Shaped by formative years in New York City, Jon Billick’s path into House music was forged on the dance floor. A three-year residency at West Village staples Le Souk laid the foundation for a career rooted in groove and craft. Early exposure behind the scenes at Ministry of Sound and Hed Kandi America further sharpened his ear, giving him a front-row education in the evolving language of Electronic music.

Hi Jon! How are you?

Doing well! Thank you so much for this opportunity.

How did you first get into Electronic music, and was there a moment or track that made you realize this is what you wanted to pursue?

I had an interest in music from a very young age. I’d say the earliest memory I have of hearing and enjoying dance music was at a local roller-skating rink. Songs by Abba, Crystal Waters, C+C Music Factory, and Inner City, were all the soundtrack to some of the best times of my youth. Fast forwarding to my early teen years, I started to play live instruments in different bands with friends but eventually found artists like Daft Punk who totally changed my world. Once I began digging deeper into Electronic music consciously, discovering Trance, Deep House, Electro and so on, I was hooked and started on the never-ending search for the perfect track. More than anything, electronic music made me feel happy and connected to the world in a way that other music I was into at the time, did not.

Who were some of your earliest influences, and how have they shaped your approach to producing and DJing?

I was living in New York City when I started to educate myself more on the labels and artists making house music at the time. I interned at the Ministry of Sound / Hed Kandi offices for a few years when they had a North American office and record label. It was a perfect storm of learning about past and present producers and DJs. Once I was able to go out to the clubs, I loved seeing Louie Vega, Danny Krivit, Todd Terry, and other great New York artists. I also really loved the sounds coming from Amsterdam and Paris at the time, labels like My Love Is Underground, Tomorrow is Now Kid!, and earlier Slapfunk releases. When I first started DJing out at events and parties in New York, I was playing more lounge and happy hour sets. I developed a love for Deep House through those years and building sets early in the night as a DJ. I loved the Bargrooves, Café Del Mar, and Hed Kandi: Served Chilled compilations. They were massive inspirations for my sets back then and definitely have a lasting influence on what I make and play out now. I love the combination of soulful and groovy, alongside raw and driving rhythms; it’s the sweet spot.

How would you describe your music to someone hearing it for the first time?

House music inspired by the classics of yesterday with a contemporary finish.

Walk us through your typical production process; do you start with rhythms, samples, chords, or something else entirely?

Every track has its own way of finding itself. Sometimes I’m asked by labels for a specific style they might be looking for; whether that is a vocal driven tune or a more experimental arrangement. When I am starting original projects without this prompt, the inspiration can come from anywhere. Often it’s a quick clip from an old sample or a specific drum sound that gets the project in motion and guides the final outcome. Typically, my goal is to get the drums and bass locked in early on. If those elements work effortlessly and the groove is locked in, then the rest of the track can start to build on top.

While I’m still very much an ‘in the box’, digital-first producer with limited studio space, a lot of my sound is inspired by classic House. It’s almost necessary for me to use those same sounds in my tracks. Mainly I’m using digital plug-ins. The Roland Cloud, for example, helps me sonically combine yesterday and today. The SH-101 or Jupiter-8 are places I like to start with for simple melodies and bass lines that feel more ‘authentic’ and rooted in the beginnings of house music’s sonic shape. Next to danceability, it’s important that there is some kind of connection to past and present within my projects. I generally work with a ‘less is more’ mentality and know my project is finished when there is nothing more I can remove that will dramatically affect the overall feeling or flow of the track.

You’ve played in clubs around the world — how does performing live shape the way you write music back in the studio?

I am always grateful for the experience of playing somewhere new. Those opportunities present a fresh perspective on what people are listening to and gets them dancing. Playing out internationally over the years has been an incredible privilege and 100% inspires what I write when I get return. More often than not, it’s the occasions where tracks that I love are also resonating with the crowd that I find the most motivating. That connection to strangers who live thousands of miles away is the core of what fascinates me and keeps me participating as a DJ / Producer. Testing out some of my own productions that may or may not already be released, is another factor to playing out that helps guide my time in the studio. I don’t always have the time or place to test out my final mixes on club systems or larger monitors, so there’s always an element of hearing my tracks out for the first time and experiencing a crowd’s positive reaction that feels magical.

