The weekly Resident Advisor Podcast featuring electronic music - https://ra.co
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#EuroMag
Eurovisión en clave cultural
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Canción Exploder
Un podcast donde los músicos desarman sus canciones y pieza por pieza cuentan la historia de cómo fueron hechas. Una coproducción de Adonde Media con Song Exploder de Hrishikesh Hirway, presentado por Martina Castro y distribuido con apoyo de Radiotopia de PRX.
Encuentra todos los episodios y más info sobre los artistas en cancionexploder.com.
CREATIVO CLIPS
Escucha los episodios completos del podcast Creativo en Youtube y Amazon Music. Amazon Music: https://amzn.to/creativo YouTube: https://youtube.com/robertomtztv
RA.810 SHERELLE
The British jungle star reflects on grief, artistic integrity, bass communities and why slowing down has become central to the next phase of her career. In 2019, SHERELLE's life changed when a viral Boiler Room set introduced her high-speed blend of jungle, footwork and hardcore to a global audience. This much we know. So what comes after the storm? In the 2020s, the Londoner has become one of the most recognisable figures in UK dance music: major festival stages, a BBC Radio 6 Music show and even a MOBO award. Yet after putting herself through over 100 shows a year, and turning 30, she began to question the pace of life as a touring DJ. The deaths of two close family members over the past 12 months brought those questions into focus, reshaping how she thinks about DJing, friendship, club culture and what she wants to leave behind. In this Exchange, SHERELLE speaks with RA Editor Gabe Szatan about learning to take pride in her achievements, resisting the pressure to turn music into social media content and giving UK bass artists their flowers while they're still here. She also discusses Hooversound—the label she runs with NAINA—racial and class hierarchies that shape dance music, and Rest & Restoration, her new party built around longer sets, affordable tickets and a simple philosophy to slow down, and make time for the people you love. Listen to the episode in full. @iamsherelle
RA.1053 Public Service
New York summertime in all of its glory. New York City has had an epic few months. From clinching a milestone NBA Championship title, to Mayor Mamdani rolling out affordable housing and fixing potholes, to World Cup fever, the summer of 2026 has (for the most part) been a rush of pure elation for residents. Soundtracking it all is Public Service. Even if there's no special occasion, the atmosphere is always electric. Multiple dance cyphers form; musicians bring instruments to jam; free pizza is distributed; informal marketplaces emerge in the back. Public Service is a living tapestry of block party culture, serving as a reminder that church-like communal joy doesn't need four walls or a roof. Toribio and Perez man the decks each time, dishing out heaters across Afro house, dembow, cumbia, electro, hip-hop and techno. It might be the city's only DIY party where you can hear Jackmaster, Kendrick Lamar and Willie Colón in a single hour or see kids, aunties and grandfathers in the crowd. RA.1053 is a recording of this year's season opener in May—its vibrant blends and carnival-like mood will likely have more than a few listeners planning trips to experience the magic. Taking place in Brooklyn parks during the summer and clubs during cold weather, the party has also held editions in Detroit, Miami and Montréal. Sound is powered by hot pink speaker stacks, decorated with flower garlands, courtesy of Karlala Soundsystem whose founder Karl Scholz regularly provides rentals for free or at a sliding scale to cultural organisers. A true labour of love, the gathering relies on donations to fund operating costs and city permits. Based on the ever-expanding number of regulars, fuelled by word-of-mouth recommendations, it's only a matter of time before Public Service becomes a global phenomenon. Find the tracklist and Q&A at ra.co/podcast/1072 @publicservicenyc @mickeyperez @toribiomusic
EX.809 Mykki Blanco
The US musician, poet and performance artist reflects on "queer rap,” the industry that boxed him into it and the reinvention he's built on the other side. A consummate multi-hyphenate, Mykki Blanco (formerly she/her, now he/him) came up in a specific New York moment: the early '10s crossover between queer nightlife, noise and a rap underground that was just beginning to loosen its grip on who was allowed inside. Alongside artists like Le1f, Zebra Katz and Cakes da Killa, Blanco was lumped into a "queer rap" wave that acquired a cult following around the world, propped up MySpace and Tumblr. The co-signs came fast and from unlikely places. Blanco opened shows for Björk, Diplo and Major Lazer, collaborated with Madonna and spent seven months working closely with Kanye West. But he stayed outside the mainstream—partly by design, and partly because the industry of that era wasn't willing to let a Black queer rapper be anything other than a Black queer rapper. In this Exchange, Blanco reflects on the music industry's prejudices and limitations, and on how he's risen above them. After a few years off the touring circuit, he's back with a new album and a new sound. Café Paradiso, out in early September, is shaped less by the aggression that fuelled his early work, and more by solitude and mid-career reflection. He talks about his reinvention and more: the freedom that's come from leaving rap, the blueprint he laid for a whole generation of queer artists coming up behind him and what working with West actually looked like from the inside. Listen to the episode in full.
