Silva Electronics

Introspective Dreamscapes and Dystopic Beats

[silvaelectronics]

Episode 9 comes from Seattle based DJ and writer Jason Cabaniss. An academic librarian by day, Jason has been involved with music publications and radio since 2011, currently as the North American Editor at London based Inverted Audio, with earlier bylines at Foxy Digitalis and Tiny Mix Tapes, and as the host of Electric Waves on Seattle’s Space 101.1 FM. For this mix he goes all vinyl with a hazy blend of dub, ambient, and leftfield techno.

Jason Cabaniss on Space 101.1: https://www.space101fm.org/program/electric-waves/

Mixcloud Archive: https://www.mixcloud.com/jcabaniss/

Inverted Audio Writer Page: https://inverted-audio.com/author/jason-cabaniss/

Tracklist:

Earthen Sea - The Present Mist

Peter Gabriel - In Doubt

Hoavi - Antaxis

Raven - Jupiter

The Bug - Hooked

Purelink - Stadium Drive

CV313 - Subtraktive (Intrusion Reform)

Charles.A.D - Surfacing

Federsen - Skyway

J.S. Zeiter - Untitled

J.S. Zeiter - Paradox

Topdown Dialectic - B4

Sweetzak - Viggo’s Dream

For anyone new to you, can you introduce yourself, tell us where you’re from or currently based, and what it is you do? How would you describe your sound / projects?

My name is Jason Cabaniss, and I live and work in Seattle, Washington. Professionally, I'm a librarian currently working in higher education. Outside of work, I've been involved with various music publications and radio stations since 2011. I've written for outlets like Foxy Digitalis and Tiny Mix Tapes, and right now I'm the North American Editor at Inverted Audio, which is based out of London. I also have a radio show, Electric Waves, on Seattle low power FM station Space 101.1. Both my writing and radio projects focus on electronic music, with an emphasis on producers, labels, and scenes from all over the world. I try to encompass as many genres within electronic music as possible, so any given show could highlight deep house, jungle, italo disco, etc.

Tell us about the mix you’ve recorded for us. When and where was this mix recorded and with what type of equipment? Any stories or quirks from the session worth sharing?

This mix was recorded at Space 101.1FM's studio in Magnuson Park, Seattle. I used only vinyl and recorded off the station's mixing board between the two turntables. The tracklist is from a range of artists operating within dub and ambient techno. I feel like dub techno is the perfect winter music, and this mix reflects what I've been listening to lately. One of the artists, JS Zeiter, was my gateway into the genre, when I heard some of his tracks on the Keytars & Violins blogspot back in 2010/2011. There wasn't anything particularly noteworthy about the recording, but I'm always happy to include Peter Gabriel's Last Temptation of Christ soundtrack. It's one of my all time favorite records and has some beautiful drone-adjacent songs.

How did you first get into electronic music, and how did that path lead you to radio and writing about it?

The first two records that opened my mind to electronic music were U2's Achtung Baby and Radiohead's Kid A. I think people forget or aren't aware of how unusual it was for a band like U2 to fully embrace and meld club sounds and alternative rock. I grew up in Wisconsin, so guitar music was everywhere, and Achtung Baby was a chance to divert from that. My dad often played the VHS that had all the music videos from the album. Kid A was a discovery when I was in high school and starting to go down rabbit holes on All Music. I hadn't listened to Radiohead before, so I bought it on a whim and was blown away. That record opened the door to Aphex Twin and Autechre. 

My involvement with journalism and radio came from the desire to stay active in music without seriously playing an instrument to start a band (I've dabbled in bass and drums). I grew up reading Rolling Stone, and internet radio and streaming archived radio were just starting up when I was in college. The show "Radio Free Town" on WFMU planted the seed of wanting to do radio. It was hosted by a guy who traveled to Africa to collect funk and psychedelic rock records that he played on the show. This was right before reissue culture took off, so it was the only place to hear this type of music. I loved the idea of writing music reviews and programming a radio show as a way to turn readers and listeners on to something they might not discover otherwise. 

Writing and DJ'ing came about by applying to various sites and stations through the years and getting accepted. My current outlets, Inverted Audio and Space 101.1 FM, have great structures to them and allow me the freedom to curate reviews and sets that bring in a wide variety of underground sounds from around the world.  

When you’re hearing tons of new music, what makes a release stand out as something you want to write about?

I don't get bombarded with PR emails like I used to, but a lot of music comes on my radar. At this point, as boring as it sounds, I just know it when I hear it. Even if a record falls within a genre that's having a moment, if I can highlight a way that it subverts tropes and stands apart from the deluge of music out there, then I've got something to talk about. Not everything has to be "the best album ever", but if it showcases an artist's growth or fits the mood of the time of the year, then I can find something to talk about. 

I'm fortunate that I've built up a stable of artists and labels that consistently put out amazing stuff. Peak Oil, 100% Silk/Not Not Fun, and Ilian Tape are labels that have evolved over the years and continue to deliver.

How would you describe Seattle’s electronic music scene right now?

