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.