The weekly Resident Advisor Podcast featuring electronic music - https://ra.co
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EX.816 Kenneth Blume, Denzel Curry & Vince Staples
On the heels of ii, three of hip-hop's most boundary-pushing artists talk collaboration, creative risk and the threat of AI. Kenneth Blume, Denzel Curry and Vince Staples came up around the same time, as rap's centre of gravity was shifting online and an older guard was dismissing much of what came out of it as a passing fad. Blume, formerly known as Kenny Beats, made his name producing for rappers, then opened up his process on his YouTube series The Cave. He has since moved into rock, producing records for Geese and Weezer. Curry emerged from Carol City, Miami, by way of SpaceGhostPurrp's Raider Klan. This year he has cut a single and a co-headline tour with the hardcore band Knocked Loose, and launched a new underground rap supergroup, The Scythe. Staples first surfaced in Long Beach as an Odd Future affiliate, pushed into experimental electronic territory on Big Fish Theory with producers including SOPHIE and Flume, and starred in his own Netflix series. A decade on, all three are still moving hip-hop forward by refusing to stay in one lane. In this RA Exchange, the three appear together on the heels of ii, the new album from Blume and Curry. They discuss their process in the studio, the fights that draw out their best material and how their ideas of risk, failure and success have changed over time. As longtime friends and collaborators, they also reflect on how hip-hop has shifted around them: the rift between generations, the threat AI poses to working artists and whether they're really at their creative peak. Listen to the full episode.
RA.1060 Ogazón
The Berlin DJ, one of the brightest of her generation, makes a patient case for house and techno on vinyl. We’ve all heard the phrase “DJ’s DJ.” Too often, it’s lazy shorthand for a technical skill so esoteric it’s lost on the dance floor. But Nathalie Ogazón Faber embodies the craft in its fullest sense, commanding respect from the regulars at the booth to the sound technician at the back. Known simply as Ogazón, she played her first gig in 2018 and made her Berghain debut in 2022. Since then she’s become the quintessential Panorama Bar DJ, a resident in spirit alongside ItaloJohnson, Steffi and her regular b2b partner, Ryan Elliott. Her affinity for techno is equally pronounced, and her mixing bridges both floors: patient and refined without ever feeling too polished. That patience defines her RA Mix. Forgoing obvious drops, she builds subtle, drawn-out peaks through delicate shifts like a weightier kick drum or an incoming hi-hat. Melody arrives as a pad here, a dubbed-out chord there. The connecting theme, she says, is emotion. Recorded entirely on vinyl, RA.1060 embraces imperfection. “In a world where everything is becoming increasingly polished and ‘perfect,’” she notes, “I think a little bit of grain and a few pops here and there can only be a good thing.” Ogazón is consistent, but don’t mistake that for regression. It’s what makes her a DJ’s DJ, in the truest sense. Find the Q&A at ra.co/podcast/1079 @ogazon
RA.1059 nthng
Cinematic techno from the mysterious Dutch producer. Some of the best techno is both beautiful and austere. On an old Robert Hood or Sandwell District track, the industrial clank of percussion gives way to bursts of melody where you can hear the ghosts singing inside the machines. It's this version of techno that the Dutch producer nthng has been honing since the mid-2010s, from his debut on Lobster Theremin's Mörk to records for Delsin. His take on techno, borrowing from trance, dub and ambient, has always hewed close to the edge of the dance floor, that space where dancers keep their eyes shut and get lost in the shadows. For RA.1059, he delivers an hour from the most visceral and cinematic end of his sound. The opening suite of four of his own tracks is nothing (pun intended) short of breathtaking: sky-searching IDM turns into chromatic techno, followed by a dubstep-referencing vocal track with a rolling break that hits with the weight of a guillotine, before he lets loose a slightly syncopated barnstormer. He never lets the drama and tension slip across the remaining 48 minutes, ending on his own piece of paranoid and skeletal drum & bass. Find the tracklist at ra.co/podcast/1078 @nthngnthng
