Interview
Arkley Talks About Launching His New Project, His Inspirations, Plans For 2022 & More!
Blazing onto the scene in 2021 with ‘Music (Over & Over)’ that introduced the world to the UK-based artist’s unique chopped n screwed, sample-loving take on house-meets-electro, Arkley is now back with another earworm of an anthem to welcome in the new year on ‘Rave ’92 (Everybody Dancing)’. We had the pleasure of speaking with Arkley on a number of topics which you can read below.
Hey Arkley, thanks for taking the time to speak with us! Please tell us how your project under ‘Arkley’ came to be!
I’ve been making music since I was a kid, playing in various guitar and synth bands with my friends. It has been loads of fun, but at the end of 2019, I decided I wanted to try a solo project for the first time and go back to the rave and big beat records of the 90s and early 2000s that first opened my ears to dance music.
Who are your inspirations when making the music you now make?
So many! For the first time, I’m using a lot of samples and that’s really inspired by The Avalanches and The Dust Brothers (who produced Beck’s ‘Odelay’ and the Beastie Boys’ ‘Paul’s Boutique’). I also love The KLF’s smash’n’grab approach to writing tracks stuffed full of big hooks. The overall sound is inspired by the first dance acts I discovered like The Chemical Brothers, The Prodigy and early Daft Punk, as well as the 2mandjs ‘As Heard on Radio Soulwax’ mix series.
You were also one half of Deuce & Charger who made waves within the Drum ‘n ’Bass scene – tell us about how that project went and why you chose to move away from that?
Deuce & Charger was a lot of fun and I guess something I might come back to someday as I do still love drum & bass. We had so many great experiences playing clubs in London and the world’s biggest D&B festival, Let It Roll, out in the Czech Republic. We put out about 25 tracks in 4 years, including with some of the genre’s biggest labels like Viper, Technique and Liquicity, and met loads of awesome people along the way. But after all that, I really wanted to get back to the music that is 100% in my blood, which is what I’m doing now with Arkley.
So, you just released your own solo, sophomore single ‘Rave ’92 (Everybody Dancing)’, how has the support been so far?
Amazing, thanks!! I’ve had awesome support from press and radio like BBC Introducing, Amazing Radio and even the legend Judge Jules has given it a few spins on his radio show. Plus loads of positive messages and comments on social media too. I think the sound and style sounds really fresh and exciting to younger audiences, while also evoking a lot of fondness from older ravers – gives them something new to crank on the car stereo once they’ve dropped the kids off at school! Luckily for me, there seems to be a bit of a 90s throwback moment happening right now, so my sound fits right in!
We noticed you have a flair for taking a sample-heavy approach that nods to big-beat and hip-hop but you’re still firmly in the electronic scene. What is it that appeals to you about this process when creating a track?
I love stitching together really contrasting samples from diverse genres to create something unique and unexpected. The break in my first single, ‘Music (Over & Over)’, is probably the best example of this. It has a bon-tempi drum loop together with 70s soul strings and 80s Gary Numan-esque synth bass, plus southern US rap vocals and movie speech. I had no idea this is where it would end up when I started, so it was a really fun and exciting process for me. I have a whole folder of similar tracks that I’d like to bring together at some point into a continuous musical journey like the first Avalanches album. For now though, I’m going deeper into a modern take on 90s sampling techniques to make tracks to dance to!
You are based in the UK and are one of the new generations of up-and-coming artists with this moniker, but who would you love to collaborate with?
I’m very open-minded about collaborations as you always learn something in the process. I love unique voices, so working with people like Channel Tres or Kah-Lo would be very cool. Having said that, I’d also love to work with some of the older generation like The Chemical Brothers or Orbital. Utah Saints and Prospa are both in Leeds, which is just down the road from me in York, and working with either of them would be brilliant – so guys, if you’re reading 😉
What is next for Arkley in terms of your releases for 2022, as well as your live aspect? Will we see some gigs this year?