RA.1052 The Bug
The titan of UK bass delivers a head trip through dub's past, present and future, one year on from RA.1000.Time has a way of slipping through the fingers. A year ago, RA.1000 marked the 1,000th release in the RA Mix series. Now, 52 weeks on, we've arrived at RA.1052—and first up is Kevin Richard Martin, AKA The Bug, finally making his long-awaited debut on the series. Ask anyone who's stood within earshot of a soundsystem he's operating: Martin doesn't so much make music as engineer entire weather systems. His music demands total immersion, from the earthquake-like bass weight of anthems like "Skeng" and "Poison Dart" to the post-apocalyptic pull of his slower steppers. As he told RBMA in 2018: "The more music becomes relegated to a cheap accessory, the less people will realise there's great magic in music as a form." For his RA Mix debut, Martin delivers "nocturnal dives into the city with memories of Blade Runner on repeat." A tribute to PRESSURE, his Berlin night, RA.1052 runs through Porter Ricks, Dillinja and Tikiman, charting dub's kaleidoscopic range — from Basic Channel's minimalism to K Wata's sleek bass science. A year ago, RA.1000 looked back on two decades since 2006. RA.1052 picks up the torch and keeps walking. See you here again next year. Find the tracklist and Q&A at ra.co/podcast/1071 @thebugofficial
EX.808 Tiësto
Decades after walking away from trance, the superstar DJ unpicks the machinery behind his own brand, and what a career spent at the top actually costs. Tiësto has been one of the biggest DJs in the world for the better part of 30 years. Since the '90s, the Dutch artist has been part of an elite inner circle who dominate major festival bills, residencies in Ibiza and Las Vegas, and command some of the most astronomical fees in the industry. Even if he isn't part of your regular listening diet, you've almost certainly heard his music on the radio or pouring out of bars and clubs around the world. It's easy to forget, though, that he made his name in trance—a genre he publicly walked away from more than a decade ago, saying he'd done what he wanted with it and wouldn't be going back. As of this summer, he's finally changed his mind, announcing his return with a set at Silverworks Island in London. In this Exchange, he talks about being inspired by the new wave of trance DJs and the artists putting a modern twist on the genre. He also reflects on the years before Tiësto was Tiësto: cleaning club bathrooms, selling records to Jeff Mills as a young store clerk, producing gabber under a secret alias and being inspired to take up DJing after seeing Sven Väth play live. Listen to the episode in full.
RA.1051 Mietze Conte
An antidote to the summertime banger, with an hour of breezy ambient from the Vienna artist. When we picture the summertime banger, we picture high energy. But with record-breaking heatwaves from South Korea to the South of France, a different soundtrack makes sense. Cue RA.1051. Across an hour of woozy lo-fi electronics—many his own productions—Mietze Conte offers the alternative, inspired, as he puts it below, by "the fresh cool cleansing breeze" after a storm. At his most energetic, the Vienna artist appeals to fans of Live From Earth or 1tbsp—eurodance meets hyperpop with a DIY smirk. At his most contemplative, he drifts toward the ambient reverie of Otto Benson and Dylan Henner. What ties it together is playfulness: songs under two minutes, hand-drawn covers, music that's deeply serious and deeply unserious at once. Here he goes wide without raising the temperature, from Green-House to Nala Sinephro to Terekke's dub-hazed loops. Step into his world and find some much-needed shade. Find the tracklist and Q&A at ra.co/podcast/1070 @mietzeconte
RA.1051 Mietze Conte
An antidote to the summertime banger, with an hour of breezy ambient from the Vienna artist. When we picture the summertime banger, we picture high energy. But with record-breaking heatwaves from South Korea to the South of France, a different soundtrack makes sense. Cue RA.1051. Across an hour of woozy lo-fi electronics—many his own productions—Mietze Conte, AKA Matthias Oldofredi, offers the alternative, inspired, as he puts it below, by "the fresh cool cleansing breeze" after a storm. At his most energetic, the Vienna artist appeals to fans of Live From Earth or 1tbsp—eurodance meets hyperpop with a DIY smirk. At his most contemplative, he drifts toward the ambient reverie of Otto Benson and Dylan Henner. What ties it together is playfulness: songs under two minutes, hand-drawn covers, music that's deeply serious and deeply unserious at once. Here he goes wide without raising the temperature, from Green-House to Nala Sinephro to Terekke's dub-hazed loops. Step into his world and find some much-needed shade. Find the tracklist and Q&A at ra.co/podcast/1070 @mietzeconte