How do you curate your sets? Do you plan every transition, or do you let the crowd guide you?

When preparing sets for a live audience, I like to have a variety of playlists and transitions that I know work well, ready to go. However, the venue, energy, and crowd will usually dictate where the music goes, so not everything is planned. Sometimes as an opening DJ, you’ll need to get the crowd going and that’s always the funniest slot for me. That can be achieved in a variety of ways that aren’t always obvious after you play the first few tracks of the night. There’s always a level of pre-preparation that takes place and I know the vibe (generally) of what I will play before the set. I really enjoy having great playlists and transitions on cue, while at the same time allowing the crowd to dictate where and when those will take place during my set. Over the years of building my sound behind the booth, there are several tracks and transitions that I feel are essential to my sound and are whoppers when mixed anywhere, anytime. Again, I try to blend past and present so there’s always an aspect of recycling but in new and interesting ways that happen in the moment.

How do you balance staying true to your artistic vision with evolving trends in electronic music?

I appreciate the classics; they were once an evolving trend in their respected years. I believe all creative mediums are cyclical yet evolving at the same time. They culturally mirror the times in which they were created but always take inspiration from years before; just like in fashion, art, music, etc. Both in my DJ sets and productions, I feel it’s important to balance both old and new influences. Sticking to core past inspirations grounds my sound in a way and then adding inspiration from current trends helps to evolve my projects. I believe an artist changing their sound over the lifetime of their career is a positive thing and shows awareness of one’s own personal changes and external shifts in society.

What do you want listeners to feel or take away when they hear your music live or on streaming platforms?

The most important thing is that the music makes listeners feel something. It could be an emotion or the simple nod of the head and tap of the foot. I always try to convey some kind of emotion in my tracks. Sometimes it’s more obvious, like a vocalist singing a clear emotion or story. Other times it’s more conceptual and quieter. The emotion is there and the mood is set, but more ambiguous and up to the listener to translate in their own way. A lot of House music and Jazz is attractive to me because there isn’t really an emphasis on vocals or ‘storytelling’ in some sense. The instruments make up the energy and convert a feeling that is more introspective and can have a variety of meaning to different people. I think that’s really interesting and something I think about when I’m sitting down to produce or preparing a DJ set.

If you could sum up your artistic mission in one sentence right now, what would it be?

Make people happy through House music.

What’s next for you in 2026? New music, shows, or artistic experiments?

I have a few releases coming out in 2026 that I am looking forward to it. The first one is out in February with a return EP on theBasement Discos. I had the chance to play in 4 different countries this year, and I’d love to be able to continue to grow my touring opportunities in the next one. I will for sure be back in Amsterdam, at ADE for the conference and to play our annual, Amsterdam Dennis Event at Café de Gaeper. Of course, I’m always evolving my production sound, so there will be a variety of new flavors in upcoming releases. I’m also working on a batch of fresh collabs with some friends and colleagues that we started later in 2025. Self-releasing is something I’ve never done, but next year could be the right time to launch another label focused on growing my creative potential and taking more risks. In any case, the main resolution will be to keep having fun!

From releases on labels such as theBasement Discos, ESUOH, GLB DOM, and Rhythm Vibe to support from heavyweights like Kerri Chandler and Cinthie, Jon Billick’s work continues to resonate far beyond his hometown. Whether opening the floor or closing the night in cities like Berlin, Paris, or New York, his approach remains consistent: House music built for connection, movement, and longevity on the dance floor.

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Avi Sic interview about her new collaboration ‘No Tears’ with Costel van Dein, her Farris Wheel debut, and her rise in Bass House.

Avi Sic continues to make her mark on the Bass House scene with sharp, high-impact productions and undeniable dance floor energy. Her latest collaboration, ‘No Tears’ with Costel van Dein, highlights her signature blend of electrifying synths, hard basslines, and precision production. We caught up with Avi Sic to talk about the release, her evolving sound, and what’s next.

Hi Avi! How are you?

I’m great, thanks for having me!