As far as venues, Seattle has changed a lot. Many have shuttered due to rising costs and, like many music scenes, so many of the players when I first got here moved on to other ventures and day jobs. Some of the mainstays include C89.5, an amazing dance radio station that is one of my favorite evening and weekend listens; The Vera Project, an all ages venue; and local jungle label Heavy Sounds. I only recently discovered the jungle/drum n bass scene in Seattle and Portland, so I'm fortunate that new things do pop up in the region. I recently saw Visible Cloaks as part of the Age of Reflections series, which did a pop up show at a church. The lighting setup was incredible and I plan to see Steve Hauschildt through that series next month.

Are there parties, venues, crews, or local DJs that have been especially influential or that you would like to give a shout out to?

Chloe Harris is a great local electronic artist, DJ, and record store owner. She produces everything from modular techno to deep ambient. I've purchased so much from her online shop, Further Records, that I couldn't otherwise get in the US. Absorb Records is another place with a great selection. The Crocodile, Showbox, and Kremwerk are my favorite venues in the city.

[silvaelectronics]

Episode 8 comes from Brooklyn-based DJ and selector slipnat, whose DIY-informed, mood-first instincts shape a wide-ranging approach to sound and curation. Recorded bedroom-style in Brooklyn, this mix plays like a mixtape that simmers through ambient drift, shoegaze and dreampop, leftfield turns, and a handful of full-body peaks, all without losing the thread. Quick pivots, clean landings, and a razor-sharp sense of pacing and momentum make it eclectic in the best way. A masterclass in arrangement.

Instagram: https://www.instagram.com/__slipnat

SoundCloud: https://soundcloud.com/slipnat

Resident Advisor: https://ra.co/dj/slipnat 

Tracklist

Grand Prix – Nala Sinephro 

in motion – Ann Annie

When It's Cold I'd Like to Die – Moby

Afternoon & Murakami – Dot Da Genius

Squeeze-Wax – Cocteau Twins

No Ordinary Morning (Original Mix) – Chicane

Erik’s Song – Slowdive

Snake Dance – Mychael Danna

5 Strings (lake) ft. j. fisher – OHYUNG

Firen (reading edit) – Yimino

Day You Told Me – Colle

Go Away – Strawberry Switchblade

Dust – Kosaya Gora, Kedr Livanskiy, & Fl

Tren – Sylvia Meyer

Trama – Laura Canoura

Rain Rain – Li Garattoni

I'm Not In Love – 10cc

Bahlam Maak – Najat Al Saghira

Lana del Rey – Born to die (Version Cumbia) – Tatsu 19

Blessing – Marçal

Dallyvius Ephai – Sunshower

Young Lungs – Stereolab

Nasin El Donya – Ragheb Alama

Nesrin Zreik – Khalilni Ma'ak – mazika video e1

benedicamus domino – Hildegard von Bingen

زواج Zawaj – Carl Gari & Abdullah Miniawy

Queer – Garbage

Dance To The Beat (Piano-Groove-Mix) – Masterboy

Too Late – Gui Boratto

domine deus meus – Hildegard von Bingen

mirabilis deus – Hildegard von Bingen

Sexual (original radio edit) - Amber

favus distillans – Hildegard von Bingen

يا حاج Haj – Carl Gari & Abdullah Miniawy

Ojos Del Salado – David Pasajero

Grave diggers Have more fun – DJ Arne LII

Barabas – Hooverphonic

By This River – Brian Eno

Love Is Stronger Than Death – The The

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For anyone new to you, can you introduce yourself, tell us where you’re from or currently based, and what it is you do? How would you describe your sound?

"I’m slipnat, currently based in Brooklyn, NY. I lived in Houston during the beginning of my childhood and then moved to Ann Arbor, Michigan. I’ve been in NYC since 2016. My family is from New Delhi, India, and Antigua, Guatemala.

I would describe my sound as eclectic. I make mixes to have existential crises to, to write to, or to listen to in the shower at 9 p.m. I’ve been deep in trip-hop and shoegaze this year, discovering new mix series and DJs on SoundCloud that have shaped what I unwind to. Outside of music, I’m an adjunct professor at Queens College and a 4th-year PhD student in Clinical Psychology. A lot of my musical sensibility comes from my time in Ann Arbor and a DIY space for live gigs, readings, and organizing called Arbor Vitae."

Tell us about the mix you’ve recorded for us. When and where was this mix recorded and with what type of equipment? Any stories or quirks from the session worth sharing?

"I like to mix to unwind and consider myself a proud bedroom DJ (non-derogatory). I use a DDJ-400, a standing desk, and a pair of Yamaha HS5 studio monitors. That’s basically it. I’m honestly overdue for an upgrade. I recorded this mix on a Tuesday after making myself chicken bone broth with mixed veggies in my crock pot, which is probably responsible for 50% of the vibe."

This mix features a wide range of genres, tempos, and styles, all blended beautifully. Was there an idea, concept, or particular vibe you were going for?

"I make playlists on Apple Music by season. This mix started as my summer soundtrack. These are songs that lived in my 14-year-old Saab 9-3 Aero that whole season. He’s my son. It’s a mix built around the feeling of motion and impending goodbyes: windows down, whistling to melodies, warm air, and late-night drives back from Riis beach. It’s about the sounds of July and the openness in ones heart that summer creates."