EX.807 Overmono
The British sibling duo talk creative process, stepping away from successful solo projects and their new album, Pure Devotion, on XL Recordings. Tom and Ed Russell are brothers who spent the first decade of their careers working separately, building solo careers with real underground momentum. As Truss, Tom made techno on labels like Perc Trax and R&S. As Tessela, Ed put out jungle and breaks on Poly Kicks and his own label, All Caps. Both walked away from them after a week in a Welsh cottage in 2015, when they wrote the material that would form the foundations of Overmono—today, one of the most popular projects in dance music today. What binds them now is a set of self-imposed rules, designed to produce interesting accidents out of the studio. On their new record, Pure Devotion, that meant engineering genuinely out-of-the-box experiments: baking a crash cymbal in the oven overnight to see how would change with heat; running tape past magnets to erase half of what they were recording as they recorded it; and writing 84 versions of one album track, "Nights in Shining Prada," before settling on one that would make the cut. The brothers write obsessively in studios, hotels, airplanes and tour buses, a shared instinct honed to the point that they rarely disagree during the production process. In this Exchange, RA Editor Gabe Szatan sat down with Tom and Ed to reflect on some of their more surprising musical inspirations, letting go of other people's opinions and summoning the courage to walk away from two solo careers that were arguably at their peak. Pure Devotion is out August 7th on XL Recordings. Listen to the episode in full.
RA.1050 O Ghettão
RA.1050 O Ghettão by Resident Advisor
RA.1049 Topdown Dialectic
The long-anonymous Peak Oil favourite breaks cover with two hours that run from post-punk and dub to vintage New York house. Mystery is a powerful force. What stays unknown stays enticing—negative space the listener fills in for themselves. Minimalists may be its largest constituency, and few have held the line as long as Topdown Dialectic. That changed with False LP A, which finally named him: Izaak Schlossman, a San Francisco photographer who spent years issuing untitled, identically timed tracks with no narrative attached. Coming out of the shadows hasn't cost the music its haze. Working in the Basic Channel lineage, Schlossman lays tracing paper over house and dub techno and pulls through the faintest outline—a bassline's shadow, the memory of a chord. Tracks surface the way bodies emerge in a steam room. He belongs to a North American underground that's been among dance music's most progressive forces this past decade—no surprise, then, that he credits Scott Zacharias of Detroit's No Way Back in the Q&A. This isn't quite the end of the mystery. Only the second Topdown Dialectic mix to surface, RA.1049 wipes the condensation from the glass just long enough for a look inside: it opens with a cut from German label Workshop before drifting from atmospheric post-punk and dubbed-out house into cosmic electro and, by the close, vintage New York house. It moves at an unhurried, chugging pace, but never mistakes restraint for stasis—each track quietly recalibrating until another contour comes into view. Find the tracklist and Q&A at ra.co/podcast/1068 @peakoil @falsearalia @aught0101
RA.1049 Topdown Dialectic
The Peak Oil favourite and long-anonymous producer breaks cover with two hours that run from post-punk and dub to vintage New York house. Mystery is a powerful force. What stays unknown stays enticing—negative space the listener fills in for themselves. Minimalists may be its largest constituency, and few have held the line as long as Topdown Dialectic. That changed with False LP A, which finally named him: Izaak Schlossman, a San Francisco photographer who spent years issuing untitled, identically timed tracks with no narrative attached. Coming out of the shadows hasn't cost the music its haze. Working in the Basic Channel lineage, Schlossman lays tracing paper over house and dub techno and pulls through the faintest outline—a bassline's shadow, the memory of a chord. Tracks surface the way bodies emerge in a steam room. He belongs to a North American underground that's been among dance music's most progressive forces this past decade—no surprise, then, that he credits Scott Zacharias of Detroit's No Way Back in the Q&A. This isn't quite the end of the mystery. Only the second Topdown Dialectic mix to surface, RA.1049 wipes the condensation from the glass just long enough for a look inside: it opens with a cut from German label Workshop before drifting from atmospheric post-punk and dubbed-out house into cosmic electro and, by the close, vintage New York house. It moves at an unhurried, chugging pace, but never mistakes restraint for stasis—each track quietly recalibrating until another contour comes into view. Find the tracklist and Q&A at ra.co/podcast/1068 @peakoil @falsearalia @aught0101