EX.815 Saul Williams & James Massiah
Kicking off a run of artist-on-artist Exchanges for RA25, the musical multi-hyphenates discuss poetry, religion and their experiences as protectors of oratorical tradition. There's a deep creative current running between music and poetry, and Saul Williams and James Massiah know those waters well. This week’s RA Exchange is the first in a series of intergenerational artist-on-artist conversations we’ll be running to mark our 25th anniversary. In it, Williams—the Grammy-nominated poet, musician, writer and actor—and Massiah—a South London poet and musician—talk about lyricism and what first drew them to the written word. Both grew up in the church: Williams as the son of a Baptist preacher, Massiah in the Seventh-day Adventist church, raised on the King James Bible. They discuss how those upbringings shaped their sense of oratory and morality, and the tension between rejecting institutional religion and still holding on to its aesthetic traditions. They also get into what happens when a poem meets music, and what a dance floor can be beyond entertainment. Williams argues it has always been a training ground: a space for resistance, ceremony and mobilisation, where ideas can spark minds and movements. Massiah, meanwhile, explains how simply wanting to keep partying ended up radicalising him. As he puts it: "Where are we going to party if the bad guys have got all the good party locations?" The conversation was recorded in Amsterdam, where Williams performed with Underground Resistance. His new album, Leap Life, is out now on Big Dada. Listen to the full episode.
RA.1058 Tromac
A showcase of East Coast club music, old and new, from a new Baltimore star. Baltimore doesn't get the credit it deserves. Maryland's largest city gave the world Baltimore club, a blueprint for much of the East Coast's dance music—Jersey club and Philly club both trace their lineage back to it. The scene is alive and kicking, and Tromac, real name Miles Cowling, is at the heart of it. From Prince George's County, Cowling moved to Baltimore in 2019. In 2022 they launched Break A Leg, a party series and safe space for people to dance their pain away, and they've collaborated with RA cover star Zack Fox, Black Rave Culture and Cortisa Star. "You know how long I been waiting for this. I'm about to make a name for myself," begins RA.1058. From there, Cowling twists through contemporary East Coast club—OSSX, JIALING, JD. Reid, AceMo, DJ Swisha—plus honorary peers Bored Lord, Conducta and Jam City. Across 38 tracks in 66 minutes, it's high-tempo but not for the sake of it: sometimes coasting, sometimes jumping, sometimes letting it all out. About halfway through, a Tucker Carlson sample calls Baltimore one of the most dangerous cities around. Cowling's answer: "There are beautiful things here, don't come down to play the fuck around." Find the tracklist and Q&A at ra.co/podcast/1077 @tromac @breakalegparty @hochiruns @3SIDEmusic
EX.814 Syd
The frontwoman of Grammy-nominated The Internet talks ambition, contentment and her third solo album, Beard. Syd, born Sydney Bennett, is nearly 20 years into a career that started when she was a teenager. She cut her teeth as the in-house engineer and DJ for hip-hop collective Odd Future before forming The Internet, the Grammy-nominated soul group that helped shape a strand of Los Angeles R&B in the 2010s. Two solo albums followed—Fin in 2017 and Broken Hearts Club in 2022—but she describes her third, Beard, which came out this summer, as the first that feels fully her own. She made it in the same period she married her partner and, by her own account, arrived at a version of self-acceptance she'd been circling for a decade. In this Exchange, Syd sits down with RA's Content Production Lead Antonia Odunlami to talk about the album's title, a reference to the facial hair she stopped removing after years of treating it as something to hide. They also discuss letting go of who she was "supposed" to be, why she's stopped chasing the "sleep when you're dead" ambition she was raised on and her plans to get back behind the CDJs after years away. Listen to the full episode.