With such a diverse set of tracks, can you walk us through your creative process when approaching a new mix?

"Being a classically trained violinist makes blending different keys together something I love to play with. My tagging system is chaotic. I organize by genres I’ve invented (“commuting music” or “songs I wish I could send you”) or by colors the tracks remind me of. The color system ends up guiding most of my mixes, because they capture moods better than any genre label could."

You mention that a lot of your musical sensibility comes from your time in Ann Arbor and a DIY space called Arbor Vitae. What was that space like, and how did it influence the way you think about music, community, or organizing?

"I’m really grateful to have grown up so close to Detroit and to have had older friends in high school and college who would drive me out or host me. They were the ones who first took me to Club Toilet back in 2015 which is still one of my favorite parties ever. Arbor Vitae, though, was the first space that made me feel like music, community, and organizing could all blur into one thing.

It was a DIY loft above a clothing store called Bivouac in downtown Ann Arbor. There were two entrances: one from State Street that led you up into an atrium and kitchen — shelves packed with books, scrolls, random potions, and trinkets left behind by previous residents. There were instruments tucked into the back corner: a drum set, piano, standing double bass, and enough gear for live performances, readings, DJ sets, and everything in between.

The other entrance was up through an alley that opened into the lofted living space. The layout was maze-like, almost like a giant treehouse. All the walls were painted in every color you could imagine, and at any given time four or five artists lived there. It had a grungy, secretive feel, like you had to have known at least one person who became an anarchist before turning fifteen to even hear about it (kind of kidding).

Arbor Vitae introduced me to noise, punk, metal, and techno, and it completely shifted how I think about genre...how porous it is, how things relate more through feeling than form. It also taught me the value of communal experimentation, and, importantly, how good mulled wine can be. For the angsty kid I was in Michigan, it was an oasis: a place where ideas, sounds, and emotions could be pushed to their edges. I’ll never forget the time I saw someone perform spoken word while intermittently barking like a dog and playing a drum machine. Moments like that still shape how I think about performance, community, and the freedom that comes from making something with other like-minded and conscientious people in the room."

Does the New York scene play in your sound right now? Are there parties, venues, crews, or local DJs that have been especially influential or that you would like to give a shout out to?

"I think it's hard to find places to play out moody soundscapes but I hope I can play at LSD next year. S/o to Teeyam (https://www.instagram.com/baba_pishi) for putting me on the bill with Jay (https://www.instagram.com/jsc.001) at Dada in Ridgewood back in March. Some mix series that have been especially influential this year have been pleasure gallery (https://soundcloud.com/pleasuregallery), ghosts (https://soundcloud.com/ghosts-mix-series), theory therapy (https://soundcloud.com/theory-therapy), and any mix that Mike Midnight, Smilegoth, or Hysterical Love Project put out."

[silvaelectronics]

Episode 7 comes via Minneapolis based producer, DJ, and promoter Tekk Nikk, whose sound pulls dub techno, heavy acid, lush ambience, and hypnotic grooves into focus. As a label head and long standing staple of the city’s DIY electronic scene, she carries that sound and ethos into her BORA label imprint and Parallel Lounge live pa series. Her mix for us threads together rolling 4x4, halftime swerves, and foggy atmospheres for a deep, late night ride.

IG: _tekknikk SC: devata-daun BC: https://borabora.bandcamp.com/

Tracklist:

new dot com - Cockatrice Epoch - Travelling Bas Dobbelaer - Plural J. Albert - Atabey Aril Brikha - Sweet Lullaby BIOROOT - 126DUTP Sub Basics - Offshore oma totem - ER - 3 Yant - Soup Kitchen Birgan - Infinite Illusion Unknown Mobile - Goo Porter Ricks - Prismatic Error Realitycheck - Hoax (Heat Mix) Yushh - Look Mum No Hands Seta Loto - Pivotal Scape Marco Shuttle - Acrobat Overtone Series - Standing Waves (Bullfrog Mix) KMRU - Oloolua Lex Amor - Mood

Interview:

For anyone new to you, can you introduce yourself, tell us where you’re from or currently based, and what it is you do? How would you describe your sound?

"My name is Nikki and I live in Minneapolis, Minnesota. I’ve been making electronic music here in different iterations over the past 11 years as a producer, live pa artist, and DJ. I am also a promoter and label owner. Tekk Nikk’s sound leans a few directions, usually focused in hypnotic organic rhythms, incorporating dub techno, acid, and electro."

Tell us about the mix you've recorded for us. When and where was this mix recorded and with what type of equipment? Any stories or quirks from the session worth sharing?

"I put this mix together with tracks I’ve been holding onto that are some of my favorites and haven’t had a chance to play them out yet, usually it was a result that I was too chicken shit to play them out even though I had every intention to. There’s a few different times in the mix the groove totally shifts or the BPM’s have drastic changes, so I used ambient tracks to help blend it together and it was fun to figure that out on the fly while focusing on 4x4 for the first half of the mix and then making a pivot to half tempo. I recorded the mix at home on three XDJ’s and a Xone 43, in one take. Sometimes that first take is the keeper because you aren’t overthinking it."

