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.

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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.

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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. 

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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.

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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. 

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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. 

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The UK pirate radio crew and cult TV stars discuss their rebirth and forthcoming EP, Grindah's Decided We're Doing Music Again.

Many UK natives will be familiar with the show People Just Do Nothing, a mid-2010s comedy about pirate radio crew Kurupt FM, who ride the UK garage wave, broadcasting from the outer boroughs of London.

Kurupt FM's core members—MC Grindah, DJ Beats, DJ Steves and DJ Decoy—went quiet for more than a decade after the last episode aired in 2014. After a stretch of solo ventures—books, stand-up, Grindah's domestic upheaval following his split with long-time partner Miche, as depicted in People Just Do Nothing—the crew has reconvened for a new EP, Grindah's Decided We're Doing Music Again.

In this RA Exchange, Grindah, Beats and Steves meet for a rare interview to talk about their rebirth and what's happened in the years that have elapsed since the world last heard from them. They also reflect on Grindah's early run-in with Skepta, their case for the ongoing power of pirate radio in the age of AI and the current UKG revival. They engage in a familiar argument about who owns the lineage of the genre, and for Kurupt FM, the answer isn't complicated: if you weren't there the first time around, you just don't get it. Their new EP will be out on August 21st. Listen to the episode in full. 

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The masked duo go on the record to address criticisms, identity and their forthcoming album, Infinite Now.

Anonymous DJ-and-producer duo Two Shell are both loved and reviled. They've spent the last few years making the question of their identity inseparable from their music, earning an enormous fanbase with their original, up-tempo productions, and then alienating much of it through relentless pranks. Some of their most illustrious capers have included selling albums embedded in rocks, sending decoys to give fake interviews and booking stand-ins to perform in their place at major gigs and festivals.

But after their headline set on Glastonbury's IICON stage last summer—a proper, career-spanning 90 minutes that they actually turned up for—fans flooded their inbox with the same comment: "we know it wasn't you up there! classic!!" Their response was an Instagram post that broke the script. "Anonymity sometimes feels like a mistake," they wrote. And now, on the eve of a new album called Infinite Now, they've agreed to sit down for their first-ever video interview.

In this RA Exchange, Two Shell directly address the criticisms that have been levelled against them over the years; discuss what they owe their fans; and unpack their creative process, embrace of AI and more. Listen to the episode in full.

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The Drain Gang cofounder talks about mysticism, Gen Z and his new album, Sulfur Surfer.

Bladee's work as a founding member of the Swedish collective Drain Gang has shaped a new generation of underground music. The group's sound, which is rooted in cloud rap and Auto-Tune experimentation, and pulls from trance, noise, metal, goth and grunge, has earned them an enormous following of fans—AKA "drainers"—overwhelmingly under 30. 

Bladee has long been one of Drain Gang's most prominent voices, building a prolific solo career alongside the collective's output. His work engages with mysticism through vulnerable, diaristic lyrics about his state of mind. On his new album, Sulfur Surfer, he presents an autobiographical figure caught between "letting go and holding on"—a continuation of his longstanding interest in spirituality and the occult. He draws on the story of St. George, the Swedish painter Hilma af Klint and the occultism of British group Current 93, whose frontman David Tibet makes a guest appearance.

In this RA Exchange, Bladee talks about making honest music, the role Drain Gang has played in pushing him to find his voice, his ambivalence about fame and his collaboration with Skrillex. Sulfur Surfer is out now on Trash Island. Listen to the episode in full. 

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The queer icon and punk provocateur talks bodily autonomy, embracing ageing and her new album, No Lube So Rude.

Merrill Nisker—known to most of the world as Peaches—has spent 25 years making music that refuses to behave. Since her 2000 breakthrough, The Teaches of Peaches, she's built a body of work at the intersection of performance art, punk provocation and dance music, becoming an international queer icon and a touchstone for anyone told their body or identity doesn't fit.

Peaches' new album, No Lube So Rude, is out now on the Washington-based label Kill Rock Stars, also home to the likes of Bikini Kill and Sleater-Kinney. The title is a meditation on the friction and hostility that define this moment, and a frank reckoning with menopause, bodily autonomy and the systemic erasure of women who refuse to disappear quietly into middle age.

In this RA Exchange, Peaches, now 59, talks about making the record after a decade of silence and what it means to keep making confrontational art. Listen to the episode in full.

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