative energy flows through every project he touches — from label releases and radio shows to curating unforgettable club nights."It's just an illusion, nothing is real," he says, channeling his instinctive, gut-driven vision into GLXY, a label dedicated to championing fresh talent while pushing sonic boundaries. With his FAM. event series set to debut during the International Film Festival Rotterdam, Joginda is creating a space where emerging artists stand shoulder-to-shoulder with seasoned pros, reigniting the essence of the underground club scene.We caught up with him to talk about the philosophy driving GLXY, what makes a great club night, his dream radio guest, and what’s next for the label. You can catch up with this show now on Echobox Radio.GLXY is going from strength to strength with new releases, radio shows and now your FAM. events. What's the vision that ties it all together?GLXY is still a young label, so I’m definitely still finding my footing. But right now, my vision for GLXY Recs is to strike a balance between showcasing fresh, emerging talent and more seasoned artists who have a unique sound — or simply a vibe I love playing in my sets. Eventually, I want to push the boundaries and release more experimental music on the label too. I tend to be pretty impulsive with these decisions, letting my gut guide me.The GLXY radio show, on the other hand, is where I get to spotlight what’s coming up on the label while also sharing tracks from new artists who send me demos. If I vibe with their sound and it fits with who I am as a DJ, I make it a point to give them a platform.FAM. is a concept I’ve been wanting to launch for a while now — even back in my Black Cadmium days. But with everything I’m already doing — DJing, running the label, hosting the radio show — I had to find the right moment and collaborators to make it happen. Now, I’ve teamed up with GIRLS, a young artist and DJ collective from Rotterdam, and on January 31st, during the International Film Festival Rotterdam, we’re finally bringing FAM. to life.The idea behind FAM. is about creating a space for emerging talent to stand shoulder-to-shoulder with established artists from GLXY Recs. For this first edition, we’ve got Panda Lassow and Prince Pasensi headlining the GLXY stage, alongside a lineup that blends fresh faces with seasoned performers. It’s a night where the energy of the next generation meets the experience of the pros.What do you think makes a good club night?Good, affordable club nights are rare these days. But for me, what really makes a club night great is when there’s a balance in the lineup — fresh talent mixed with more established names — and if that’s paired with an enthusiastic crowd, that’s the perfect combo.I come from the club scene myself, and I’d love to see a stronger focus on that again, rather than these massive festivals that are almost impossible to afford for the new and upcoming generation of ravers. With this club night, we’re trying to do our part to bring that energy back. If you could invite anyone (alive or dead) as a guest on your show, who would it be?These questions are always tricky for me because you end up naming someone who probably doesn’t need any extra attention. That’s usually how it goes, right? But if I were to invite someone from the more established names, it would definitely be Skee Mask. I’m a huge fan of him as both a DJ and producer, and I find myself appreciating his work more and more, especially his productions. I’d love to have him play a show sometime, who knows :)How do you use your show to showcase GLXY records?With the GLXY radio show, I really try to create a space where the sound and vision of the label come to life. It’s where I showcase upcoming releases from GLXY Records and give listeners a taste of what’s to come. But it’s not just about what’s already on the label — I also use the show to highlight fresh talent and new music from artists who send me demos. If their sound fits the vibe of the label and my sets, I’ll make sure to feature them. For me, the show is about building a connection between the label, the music, and the wider scene — it’s like a sonic diary of where GLXY is heading. What's next for the label?I’ve just finished my own EP, so logically, that could be the next release on the label. But I’ve also got some amazing producers lined up for the coming year. Like I mentioned before, I’m pretty impulsive in how I work, so the exact release order isn’t set in stone yet. Ultimately, though, I want the freedom to put my own music out there whenever it feels right, while continuing to push the sounds and artists that inspire me.From adventurous electronic music label topo2: label head, music enthusiast, avid vinyl & mp3 collector/tracklist fundamentalist, Bert de Rooij (previously hosting under his bertbert cloak), will juxtapose music from every corner of the 'experimental' electronic music spectrum. With more than 20 years behind the decks, this seasoned DJ and curator has built a career on pushing the boundaries of experimental electronic music. From his early bertbert radio show to the creation of topo2, his new label and creative platform, his ethos has always been about championing fresh sounds and breaking free from genre constraints.  In this interview, we delve into his passion for radio as an art form, the obsessive attention to detail that defines his craft (spoiler: tracklists are non-negotiable), and how his love of electronic music informs the vision for topo2. As a label, blog, and newsletter, topo2 is more than just a platform for releases — it’s a space to celebrate everything that makes up the beautifully niche corners of the electronic music ecosystem.  