Has the scene in Minneapolis played into your sound or shaped your approach to electronic music? Are there any crews, parties, or venues that have been especially influential or that you would like to shout out?

"My path to electronic music has been highly influenced by Minneapolis; it’s the basement shows, the raves, the venues, the people, the crews, the sound systems. 2013-2014 was my entry point into electronic music and tapping deeper into the diy scene. This coincided when Kitty Cat Klub was everyone’s go-to spot, it didn’t matter what day of the week it was, there was always music, a couch to sit on, a patio to smoke on, a burger and fries from Annie’s from the second floor. We were all regulars there. Indie bands, DJ residencies, noise, punk, EBM, hip-hop, folk, rock, electronic, you name the vibe, it was there. It was a very special place that doesn’t exist anymore, but in our memories, due to COVID that impacted a lot of venues. Ryan Olcott was an important person in my life at that time. He ran Kitty Cat Klub, bookings and running sound. Almost everything started and grew outward from that place, because Ryan gave artists a chance to show up as they were, and to get as weird as they wanted and push limits. He mentored me as I explored making electronic music, and his background came from circuit bending (Mystery Palace) and progressive production and engineering work. We co-owned a tape label called Pytch Records, focused on pitch-deviant music, where Ryan would use several tape decks to alter our music. I released two Devata Daun records on Pytch. Raves were happening during the same time frame, and back then they were generally kept secret. You heard it through a friend, and it wasn’t promoted online like it is today. Minneapolis has a strong techno and house community, focused on dialed in sound systems. Almost every crew has a system or has access to one. Communion, a summer Sunday day party, by crew Intellephunk, has been around for 19 years (and still going), and has been very influential to many of us. That’s where everyone went to get their fix of house and techno. They continue to throw raves and a yearly 3-day techno festival in July called, The Great Beyond, that emerged post-COVID, with impeccable lineups of local and international artists. Kajunga is a local label that just celebrated their 10-year anniversary, and that I’m particularly fond of since they’re some of my closest homies. Their artist roster of releases are techno and house focused and they have a running mix series, and throw memorable parties in Minneapolis and Detroit. Currently the diversity in Minneapolis is profound, the queer community is incredibly vibrant and promoters and artists from diverse backgrounds are increasingly leading the way. The party series are available everywhere you turn, Pivot, Body High, Technosferatu, Teleport, just to name a few. All of these factors have undoubtedly shaped my sound, and it’s hard to name just a few things that contributed. It’s the holistic experiences that brought me to where I am today as an artist. We’re all getting older, and the newer artists emerging in Minneapolis are bringing really fresh energy and music, and the cycle continues. It never ends."

What does your current live rig look like for Tekk Nikk and for nectar?

"I keep it pretty simple. I currently use a few Elektron boxes; Digitakt and Syntakt."

Are there any pieces of gear that feel like the core of those projects?

"I used to use Korg’s Electribes ER1, ES1, EA1, volcas, and a Microkorg. Now, my most core piece has been the Digitakt because it can do so much, and it’s just one box. I don’t have to bring cases and cases of gear and cables with me to gigs now. I refined my setup intentionally for efficiency purposes."

When you are building a new live set from scratch, where do you start? Is it drums and rhythm first, a certain mood, a concept, or something else entirely?

"It’s different every time and it will depend on the vibe of the occasion that I’m writing for. I will usually sit down and start fucking around with a sample or a machine until it vibes, and then a track naturally grows from there. As I’m sequencing and adding layers of sounds, I focus on making the track layers flexible, so that as you add or subtract them, the track can still stand alone. I don’t write dance oriented live set as much anymore, I’m mostly writing ambient, so that really opens up a wider canvass to fill, because there aren’t as many rules like there are when you’re writing to a dance floor."

For anyone unfamiliar, can you tell us about your label BORA, how it started, and what you are trying to build with it?

"I’ve co-owned labels before and have been in a helper role with others’ labels, and it felt like it was time to launch my own, given the experience I gained and the urge to put out some of my own releases and to start a mix series. The impetus of BORA happened in early 2024 with these self releases and at the same time I started making ambient, under the moniker, nectar. I am first and foremost a live performer and Tekk Nikk started as live pa techno on hardware, but I craved another outlet to perform that didn’t involve rules or a dance floor, and that curiosity led me to making ambient.

The mix series on BORA is called, Parallel Lounge, that features live pa artists of any electronic genre. Out of that came some really nice surprises, like friends submitting mixes that were their first time experimenting making music on hardware. It’ll remain a very diy label with goals to put out artist releases on tape and digital."

[silvaelectronics]

Episode 6 comes from Silva Electronics founder and Brooklyn-based Producer / DJ Michael Claus. For this one he digs deep into the “lower middle-bottom left section” of his record collection for an all vinyl dive bar mix, stitching together psychedelic jazz, krautrock, post-punk, leftfield, New Wave, industrial, EBM, crust punk, and metal. Recorded on a humid summer night in New York with the windows wide open.