When you started working on ‘No Tears’, what feeling or idea guided the sound before the structure came together?

We wanted the track to feel strong and forward-moving, with emotion that wasn’t heavy or overthought. Something fun that would hit on a dance floor but still carry intention. Once that feeling was right, the structure came together naturally.

The title suggests both vulnerability and strength; how does that duality show up in the music?

The title ‘No Tears’ plays with contrast. It’s actually just a small line from the lyrics, and we originally had a different name for the track, but this felt more confident, almost like a “girls don’t cry” attitude. The spoken-word vocal is confident and powerful, but still fun and catchy. The big bassline and sharp drums keep it driving, while the emotion lives more in the tone. It’s expressive and unapologetic.

How did your collaboration with Costel Van Dein come about, and what made him the right fit for this track?

We worked together on a release a few years ago called ‘Feel Alive’, so there was already a real foundation and trust there. When it came to ‘No Tears’, it felt natural to build on that relationship. We speak a similar musical language, especially when it comes to groove and energy, which made the collaboration feel effortless.

Was there a moment when the track really ‘clicked’ for both of you?

Costel set the foundation for this one. When he sent over the initial idea and groove, it clicked right away for me. From there, it became more about refining and shaping it together rather than forcing anything. The core feeling was already there, which made the rest of the process feel natural.

Can you walk us through the early version of ‘No Tears’? How different was it from the final release?

Mostly tightening the arrangement, refining the vocal moments, and shaping it for the dance floor. The final version isn’t a complete reinvention, it’s a more focused and intentional version of what was there from the start. I road-test all my tracks and this one hit from the start.

Are there any specific synths, plugins, or production techniques that played a key role in shaping the track’s atmosphere?

​​We kept things pretty focused. A lot of the low end came from sound design in Serum and Omnisphere, with movement and groove shaped using ShaperBox. Nothing overly complicated, just tools that let the track breathe while keeping it dynamic.

How did you approach balancing emotional depth with club-ready energy?

We kept the emotion in the tone rather than the arrangement. The groove and energy stay consistent and club-focused, while the feeling comes through the vocal. That balance lets the track connect emotionally without losing its momentum on the dance floor. It’s a powerful but fun record.

What did you want listeners to feel, or maybe not feel, when they hear this track for the first time?

I wanted it to feel energized and feel-good, with a bit of attitude. Something that makes you want to get on the dance floor or turn it up in your car. It’s not meant to feel heavy or overthought, just confident, fun, and instantly playable.

How do you know when a track like this is finished rather than just endlessly tweakable?

You can only add so much before you have to start stripping things away. When the track feels clear, focused, and does what it’s supposed to do without extra layers getting in the way, that’s when I know it’s finished.

What excites you most right now about where your sound and collaborations are heading?

What excites me most is how aligned everything feels right now. Working with collaborators who really understand my sound has made the process more fluid and honest. This track being signed to Farris Wheel and by Gene Farris himself within minutes of sending it over was a huge moment for me. It’s a legendary Chicago house label, and being part of that lineage means something personal after years of being rooted in this city and its club culture. Moments like that reinforce that I’m moving in the right direction and make me excited to keep pushing my sound forward through future collaborations.

With ‘No Tears’ reinforcing her momentum and artistic direction, Avi Sic proves she’s an artist firmly on the rise. Focused, confident, and creatively driven, she continues to shape a bold lane within modern Bass House and this release is another strong step forward.

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Devin Wild’s latest EP “Among The Noise” pushes genre boundaries by blending Hardstyle and Hard Techno into an underground, experimental sound. In this exclusive interview, Devin Wild discusses “Among The Noise” while sharing his production philosophy and his evolution from child prodigy to innovative producer.

Devin Wild on the Creative Vision Behind “Among The Noise”

“Among The Noise” is a fusion of Hardstyle and Hard Techno. What inspired this creative direction? How do you maintain your signature sound while exploring different genres?

“Among The Noise” represents the culmination of my experimental journey. Since I started doing these experimental EPs, the underground techno sound has played a major role. Certain ideas come into their own within this sound. Moreover, this style lends itself to more straightforward and dark flows.

