​The Mix 003: Miley Serious

I’ve noticed a bit of a sonic shift recently with more punk elements entering dance music. Do you think there’s a new sound starting to emerge from that?

I think we’re a generation that has a lot of things to talk about as the world is in shambles. Punk has always been an activist genre, it’s a scene that has strong messages to share, but it’s even more of a lifestyle in my eyes. It’s funny to think about because when I was a teenager, Le Tigre, Miss Kittin, and some electroclash artists were very punk to me. They gave me riot grrrl vibes, which was my dream at that age. We always take inspiration from somewhere in dance music.

You’ve worked and played alongside artists like KETTAMA, X CLUB. and even Laurent Garnier in the past. Is there anyone you’re dying to link up with at the moment?

Playing B2B with Laurent was one of the best moments of my life. I’ll never forget the day I got the request and what happened that night. But to be honest, being able to curate my parties at Rex Club is helping me to reach my goals in life. I’ve invited artists such as Special Request, who is one of my biggest inspirations in my music career. Interplanetary Criminal who is putting UKG back on the map in a real way. Om Unit – I was so honoured to be able to welcome such an influential producer into Rex Club, and the upcoming ones are true legends too. At the end of March, I have DJ SWISHA and Equiss on the line-up which I’m very excited about because I want to have some representatives of the Jersey, Baltimore, and footwork scenes. Dr Dubplate will be here as well, an important figurehead in the UK with his label EC2A.

Two of my biggest inspirations are Miss Kittin & The Hacker, so I hope to have them play one day at Rex Club – it would make sense for the club too. I’d also love to invite Roni Size considering his impact on me from a young age. Armand van Helden is also a big dream of mine: his early releases and his influence gave me huge respect for his career, he’s at the top of the dream list and after that, nothing really matters! But, for real, the list is long. Danny Daze, 1morning, Mutant Joe, Omaar, Wrack, Farsight, Fadi Mohem, Physical Therapy, INVT, Jam City, Bok Bok…

You recently spoke about the journey between your first Boiler Room set in 2019 to your second in December. Watching both, you can see how much you’ve grown in those five years. How was that experience for you?

I just feel better about myself. In 2019, I was in a darker place mentally, life took a big turn in a positive way and now I’m back to playing the sounds that make me happy in the club. As I started DJing around 2006, I started to realise that staying true to yourself is always the best way to be in the booth. Music and the scenes evolve constantly, it’s a big flow of information. I just needed to recenter myself and feel the energy that always made me feel good while playing or going out.

Australia is, actually, a magic place for that, and I miss it all the time. It was my second tour there in one year, the first one was with my dear X CLUB., and the second on my own, starting with the recent Boiler Room. Crowds in Australia and New Zealand are so high energy, open-minded, and down for whatever you have to offer. This Boiler Room was very intimidating because there were 6,000 people there, and we did it two days in a row. I was extremely nervous, and you already know when entering the booth that you can’t satisfy that ocean of people, but I had some very emotional moments. My favourite moment was when I was scrolling in my folder and in my head, I was like, ‘I don’t know if they are going to get it but this Dizzee Rascal ‘Bonkers’ edit by Buckley is so fire, let’s go!’. I dropped it and, you can see the moment I lifted my head and was so surprised to hear 6,000 people singing the lyrics. ‘Bonkers’ was a major tune in Australia, just as big as it was in the UK. I think about it often and how it was real proof of what music can do, as corny as that sounds! The hour went so fast. I went back to my hotel to try to relax after the insane adrenaline, it just felt good.

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What’s your vision for your imprint, 99CTS RCRDS? Where do you see it going from here?

99CTS RCRDS is like my little store, the inside of my head. I’m obsessed with 99 cent stores and New York delis, there’s something amazing about them that I can’t explain. I’m just very reassured when I observe life at its simplest. I always say that I see stores like museums, every tag or sticker or shelf is like art. This is the inspiration for my imprint, and why I go with the flow with my discoveries and the music that I love. I don’t set boundaries with sound.

I’ve also started to release zines, which is one of my biggest passions. The fourth issue is currently on the way, out this month. All these zines are about the artists that work on the tape artworks. I think it’s very important to honour the aesthetic of a music release because it’s where you also create that little world and show the personality of the artist. I’m not putting any pressure on it, I just want my label to continue to be this link of mixed media through merch, zines, and pop-ups with the main purpose of sharing music.

What’s next for you in 2024?

I’m moving back to Europe by the end of the year which is a big step, but first, I’m playing some shows that I’m really looking forward to. I’ve got new releases on the label and new zines, and I’m excited to announce the next guests at my Rex residency – and most importantly, to celebrate my wedding!

Can you tell us about your mix?

When I wake up, I’m very picky about the music I want to listen to. I wanted to record a mix that would sound great for a morning coffee, but also to help me to start the day. It’s new and old club music, soft melodies for your morning, motivational rhythms, and heavy frequencies to end the journey. It’s a day in my life, with the moods I go through, condensed into one hour.

Gemma Ross is Mixmag’s Assistant Editor, follow her on Twitter