IG: www.instagram.com/mikec187/

SC: @michael-claus

Tracklist:

Miles Davis - In A Silent Way / It’s About That Time [In A Silent Way, Side B] (full side) CAN - Paperhouse [Tago Mago, A1] CAN - Mushroom [Tago Mago, A2] Bronze - Dulcinea [World Arena, A3] [2014, Not Not Fun Records] <3 The Clash - The Call Up [EP, A1] Crass - Beg The Question [Christ - The Album, A5] The Clash - The Magnificent Dance [EP, B1] Art Of Noise - Legs [Legs, B1] Grauzone - Der Weg Zu Zweit [Grauzone, B4] Bronze - Played [World Arena, A1] [2014, Not Not Fun Records] <3 Grauzone - Schlachtet! [Grauzone, A2] Borghesia - She Is Not Alone [She Is Not Alone, A1] Cabaret Voltaire - Crackdown [EP, A1] Severed Heads - A Million Angels [Since The Accident, A2] Cardinal & Nun - I Met The Devil [Cardinal & Nun, A1] Severed Heads - Dead Eyes Open [Since The Accident, A5] Chrome - The Chronicles Of The Beacons [The Chronicles II, A1] GBH - Tipuki Thunder [Wot a Bargin’, A4] Crass - Have A Nice Day [Christ - The Album, A1] Amebix - Monolith / Nobody’s Driving / The Power Remains [Monolith, A1, A2, A3] Darkthrone - These Shores Are Damned / Canadian Metal [F.O.A.D., A1, A2] Anti Cimex - Pain Killer [Anti-Cimex EP, B1] Power Trip - Manifest Desimation / Heretic’s Fork [Manifest Decimation, A1, A2]

Tell us about the mix: "I recorded this mix on a summer night, New York humidity in full effect, all the windows and the balcony door wide open to let in whatever little breeze was available. I was enjoying a night in, so I dug through the lower middle-bottom left section of my record collection, hooked up my second turntable to an old DJ “battle” mixer (Tascam XS-4) I had stashed in the closet, plugged it into my laptop, and hit record. It was fun! Here's a photo of the setup:

"This mixer is a little tricky to work with and takes a bit of time to get used to. It only has a low and high band EQ, and each channel is a mirror image of the other, so each EQ knob is on the opposite side from the other channel. I don't really use mixers in the turntable “battle” context, so this kind of setup makes it really easy for me to accidentally grab the wrong EQ parameter lol. This is what the mixer looks like:

"

[silvaelectronics]

Episode 5 comes from San Francisco-based producer, DJ, and promoter Pressing, whose work explores off-kilter rhythms and left-field sound design. As the founder of Hyper K, he has helped shape the Bay Area underground through genre-spanning events, residencies on SutroFM and Noods Radio, and collaborations with crews like Club Moniker and Endzeit. This mix, recorded live at a Hyper K party earlier this year, finds Pressing navigating a psychedelic low-BPM zone, threading halftime DnB, atmospheric bass, and percussive hypnosis into a slow-burning, body-centric trip.

IG: https://www.instagram.com/_press_ing

SC: https://soundcloud.com/ppressingg

NOODS redisent page: https://noodsradio.com/residents/pressing

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Tracklist (Artist - Track):

Popp - Meoh Marmo - Inner Systems L'Uzure - Mémoire Marmo - Hermaphrodite Altjira - Foil Konduku - Swerve Sindh - Massane Marco Shuttle - Tombak Healer Minú Jr - TSS Pianeti Sintetici & Simon Oak - Sigillo Minú Jr - October dj_2button - Aurora Arrivals (MISH Remix) Fergus Jones - Tight Knit (feat Birthmark, ELDON, & Withdrawn) Minú Jr - Cure Drawbridge - Boiling Swamp Isabel - Descent 909 Hellacopta - Stress Test Hysteria Temple Foundation - Iddak Sage - Boy Oceanic - KxT Mohammed Reza Mortazavi - White Daf

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Tell us about the mix

This mix is the recording of a set I played on April 4th 2025. It was for a party my crew Hyper K threw with some friends, Club Moniker and Endzeit. Spekki Webbu, Feral, Miagma, Mozhgan, Kudeki, and Altinbas also played. I played upstairs in a fast/trippy room.

I played early and the next artists really shine and do their thing at a pretty fast pace but I didn’t want to creep up the tempo consistently over an hour. I pulled my zoniest 80/160 and tried to find a smooth ramp up. My hope was that after an hour of this, the bodies in the room could hear/feel something near where Spekki and Feral would be playing for a less jarring transition. There’s so much good music in this zone: from half time dnb to atmospheric, leftfield psychedelia and even a lil hip hop. That gives way to some heavy bass which, at this tempo, really makes me….not want to headbang buuuuut….maybe nod my head really hard?? I also love just straight up percussion so there’s a bit of that in there too.

That party was with Hyper K, Club Moniker, and Endzeit and seemed like a real moment. How did the night go?

The night went great. Really good turnout and really cool space with two floors and a chill out zone. Always fun to do parties with friends who put a lot of thought into the curation and production. It was a huge effort to turn that warehouse into a warehome for the night :)

For folks who might not be familiar, what is the origin story behind Hyper K? How did it come together, who’s involved, and what was the initial idea or spark behind starting the crew?