I’ve got loads of tracks that I’d love to release this year. A few more with an early 90s vibe like ‘Rave ’92’ and some others with a later 90s Chemical Brothers and Fatboy Slim influence. I put a lot of my unreleased WIPs in my monthly mixes on Mixcloud, so head there to hear them first! I’d love to do some DJ shows this year too. There are a few things which will hopefully come together as the year progresses, but I’m always open to offers – “have USB, will travel”!!
Thanks for taking the time with us and we wish you success for this year!
Thank you
DJ Isaac interview talks about ‘Let Yourself Go’, reflects on 30 years in hard dance, and shares how his early rave roots and Defqon.1 2024 still connect to what he plays today.
DJ Isaac begins the year with Let Yourself Go on Scantraxx, a solo release following collaborations including Spaceman with Showtek and Berlin with D-Block & S-te-Fan. It comes after a period where much of his output involved working with others, making this release a more direct reflection of his own direction at this stage in his career. The track draws from the early rave and techno records he first heard growing up in the north of Holland in the late 80s and early 90s, while still keeping the harder sound he has been associated with for decades. That same mindset was clear at Defqon.1 2024, where he closed the mainstage with TNT and changed the set minutes before going on, choosing to respond to the crowd instead of following what had been prepared. Outside of touring and releases, he also speaks about valuing time with family more as the years go on, even as constant travel and jet lag remain part of the routine after 30 years behind the decks.
Hey! Great to meet you! How has 2026 been so far for you – what’s been good and bad?
Hey, great to meet you too! 2026 has been good so far. I kicked off the year with my new release ‘Let Yourself Go’ on Scantraxx, which I’m really happy about. The last couple of years I did a lot of collaborations, ‘Spaceman’ with Showtek, ‘Berlin’ with D-Block & S-te-Fan, so it was nice to come back with something solo that feels 100% me. Besides that I’ve had some good quality time with the family between gigs, which I’ve learned to appreciate more and more over the years. Bad? Well, 30 years in and the jet lag still kills me. That never gets easier!
When, why and how did you first fall in love with techno, and why the harder stuff in particular?
I grew up in a small town in the north of Holland. In the late ‘80s and early ‘90s the rave scene was exploding across Europe and I was completely hooked from the moment I heard those early acid house and techno tracks on the radio. I got myself a small Casio sampler and an old tape recorder and just started messing around. When I was 15 I worked at a record store that sold house and techno CDs and vinyls, so I could get a nice discount. Because I was already DJing at that point, I quickly noticed the harder stuff just hit different on the dancefloor. More energy, more power. It felt more honest to me, more pure. No pretence, just energy and emotion.
What have been some of the most influential and defining moments so far for you as an artist?
So many, but a few really stand out. Releasing ‘Bad Dreams’ in 1995 and having it blow up was when I realised this could actually become my career. And then more recently, closing the Defqon.1 2024 mainstage together with TNT. That was something else. In a time where hardstyle keeps getting harder, we proved that our sound still does its job. The energy on the field was indescribable. The funny thing is, we had a whole set prepared so we and the production crew knew what to expect from each other. But 5 minutes before we went on, we looked at each other and decided to do something completely different because that’s what felt right in the moment. Looking back, best decision ever. And that’s the golden rule of being a DJ: don’t prepare sets, feel the crowd.
Where does inspiration come from for your productions?
Everywhere really. The dancefloor is a big one. When I’m playing a set and I feel the crowd responding to a certain energy or melody, that goes straight back into what I do in the studio. I also get a lot from old rave music from the ‘80s and ‘90s, that stuff still inspires me. And funnily enough, driving my car is when a lot of ideas come to me. Probably because it’s one of the few moments where you’re not distracted and actually have time to think. Other times I just sit down in the studio with a blank project and see what comes out. Some of my best tracks started with no plan at all.
Tell us about your new release on Scantraxx ‘Let Yourself Go’? What was the aim you had with it, and what you wanted it to say?