We also discuss his proudest achievements, including the debut release from upsammy, and what’s next as he prepares to drop even more boundary-pushing sounds. You can catch up with this show now on Echobox Radio.Your show has a very clear ethos - why is it so important to push the freshest experimental electronic music?I actually think it’s not always as clear to the world as it is in my own head. topo2, and previously my bertbert radio show, are basically outlets for me to share music that I’m enthusiastic about in a mix format. Being a DJ for more than 20 years now, I still think mixtapes or radio shows are the best format to appreciate electronic music outside of an event. An hour of radio or a dedicated mixtape creates a new piece of art in itself and brings a different context to all the different tracks in the set. My ethos has always been trying not to be scared by genres when DJ’ing. I would describe my taste as quite broad within the spectrum of niche electronic music, but I tend to spend most of my time listening to “electronica”, ““experimental”” (that one just deserves two pairs of air quotes), and “ambient”. Do expect some dancefloor-oriented house, techno, and bass music too.What's the nerdiest thing on your USB?Waving the nerd-flag myself feels a bit uncomfortable, but there are interesting things on my USB for sure. I have a few playlists with dedicated loops or vocals, drum patterns, and sometimes just a 1/4 hi-hat that I really like that I can use as layers over other tracks as they’re going.What’s not on my USB but addresses the spirit of the question is my obsession with tracklists. I have debated this with a lot of people, but I think they are mandatory for every mix out there except for when you’re solely playing your own music. I think you should take every chance to platform art that you’re wild about, and more importantly, as a DJ, you are building your art from the fruits of others.You've just started a new label; how much does this ethos inform your vision for topo2?It’s basically the same! The topo2 world gives me the chance to do a bit more than only playing music, though. Navigating a label within the music industry usually is done from a kinda strict point of view, only communicating on the label’s output. With topo2, I like to broaden the scope to the wider ecosystem and be enthusiastic about everything that forms this silly corner of the music spectrum.I’m releasing music on a myriad of formats, and I can blog about music I like on my website. I also started a monthly newsletter where I recommend music that caught my ear. I hope to both engage with fellow music heads that already recognize most of the music and curious minds that are not in the know about what’s in some random niche pocket of the electronic music spectrum.You say that your label is about exciting music, whether you've released it or not - what's most exciting to you at the moment?The volume of good and interesting music being released! Just a few examples here below. Other than that, I’m still super proud of the first release by upsammy on the label I did last November! I can’t wait to drop the next three releases I’ve worked on for the last year and a half. More news on that soon!https://mirrorzone.bandcamp.com/album/proxygen-proxygen?from=embedhttps://melkeane.bandcamp.com/album/airs?from=embedhttps://howaboutplor.bandcamp.com/album/orchestration-of-my-joy?from=embedhttps://brukrecords.bandcamp.com/album/earth-rotation-2?from=embedhttps://33-33.bandcamp.com/album/instinctTune in to Echobox - broadcasting from below sea level every week, Thursday until Sunday.

A collection of trap & drill classics from Patta's Nadim. This is his first mixtape and it is perfect for all our community. So if you're taking on the Patta Running Team January challenge or you're getting ready for a night out on the town, turn this one up and get Back 2 The Trap with Nadim.Nadim · Back 2 The Trap (LIVE SET) 

Photography by Caleb FemiToday, Peckham, London-born alchemist Sam Akpro announces his debut album, Evenfall, ahead of a March 28th release on ANTI-. Evenfall's ten tracks - which include the previously released singles “Chicago Town” and BBC 6 Music A-List staple “Death By Entertainment” - craft an immersive sonic world, rich in mood and atmosphere - a flowing tapestry of South London noir that's serrated yet dream-like, psychedelic yet pounding with intent. Launching today alongside news of the album is its lead single and title track “Evenfall” a perfect example of the towering world-building and audible chemistry at the heart of Akpro's magnum opus. Fusing shoegaze-tinged guitars, an insistent beat and Akpro's searching vocal, it deserves to be a staple of night bus headphones for years to come. He describes it as existing "somewhere between a before and after space in time, where moments have passed & where events are yet to take place."'Evenfall' comes accompanied by a stunning introductory visual - directed by Pedro Takahashi, who worked with Akpro previously on the MVA-nominated video for “Death By Entertainment” - that perfectly sets out the dusky, inner-city soundscapes of the wider album. It evokes the early hours loneliness of a metropolis that never sleeps, where streams of late-night traffic rush past static underpasses, scenes of stillness and tension colliding.Speaking on the video, Takahashi offers: "'Evenfall' is a culmination of all the videos Sam and myself have collaborated on. Thematically, the video is about fading away in a city that is hard to live in. The idea is to express that if you pick out any individual in this city of millions, you'll find that everyone has their own grand internalised life, full of hopes, fears, dreams and failures.""Long time no see friend. Come around. Listen to this record. I know what you’re thinking. I fully agree. This will take us through this wild time. This will still be the soundtrack on those sunny days. Still hearing it. Sat tight. Cold nights." - James Massiah on EvenfallWatch the music video below.