I started Hyper K a couple years into the pandemic when it felt like the SF Bay Area was in a bit of a rut. There were glimmers of interesting things continuing to happen, but overall the city, or my corner of it, felt at a low point energetically. I’ve lived through a number of phases here through the years and I wanted to step into the instigator/organizer role for the first time. The idea was to help re-inject some vitality by finding spaces to activate and up-and-coming artists to put on. And to have some really good parties and connect with people.

Today the scene feels totally different from when Hyper K started. There’s a super vibrant, creative energy here that spans from club to rave to performance and visual art. Generally, it’s always an uphill battle here given the economics in the history of the place, but I think there’s a lot of friends and other crews who have felt a call in the past call at five years to really step it up and make space where we can for people to be expressive and come together.

I currently run Hyper K with llloyd but a handful of others have been part of the core crew or regular collaborators like DJ Tips. I threw the first one with Infinite Jess and SutroFM has been the home of our monthly radio show and just general community hub. A lot of our events can only function with the help friends who wanna pitch in and take a piece of the party to run themselves. A lot of this really leans on people feeling like they can contribute something and kind of make it greater than the sum of its parts.

Is there a specific sound, aesthetic, or idea that Hyper K is trying to cultivate (musically or visually)? Or a guiding principle that informs the way you curate artists, spaces, or events? Or is it more about following instinct and energy from event to event?

Soundwise, we are always trying to support what feels fresh but rooted in a fundamental sound that we love or really resonate with. A lot of that’s been part of the broader bass music culture. We love rhythm. We love the opportunity to find real extended zone out periods on the dance floor, which has pushed us occasionally into trippier directions, but we’ve also hosted parties with folks like Index Records, who are known for atmospheric downtempo sounds, and more recently with hypnagogic artists like Chasms and James K. We also love to shake ass with people like DJ Lycox or DJ Plead.

In the past year, we’ve had a biggest range of experiences, from outdoor all night parties to more of a concert scenario, but I think the through-line is supporting artists who don’t have as much exposure or experience playing here and we think are special for their own individual reasons.

You recently played Chillits, the ambient music campout held in the Mendocino forest. It's known for its unique and intimate vibe. How was the experience, and how did your set fit into the weekend? What kinds of music did you end up playing, and were there any moments that stood out to you?

Yeah, it’s a really unique little festival. Chillits has a long history in the West Coast ambient/IDM/sound art scene, so it was a real honor to be invited. It’s strictly non-dance music throughout the night, but daytime is a little looser and I played a downtempo trance set at sunset. My partner prepared some special drinks and snacks for the occasion and we absolutely chilled into twilight. 

The stage/listening area is completely surrounded by trees and the lighting crew did an amazing job with 360° projection…it was incredible. Jon Carr and DJ CZ totally threw me and I don’t think I ever laughed so hard during a musical performance as I did during Rrose that night.

[silvaelectronics]

Episode 4 comes from Bay Area-based DJ and selector Researcher, whose ties to scenes in Brooklyn, Detroit, and SF shape a wide-ranging, intentional approach to sound and curation. Researcher brings a sharp ear for mood, movement, and atmosphere. This mix is a driving, heady trip that fuses peak-time techno pressure with electro-inspired rhythms and dub textures that surface throughout.

IG: https://www.instagram.com/researcher.mp3/

SC: https://soundcloud.com/researcher-mp3

Tracklist:

Track name - Artist

the secret teaching of all times - .vril hedonic setpoint 38 - malin genie the motion (club edit) - paranoid london for play (day one) - derek plaslaiko efecto perfecto - hackney electronica helios rave draft - kangding ray continental techno version two - levon vincent hedonic setpoint 66 - malin genie d.o.s. - sard the set up man - british murder boys wyefield - truss germs version 1 - kenneth graham posm2 - sard tektite (gas core) - galtier black elements - max watts gleam from a distant gate - imugem orihasam

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"Tell us about the mix you've recorded for us."

I recorded this mix during a bright spring Friday afternoon at SutroFM HQ. Unexpectedly, it ended up being a really good day. My hope is that the mix conveys some of that feral early spring energy.

"Can you walk us through your creative process when approaching a new mix?" 

Generally when I’m putting together a mix I’ll throw some tracks together that I’m into at the moment and just see what emerges organically. Then I’ll start thinking about the various energy levels of each track and how I want to distribute that energy across the mix.  For this mix, there were a lot of heady, acid sounds I was feeling, so I went with that.

"You’ve spent time in scenes from Brooklyn to Detroit to SF—how have those scenes shaped your approach to music and curation, and what makes a party or venue feel truly special to you?"

Spaces like 285 Kent (BK) and parties like GHE20G0TH1K (BK) really impressed upon me that underground culture really wasn’t about just one single aesthetic, genre, style, or artform.  There are, of course, certain touchstones and common influences.  All of this is ultimately rooted in the queer and Black cultures of cities like Detroit, Chicago, etc., and our parties and spaces should reflect and respect those origins.  But the styles and sounds that influence this culture are tremendously diverse.  

My time in Detroit really reinforced that lesson.  The aesthetic boundaries there felt pretty fluid, there’s a lot of overlap between scenes and genres. Which is as it should be, at least in my opinion.