RA.1057 Marina Herlop
An hour of ancient and alien sounds from the Catalan composer and PAN favourite. Marina Herlop is at once from the future and from the past. The classically trained Catalan singer's voice opens a door onto an older world—a nymph out of a Romantic painting. Underneath, something deeply alien. "When you're writing a song… there's a moment of expulsion, like a squid spitting," she told Pitchfork. She didn't open a laptop until her third album, learning Ableton from scratch over a fortnight in her father's family home in the Aragon hills. That record, Pripyat, and its follow-up Nekkuja landed on PAN, placing her among the experimental queens like Eartheater and Jenny Hval—with a touch of Björk. Her RA Mix brings those influences to the surface: classical with a whiff of the strange (Holst's Rig Veda hymns, Sakamoto playing Ravel), music for worlds that don't exist (Ragnarok Online, Jujutsu Kaisen, Morricone) and a study in everything a voice can be made into. Barely any is club music. Assembled in Ableton—"I don't have access to a CDJ right now," she says—RA.1057 is a soundtrack for decompression. Asked which club shaped her most, she named one that isn't: El Pumarejo, the Barcelona space where she met the musicians still in her band. Find the Q&A and tracklist at ra.co/podcast/1076 @marinaherlopofficial
EX.813 Marlon Hoffstadt
The trance DJ on clickbait journalism, commercial success and making a name in the viral age. Marlon Hoffstadt started DJing at 17. By 18, he got his first taste of moderate success, and at 20, it had all disappeared. What followed was several years in the trenches: demos ignored, labels uninterested and a career that seemed to be ending before it even took off. Hoffstadt went back to study journalism and PR, became a dad and continued to make music no one wanted to release. Then, somewhere at the intersection of the post-pandemic landscape and the rise of the TikTok influencer, he re-emerged as DJ Daddy Trance, a hands-in-the-air commercial DJ headlining festivals around the world. This uncanny shift has made him the subject of sharp criticism from some figures in the underground scene where it all started for Hoffstadt. In this RA Exchange, the Berlin native directly addresses his detractors. He also talks about how he's channeled Berlin's underground sensibility into the world of expensive tickets and stadium-scale production; what changed between his throwing no-phone parties in 2019 and dominating a scene that profits from video reels; and his reaction to some of Resident Advisor's recent posts and articles—and what he, as a former PR professional, would have done differently. His new album, Das ist Daddy, is out now on Capitol Records. Listen to the episode in full.
RA.1056 Jasmín
One of the Netherlands' sharpest selectors turns in over two hours of smoke-thick techno and cathartic bass weight. "Genre-defying" has trailed Jasmín Hoek, best known as Jasmín, for years. It isn't wrong—listen to the Dutch-Argentinian artist's mixes and you'll hear anything from Rrose and Blawan to Ricardo Villalobos and DJ Koze. But it misses a better question: what holds it all together? "For every set I play, I think of the colours I want to represent," Hoek explains in her Q&A. For RA.1056, she channels warm, earthy colours; you'll see it running through the tracklist, from "Burning Blood" and "Eruption" to "Chamas E Fumaça." The other constant is percussion over melody. Half Argentinian, Hoek has spoken about her preference for rhythm, and it gives her work a physicality you can almost walk into. It's there from the first minute: Pinch and Shackleton's "Burning Blood," dark and twisted and sprawling. But Hoek is a techno head too, with plenty that wouldn't feel out of place at Berghain: Cari Lekebusch, Rene Wise, Rrose. It's a cliché that the best DJs are dancers first, but Hoek embodies it, having worked at De School and, more recently, programming with Nachtparlement. Last year's Bite The Hand That Feeds You arrived as Hessle Audio's 50th release; this year she lands on fabric Originals. Whatever floor she graces next, she'll arrive with a vision that will take you by the hand, and pull you all the way in. Find the Q&A and tracklist at ra.co/podcast/1075 @Jasminhoek @fabric @hessleaudio
RA.1056 Jasmín