Personally, I think you always retain your own style. You need to make choices that you really feel deep down and stand behind them 100%. Everyone is unique with their own mind. As long as you are the purest form of yourself, your style remains intact.

The EP features previously released tracks including “Chaos (Always Comes)” with Nathalie Blue, “Dance With Madness,” and “Hit Back,” along with the new “Silent (Left The System).” How do these four tracks work together to tell a cohesive story?

Musically speaking, all tracks follow the same vision by focusing on a more underground, yet out-of-the-box sound. There are choices I might not make in more normal tracks. However, “Among The Noise” gives me plenty of room to experiment. All vocals were written with that same idea in mind.

Devin Wild’s Industrial Production Techniques

You’ve described “Silent (Left The System)” as industrial and fierce, yet it’s unmistakably Devin Wild. Can you walk us through the production process and what elements you used to achieve that balance?

With this track, the Hardstyle producer wanted to focus more on dance floor-oriented elements. Industrial can quickly tend toward dark and obscure, which I absolutely appreciate. But here I wanted to keep the musical theme lighter and more open instead.

The sampler-style piano chops work perfectly for this, as do the high-pitched vocals. Additionally, the breakbeat elements tie it all together. In my opinion, these choices create the perfect balance.

The EP is described as playing “like a single trip” with cinematic bookends. In an era of single-track consumption, how important is the complete listening experience, and what do you hope audiences gain from it?

Projects like “Among The Noise” let you work within a certain style and theme. With this project, I wanted to try new things and explore new elements and song structures that I don’t usually do very often.

I approach such a project with certain thoughts and feelings. How I feel at that moment matters. The phases I’m going through influence the music, and with all that in mind, I work on the project.

I link all the components together, including visuals and lyrics. Through this, I hope to take people along in my processes without having to explain everything too literally.

Devin Wild’s Evolution: From Child Prodigy to Hardstyle Innovator

You started producing at just nine years old. Looking at your journey from tracks like “Into The Night” in 2015 to “Among The Noise” today, how has your production philosophy evolved?

My musical development runs parallel to my personal development. When I think back to how I was as a person then compared to now, the shift is easy to explain. As I’ve gotten older, I’ve started to think differently about music production.

I weigh choices differently now and value a certain form of integrity. Furthermore, I often try to challenge myself by trying new things. Your taste naturally changes as well. All of this is a fairly natural process for the Dutch producer.

Devin Wild on Collaboration and His Creative Process

Collaborations have been a major part of your career, from viral hits with Sub Zero Project like “Meltdown” and “DSTNY” to your 2018 mini-album “Maze Of Revelation” featuring Psyko Punkz, KELTEK, D-Sturb, and Warface. How have these collaborations influenced your approach to this more experimental, solo-focused EP?

Devin Wild notes this was the first project where he worked within a specific theme. In terms of musical vision, it doesn’t have much to do with what I’m doing now. Nevertheless, I learned from the processes involved in those individual tracks.

“Chaos (Always Comes)” features vocalist Nathalie Blue. How do you approach the decision of when a track needs vocals versus remaining instrumental? What role do vocals play in your creative vision?

Vocals can often serve as an element of recognizability and give a song a clearer structure. When I start working on a track, I often know what my goal is and what it needs to achieve that goal.

Looking Back at 2025 & What’s Next for Devin Wild

2025 has been a breakthrough year for you. Was there a defining moment that made your music stand out this year?

I can’t name a specific moment. For me personally, continuing to develop and learn new things is most important. Meeting new people and working with them matters greatly. Staying active is key, and looking for ways to improve and innovate drives me forward.

What can we expect from Devin Wild for 2026? What are you most looking forward to for next year?

I will do my utmost to keep seeking fresh perspectives on innovation. New projects are on my to-do list, along with exciting collaborations. Ultimately, I’m committed to pushing the boundaries of what’s possible in electronic music.

Devin Wild’s “Among The Noise” is available now on all major streaming platforms. The EP showcases his bold vision for the future of Hardstyle and Hard Techno fusion. Experience the full journey of “Among The Noise” and discover why Devin Wild continues to push the boundaries of electronic music.

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