Probably the most influential space for me was Grenadier Club, which was an after hours spot in Detroit around 2016. It’s hard to capture how special that place was, but like, if you were around Detroit at that time, you know. I was really captivated by the space itself. The building had this slightly disorienting layout, and the visual design of the space felt like something out of David Lynch.  I didn’t really know anyone when I moved to the city but I was captivated by the visuals and ended up bringing a DSLR to photograph some of the parties. I felt self conscious about it at first, but the staff and party promoters were incredibly kind and encouraging. I’m grateful that they let me shoot the parties: Grenadier only lasted a year or two before the city shut it down, but I was able to capture some of it.  Those images mean so much to me now.

“You talked about your excitement around how people are programming events outside of traditional nightlife systems. What are some aspects of that shift that feel especially inspiring to you right now?”

No disrespect to people working within the nightlife system, of course. But I think DIY-type spaces open up so many interesting possibilities, both in terms of programming and in terms of community.  The listening party for Raven’s amazing release Gnosis, for example, was an incredible experience, and I can’t think of too many other spaces where the experience would have been the same.

[silvaelectronics]

SE Founder Michael Claus is back at it again for Episode 3, coming through with a slow-burning journey of downtempo grooves, tripped-out rhythms, and dubby atmospheres. IG: www.instagram.com/mikec187/ SC: @michael-claus

Tracklist: Artist - Track name

Forest Management - Hydro Porter Ricks - Phosphoric Techno Animal - Hydrozoid In Aeternam Vale - 808TS Conforce - Elude Austin Cesear - Cloud Hall Huerco S. - Rushing To Paradise Bookworms & Steve Summers - Let it Run Jack Hyde - Sea-Stone Shinichi Atobe - Plug and Delay Demdike Stare - Eulogy Millsart - The Deuce Theory DJ Spider - Planetary DisFunkshun Elexos Park - Guava Bruce Trail - Beatrice 2301 - Shell Monolake - Fragile Plastikman - I Don't Know Marcelus - Utopia

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Tell us about the mix you've recorded for us.

I put this mix together on a very snowy Saturday night in February, where everything outside was blanketed in white and it just kept coming down for hours. The view from my window was beautiful, and that cozy, surreal stillness definitely inspired the direction of the mix. Since I was posted up at home, I decided to go for a slower, more laid-back set that featured some of my favorite styles and sound palettes. We’re cooking low and slow here—downtempo sluggers, lush atmospheres, and staggered rhythms that drift behind and around the beat. It moves through different zones, starting mellow and hazy, building toward tripped-out house, minimal and dubby textures.

Can you walk us through your creative process when approaching this mix?

I wanted the mix to feel like it matched the color and mood of that snowy night—shades of purple, blue, and white. The idea was to explore the more psychedelic, melodic, and slightly off-kilter sides of downtempo and experimental club sounds. I started by gathering some of my favorite tracks in this realm and loosely organizing them by tempo. Then I hit record and just jammed, gradually increasing the tempo as the mix progressed. There are a few rough edges in there, but I chose not to re-record it. You can hear “me” in there. Definitely not AI ;)

Silva Electronics:

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SoundCloud

Bandcamp

Website

[silvaelectronics]

Episode 2 comes from San Francisco-based DJ and curator DJ Tips, a key figure behind the event series and label Club Moniker. Known for his hazy, rhythmic layers and explorations of left-field experimental dance music, DJ Tips also serves as a resident for Hyper K, a monthly radio show and event series on SutroFM. This mix delivers a lush, psychedelic dreamscape of atmospheric techno, acid, and industrial, reflecting his signature sound.

https://www.instagram.com/tips.tk_/

https://www.instagram.com/club.moniker/

https://soundcloud.com/tips_tk

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Tracklist:

How to Levitate - Hours Malin Genie - Vorm in Geluid 011 Adlas - Weathering Midnight Traffic - Mantis John Plaza - Atomillar Sunju Hargun - Marsa (Sunsiare Re-Interpretation) GiGi FM - Amadamushies monosym - Moderational Daniel[i] & Zemög - In Flux Arkan - Broken Clock Oshirijima - The Zaaaarrrr Energy 134 Perfo - Crépuscule Merino - Silence No More VSK - Sfere a Contatto Stenny - Dirge Furtive - Kiln Human Space Machine - Negen Alan Backdrop - Dr_c_ Shoal - Gerakan Yogg - Twice The Rice Save Your Atoll - 90's Steps Rainsoft - Eclipsed Time Arthur Robert - Loyal

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"Tell us about the mix you've recorded for us."

I recorded this in my living room with a xone92 and 3 xdj's. I mainly focused on atmospheric techno with a few acid and industrial elements. The only intent was to build toward a few higher energy tracks with a smooth, moving, and playful groove. Everything else came together nicely on the fly.

The theme of this mix is my usual MO: a hazy, psychedelic, and mysterious dreamscape within lush, natural terrain (forest, mountains, etc.) I also wanted to evoke recently gained confidence playing on bigger sound systems and gigs out of my hometown.

"Can you walk us through your creative process when approaching a new mix?" 