With ‘Let Yourself Go’ I wanted to capture that pure rave feeling I’ve been chasing my whole career. After the success of ‘Feel So Good’, ‘Berlin’ and ‘Rise’, the bar was high, but I also didn’t want to repeat myself. What I wanted was to combine those early 2000s trance sounds with the hardstyle and techno sound of today. The title says it all, it’s about that moment on the dancefloor where you stop thinking, stop worrying, and just let the music take over. That’s what this music has always meant to me. It’s my first solo release in a while and I wanted to set the right tone for 2026. Really proud of how it turned out and the response has been amazing.
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What gear did you use, is that important to you in any way, whether in the booth or studio?
In the studio I’ve changed a lot over the years. Started with a Casio sampler and a tape recorder, which sounds crazy now! These days I work completely in the box with Logic and Ableton. For my kicks and bass I spend a lot of time on sound design, layering and tweaking until it sits right. Serum is my go-to for almost every sound. Rules don’t really apply anymore. As long as it sounds good, it sounds good. In the booth I keep it simple. Pioneer CDJs and a DJM mixer. Every major festival and club runs the same setup anyway, so it’s more about knowing your tools inside out. What really matters to me is the sound system. Give me a proper system and I can make any room go off.
Can you remember the first DJ set you played where you got paid? How did it go, how were the nerves?
Ha! I’ll never forget my first paid booking. It was at a club called The Black Sheep in the north of Holland, no joke, that was actually the name. For me, it felt like a dream come true. A packed club, and even a few diehards fully going off to my music.Then suddenly, in the middle of my set… silence. The music just cut out. Turns out the manager had literally pulled the power because he couldn’t stand the sound.
Guess my music was a bit too ahead of its time back then.
But hey… look where we are now.
How do you construct your sets, are you always thinking a few tunes ahead, do you have a tune you want to end on, or do you always just react to whatever is happening in the moment?
I always go in with a rough idea. I know how I want to open, I have a few key moments in mind, and I know how I want to close. But funny enough, 95% of the time I end up doing something completely different than what I planned. What works at one club doesn’t always work at another. Some of the best moments in my sets come from last-second decisions where I play something unexpected and it just clicks. Like that Defqon.1 moment I mentioned earlier. That’s what DJing is all about, reading the room and riding the energy. I always ask myself: what would I want to hear right now if I was standing in that crowd?
What are you working on for the rest of the year?
A lot! Now that ‘Let Yourself Go’ is out I’m already working on the follow-up. Got a couple of collaborations in the pipeline that I’m really excited about, but I can’t say too much yet. I’m also continuing my Hardstyle Sessions podcast, which I love doing. Great way to stay connected with the fans and share new music. On the touring side, the summer festival season is going to be packed as always. Looking forward to playing some of the big ones and exploring new territories too. The goal for 2026 is simple: keep pushing forward, keep making hits, keep the energy on the dancefloor as high as possible.
What one thing would make your life easier as a touring DJ?
Teleportation! No but seriously, the travel is the hardest part. If I could skip the airports, the delayed flights, the endless waiting, that would change everything. The performing itself? That’s the easy part, that’s pure joy. But getting there and back, the different time zones, a new hotel every other night, that wears you down over the years. A close second would be if every venue in the world had the same high-quality sound system. Nothing worse than showing up for a gig, doing a soundcheck, and realising the system doesn’t do your music justice. But look, at the end of the day these are luxury problems. I’m grateful for everything I’ve been able to do. I get to travel the world doing what I love. Wouldn’t trade it for anything.
Audio Paak ‘Dallas Dance’ Interview And Afro House Shift Explained Through Real-Life Inspiration And Production Process
Marking a clear shift in direction, Audio Paak’s ‘Dallas Dance’ sees the Ghana-born, UK-based artist move deeper into Afro House territory – drawing on his roots in Afrobeats while refining a more groove-led, culturally grounded sound. For Audio Paak, ‘Dallas Dance’ comes from a moment that feels personal and specific, and that carries through both the way it was made and how he explains it now. The track did not come from a fixed concept or a planned direction. It started from a real scene he witnessed and followed that feeling through the production, which gives the release a clear sense of identity without feeling forced.