"Genre-defying" has trailed Jasmín Hoek, best known as Jasmín, for years. It isn't wrong—listen to the Dutch-Argentinian artist's mixes and you'll hear anything from Rrose and Blawan to Ricardo Villalobos and DJ Koze. But it misses a better question: what holds it all together? "For every set I play, I think of the colours I want to represent," Hoek explains in her Q&A. For RA.1056, she channels warm, earthy colours; you'll see it running through the tracklist, from "Burning Blood" and "Eruption" to "Chamas E Fumaça." The other constant is percussion over melody. Half Argentinian, Hoek has spoken about her preference for rhythm, and it gives her work a physicality you can almost walk into. It's there from the first minute: Pinch and Shackleton's "Burning Blood," dark and twisted and sprawling. But Hoek is a techno head too, with plenty that wouldn't feel out of place at Berghain: Cari Lekebusch, Rene Wise, Rrose. It's a cliché that the best DJs are dancers first, but Hoek embodies it, having worked at De School and, more recently, programming with Nachtparlement. Last year's Bite The Hand That Feeds You arrived as Hessle Audio's 50th release; this year she lands on fabric Originals. Whatever floor she graces next, she'll arrive with a vision that will take you by the hand, and pull you all the way in. Find the Q&A and tracklist at ra.co/podcast/1075 @Jasminhoek @fabric @hessleaudio
EX.812 Interpol
Frontman Paul Banks on the legacy band's creative evolution, why he prefers hip-hop to rock and their new album, This Mirror Weighs a Ton. Interpol might not be electronic in the traditional sense, but they've long been the techno fan's indie band of choice. Cofounded by lead singer Paul Banks and guitarist Daniel Kessler in 1997—Banks is the lyricist, Kessler the composer—they emerged in Manhattan's burgeoning guitar music scene. Their 2002 debut, Turn On the Bright Lights, is widely considered one of the defining albums of the decade, and landed them in the middle of the early-'00s New York rock revival alongside The Strokes, Yeah Yeah Yeahs and LCD Soundsystem. They went on to shape the moody, post-punk revival canon that defined the following decade. Interpol are now back with an album that's been called their best in years: This Mirror Weighs a Ton. In this Exchange, Banks unpacks the LP's conception and composition with producer Andrew Wyatt—best known for his work with artists like Bruno Mars, Charli xcx and Dua Lipa—and its darker lyrical meditations on drone footage, mediated violence and the surveillance state. Banks also reveals the version of himself that isn't typically in the press cycle. Outside of Interpol, the singer is an avid beatmaker who hasn't listened to rock music in over twenty years. He DJs hip-hop under the name Fancypants, released a sample-based mixtape featuring US rapper Talib Kweli and has collaborated with everyone from Wu-Tang's RZA to Kool Keith, Ghostface Killah and Method Man. In this conversation, he explains why he thinks hip-hop is the only genre still meaningfully inventing language—and what that means for the band he's been fronting for nearly 30 years. This Mirror Weighs a Ton is out now on Partisan Records. Listen to the episode in full.
RA.1055 Grace Dahl
Supersized techno, from the Vault Sessions darling. Find the tracklist and Q&A at ra.co/podcast/1074 @gracedahl @vault-sessions-collective
EX.811 Jorja Smith
A decade on from her breakthrough, Jorja Smith reflects on growing up in the public eye, staying independent and turning towards the dance floor. Jorja Smith's career took off in 2016, when "Blue Lights" introduced her voice to a global audience. In the 10 years since that single went stratospheric, the Walsall-born artist has released three albums, collaborated with Drake, Burna Boy, Wizkid and Ezra Collective, and built an international career without ever signing to a major label. Her third album, What Are The Odds, marks a new chapter, as she turns towards the dance floor. Made entirely with producer P2J, the record draws from a broad palette of sounds, including UK garage, funky and Afro house—extending a run of summer-dominating, club-smashing collaborations with the likes of Nia Archives ("Little Things (Remix)") and Preditah ("On My Mind.") Smith has described it as music to make people move, and she'll take the tracks to London's O2 Arena next summer for the first headline show at the venue of her career. In this Exchange, Smith talks to RA's Content Product Lead Antonia Odunlami about growing up in the public eye, moving back to Walsall after London became too much and protecting the parts of herself she wants to keep private. She also discusses remaining independent, learning to set goals and how she curated her recent All Points East set. Listen to the episode in full. @jorjasmith
RA.1054 SW.
90 minutes of trip-hop and electronica, as the elusive SUED founder walks down memory lane. Find the tracklist and Q&A at ra.co/podcast/1073
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