I spend a lot of time browsing bandcamp via labels, and then I listen to my bookmarks while commuting. I've only recently started using rekordbox to organize tracks. I group them together based on key detect with some attention to genre, energy level, and rhythm. That's about it. The rest was improvisational. I enjoy layering with 3+ decks on the spot when I catch phrases that speak to me.

“Layering with 3 decks on the spot is quite a skill.. How do you decide which tracks to layer, and how does this element help shape your sound?”

I prepare based on how I feel about a collection of tracks in an environment. I have a lot of important feelings for music paired with scenery in the Bay Area. Moving through landscapes and interiors while listening to tracks leaves impressions of details like tone, intensity, rhythm, phrasing, etc.

Sometimes certain details stick with me, which leads me to tracks that have commonalities (or polarities depending on how chaotic I feel). I add a few tracks for tonal/rhythmic bridging, which leaves me with a body of elements and phrases for flexible layering. At a certain point, I just try to have fun juggling with whatever I bring to the decks. Looping helps ground me when I’m completely aimless.

“Could you tell us more about your involvement with Club Moniker? How did you connect with the crew, and what excites you most about working with them as an event series and label?”

I started Club Moniker a few years ago with a group of friends that I admire musically. We have a wide range of tastes which leads to unpredictable hilarity. We’re very much a “what if” kind of a crew which is exciting to me. That’s probably why we don’t have a distinct association with genre because we’re interested in many forms of expression. Obviously this leads to many tribulations, but I like the fact that it’s hard for us to conform to something indefinitely. The event series and label is a reflection of that.

“Club Moniker is deeply connected to the San Francisco scene. What role do you think crews like Club Moniker play in fostering local electronic music communities?”

I think crews that make any city feel like a home are key. No crew is perfect but at the very least they can comprise people who are open to responsibilities for community health, sustainability, progressive ideas, and creativity. I don’t believe that music is an escape from cultural issues. A healthy local scene tells me that people are engaged with these problems to build a welcoming home for folks who are ready to listen.

“Club Moniker has a unique approach to events and collaborations. How do you and the team decide on themes, artists, or venues for these shows?”

We share a mental Venn diagram that has 3 bubbles along the lines of:

Do we love it?

Is it special?

Will we survive?

If the spread of opinion covers only one bubble, we usually toss the idea.

“How do you feel about the current state of electronic music in general? Are there any trends that excite you?”

I'm always excited about the everlasting pursuit to explore the grey area of heady dance music. It's been nourishing to hear influences of jazz, ambient, and noise with some of my all time favorite and emerging producers/DJs.

"Looking back at the beginning of your music journey, what advice would you give to your younger self? Additionally, what tips or advice do you have for someone just starting out in their career?"

The main advice that I would give myself or anyone starting out is to relax. Don't worry about what other people are doing, just follow what feels right. Spend time mixing with people who dig deeply (era, genre, vibe, etc.) with good sound system experience. Building a range with unfamiliar collections has helped me a lot.

I feel that the industry is kind of stereotypical of any entertainment scene. Healthy values go a long way in any environment. I just try to follow my heart around people that genuinely care about me.

“What are your upcoming projects or collaborations?”

A few shows coming up in San Francisco, incl:

2/8 - Squish x Club Moniker - livwutang all night @ UGSF

2/22 - Club Moniker x Hyper K - Piezo @ Yerba Buena

[silvaelectronics]

Episode 1 comes from SE founding @michel-claus !

IG: www.instagram.com/mikec187/ SC: @michael-claus

Can you introduce yourself, tell us where you're from and/or currently based, and what it is you do? How you would describe your sound.

My name is Michael Claus. I'm a music producer / DJ (among other things) and the founder of Silva Electronics. In terms of my sound, I’d say it has quite a bit of range that can go from left field and ambient leaning to heavy and distorted. Each release is a little bit different, but overall my music seems to retain a lightness and fun aspect to it. I'm originally from the Bay Area and spent the past 13 years in San Francisco, but recently relocated to Brooklyn, where I'm now based. Although I’ve been making music in some form for most of my life, I started Silva Electronics in 2017 and have been having a blast with it since. Thanks for tuning in and for your support.

Tell us about the mix you've recorded for us.

This mix is a special one. I recorded it in January 2024, prepping for a series of memorial club nights for my dear friend and San Francisco legend, Gregory Anthony Clarke aka Woo, who passed away in December 2023. Gregory and I DJ’d together as residents of the Outpost Party series in San Francisco (~2011-2016), organized by CM-4 (Cassidy Martin) & Nackt (Johnny Igaz).

For Woo’s events, I wanted to include tracks I loved playing at Outpost parties with him back in the day, whether we were DJing together or he was working the bar at UGSF. So the first half of the mix features recent digs, while the second half includes some old favorites from the Outpost era. It was amazing to relive those nights through these sounds while getting these playlists together. Huge shout out to Jimmy B of WERD SF for helping put those together.

I hope you enjoy it! Rest in Power, Woo! ❤️

What are your upcoming projects or collaborations?

Silva Electronics has a series of releases coming out over the next few months, including some from friends and a couple from me, which I'm very excited about! I'm also thrilled to start this new podcast series and get back to DJing and digging, alongside my music production. Keeping busy! 😁

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