RA.1048 Traumer
A masterclass in the art of the all-nighter, as one of France's finest purveyors of funk delivers six hours live from Robert Johnson. What does minimal sound like in 2026? Ask five DJs and you'll get five answers, from the acidic electro and techno of Montevideo to the dubby loops of Montreal. A real contender for the face of contemporary minimal, though, is Romain Poncet, AKA Traumer. Poncet is, in many ways, old school. As a DJ, he offers a French twist on Rominimal: long, drawn-out loops mixed with imperceptible precision. In the studio, he turns out the kind of records you'd find in Raresh's bag. He didn't start out a minimal head, though. His early-'10s releases were driving techno and tech house, but around 2016 the Parisian changed tack, launching GET TRAUM — a label steeped in both Bucharest's ar:pia:r and France's own history of deep, stripped-back house. Whatever the genre, his music is understated, never showy: DJ tools in the truest sense, designed for dancers and for DJs who want to tell a story over a long set. Case in point is RA.1049, a six-hour recording from Robert Johnson. The drums skip like kids let out for summer; the melodies sit between euphoria and melancholy. Swallow it whole or savour it course by course — RA.1049 is a Traumer tasting menu. Read more at ra.co/podcast/1067 @traumer
EX.806 Eartheater
The genre-fluid multihyphenate on motherhood, songwriting with FKA Twigs and her new album, Heavenly Body: If I'm the Bottle You're the Message. American singer-songwriter Alexandra Drewchin (AKA Eartheater) is hard to pin down by design. In her music, acoustic instruments like harp and guitar collide with heavy digital manipulation, processed beats and classical technique. Her three-octave vocal range has carried her from operatic folk singing to literally shattering wine glasses on stage. Most recently, she co-wrote and sang on the title track of FKA Twigs' Grammy-winning Eusexua, and has since joined Twigs on tour in support of the album. In this week's RA Exchange, Drewchin talks about her songwriting practice and her new LP, Heavenly Body: If I'm the Bottle You're the Message. The album arrives at a pivotal moment for the artist: she's recently become a mother and bought back the Pennsylvania farm her family lost when she was fifteen—a place she vowed, even then, that she would one day reclaim. She reflects on that homecoming, and on how pregnancy, birth and motherhood shaped the record. She also discusses what she learned about songwriting from collaborating with Twigs, and her early mentorship under the late R&B legend Roberta Flack. Heavenly Body: If I'm the Bottle You're the Message is out now on Eartheater's label, Chemical X. Listen to the episode in full.
RA.1047 deep creep
77 minutes of wickedly twitchy grooves from the belly of the New York underground. "Music is meant to be shared. Music is meant to be shared. Music is meant to be shared." This phrase is written again and again in the About section for the mix series and label pi pi pi. For deep creep, the force behind the popular platform, it serves as a radical promise: music is, and must always be, collective and communal. On RA.1047, deep creep digs appropriately deep into her bag with a mix of minimal, tech house and dub, as well as flashes of techno and even a little flirt with electroclash. Pulses of sub weight, dubby melodies, introspective synths and quirky minimal funk make for a mix both dark yet euphoric, claustrophobic yet spacious. Dive in. Read the Q&A at ra.co/podcast/1066
EX.805 Martyn
The Dutch producer on flow state, communal music-making and his new album, Music for Existing. Martijn Deijkers, AKA Martyn, has spent close to three decades resisting labels. He grew up in a small Dutch village as a vinyl obsessive, buying his first 7-inch from a store that doubled as a sweet shop, before travelling to London in the mid-'90s to chase jungle and drum & bass. He later became one of the first artists from outside the UK to shape the capital's dubstep scene, fusing it with the Detroit techno and hip-hop of his youth. Since then, he has held a residency at Panorama Bar, started a successful label, 3024, and hosted a long-running monthly jazz show on NTS, Darkest Light. In this Exchange with RA's Performance Content Lead, Tom Gledhill, Deijkers talks about dubplate culture in '90s London, the mentoring programme that's shaped his approach to creativity and his new album, Music for Existing, a collection of jazz-inflected electronics that explores the powerful, communal act of making music together. The LP is out now on 3024. Listen to the episode in full.