The Moment Behind ‘Dallas Dance’
The starting point for ‘Dallas Dance’ came while Audio Paak was passing through DFW Airport, where a small detail ended up shaping the entire track. Reflecting on that moment, he said, “It was at the DFW airport when I noticed a woman in a simple white dress, wearing headphones and carrying a backpack, dancing to the music only she could hear.” What stayed with him was how natural it felt. It was not exaggerated or staged, just someone completely absorbed in their own music, and that feeling became the reference point for the record.
When he later sat down to make the track, there was no structured idea guiding the session. He explained, “I didn’t have a specific idea; I just wanted to make something that felt as fun and alive as she looked dancing.” That intention carries through clearly, with the rhythm and pacing tied closely to movement rather than overworked detail. The environment around him also played a part in shaping the record. Looking out from his apartment in Dallas, he could see the highway lights stretching across the city, and he noted, “The apartment view definitely influenced it. I could see the Dallas highway from the window, the lights were mesmerizing, and it created this perfect club-like atmosphere to make music.” That detail connects the title, the original moment, and the late-night feel present throughout the track.
How The Production Came Together
From a production standpoint, ‘Dallas Dance’ stayed close to its original version, which is not always the case with tracks made while travelling. After sharing it with Blvck Navy, the only real adjustment came through a simple suggestion. As he put it, “To be honest, I sent it to my friend Blvck Navy, and he suggested adding more drums. So that’s really the only change from the first draft.” That shows the core of the track was already clear early on, with the added drums helping to reinforce the groove without shifting the direction.
The setup behind the record was also relatively minimal. Since he was on holiday, he worked with a compact setup instead of a full studio environment, relying on what he had available. He explained, “I was working with limited tools since I was on holiday, and I only had my mini-PC and portable gear with me. But FL Studio had everything I needed in terms of tools and presets.” Within that process, certain elements stood out, particularly on the low end. He noted, “I’d say Analog Bass 1 TE from the GMS Basses program was my favourite. It really locked in the groove, together with the claps and snares.” At the same time, the chords required more attention, as he explained, “I needed the chords to carry that spiritual energy while still feeling club ready, with the drums complementing them to achieve that balance.”
Where ‘Dallas Dance’ Fits Now
Beyond the production itself, ‘Dallas Dance’ gives a clearer idea of where Audio Paak is heading next. He described the release as part of the early stages of a wider move into Afro House, saying, “I’m just at the beginning of my Afro House journey, but the response has shown me this could really be what I’m meant to do.” That perspective places the track within a longer trajectory rather than treating it as a standalone release, especially as he continues to refine that direction.
The response to the track has also played a role in shaping that confidence. He shared, “Getting messages from respected artists congratulating me has meant a lot,” which adds another layer to how the release has been received. Looking ahead, he is already building on this with more music in progress. He said, “I’m wrapping up two more singles, and then I’ll be putting together an EP to release on my birthday.” That makes ‘Dallas Dance’ feel like the starting point of a larger run of releases.
There is also a sense of how he measures a finished record through his own circle. When asked how he decides when a track is done, he answered, “For me, it’s when I send it to Blvck Navy and he goes, ‘YOH, did you make that?’ that’s when I know it’s ready!” It is a simple answer, but it reflects a process guided by instinct and reaction, keeping the original idea intact without overworking it.
Claude VonStroke interview about ‘Wrong Number’, his forthcoming album, stepping away from Dirtybird, and why making music entirely on his own terms feels like the right move.
Claude VonStroke has never been particularly interested in doing things the easy way, and ‘Wrong Number’, his forthcoming album, makes that clearer than ever. More than two decades into his career, the Dirtybird founder is stepping away from the label, stripping things back, and making exactly the kind of music he wants to make: patient, detailed, and completely unbothered by what’s trending. We sat down with him to talk about the album, the family members who voiced it, and why turning down big paydays right now feels like the right call.
When you started writing Wrong Number after the Dirtybird chapter ended, what direction did you want the album to take compared with the music you had been releasing in recent years?
I was able to drop expectations because I took year off from all house music. This album is not so much weirder or so drastically different, but just for example there was a massive banger on the album and I actually took it off because it didn’t feel right. In the past that would have probably been single AA1.
While working on Wrong Number, which producers or labels from the early minimal and house scenes did you find yourself returning to?
I kept going back to labels like Playhouse, Poker Flat, Planet E—stuff that felt like it had space and identity. Records that weren’t trying too hard. There’s a confidence in that era the records don’t always go left when they are supposed to go left. Sometimes they go right or up or down, and that mindset definitely crept into this album. A the same time I’m not a guy who makes grasshoppers on tinfoil – my records are easy to dance to.
“Static In The Deep End” is the first single from Wrong Number, so what about that track made you feel it was the right introduction to the album?
It sets the tone without over-explaining anything. It’s restrained, a little hypnotic, a little uneasy. It doesn’t try to win you over immediately, which is kind of the point of the whole project. I led with a deep cut on purpose just to let the fans know where Im headed. I dont need 1000 bro-tastic commercial tech house fans showing up and being disappointed on my tour dates because I didn’t play 15 drum roll breakdowns and a bunch of bongos at 132bpm. I’m trying to tip my hand early.
Nearly all the vocals on Wrong Number come from inside your own family, especially your son Jasper, so what made you decide to keep the vocal side of the album completely within the VonStroke household?
The whole project is more personal, so it made sense that the voices were too. Both Jasper and Ella are incredible musicians and singer songwriters. They know more about music theory than I ever will. For example Ella and I created an entire choral section with just our two voices and she directed all of it herself. Jasper came in and just riffed magical R&B vibes all of the place. They are just so talented I am a proud Dad.
Jasper appears across several tracks on Wrong Number while studying pop vocals at USC, so how did the two of you actually work together when recording those parts?
It was pretty loose. I made most of the record then he came in and just riffed on top of it. Then I would spend tons of hours chopping and effecting things. At one point Jasper and Ella made the track Two Line Groove with me which is them singing in the round. It was tough to record becuase I couldn’t get them in at the same time but I think this is one of the coolest records on the album. They go back and forth until it resolves in a giant harmony moment.
Since the music on Wrong Number was written with club spaces in mind, what made you decide this tour should focus on smaller venues like Vent in Tokyo or Panorama Bar in Berlin?
Because that’s where this music actually works. These tracks are built on detail and patience—you need a room where people are really listening with a nice sound system that isnt all muffled and massive. Smaller spaces, better systems – It’s less about spectacle and more about immersion. That environment lets the music breathe the way it’s supposed to. I’m also adding some free open air events I think that is also a space where this music can work.
After spending years building Dirtybird and helping launch artists like Fisher and Eats Everything, how has completing Wrong Number changed the way you think about your place in dance music today?
I used to actually worry about things like this which in my opinion is a waste of time. Now, if you are lucky enough to book me, you will get something that isnt generic that has been crafted and honed and is fucking dope. That’s all I can offer. Before, there was a responsibility to a sound and a whole ecosystem. Now I can follow ideas that don’t make sense commercially or strategically. I’m making a ton of terrible business decisions and it’s awesome.
When people listen through Wrong Number from beginning to end, what do you hope they understand about where you are creatively today?
I’m not trying to be the loudest voice in the room. If the record feels a little unexpected, a little more human, then it’s doing its job. I mixed and mastered this record myself for the very first time I didn’t ship it off to get finalized in some expensive mastering suite – so you are getting this straight from my home studio warts and all. This is what I do now.
Stream the first single ‘Static In The Deep End’ from this album below.
Follow Claude VonStroke:
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