Hey Karel, I wanted to start by asking you about your relationship with “UK Bass” music, since this event is a celebration of the genre. What was your introduction to the UK bass music scene?

I was introduced to the UK bass music through the Iscream Show on Radio Spin back in 2008–09. I was already making beats at the time, mostly hip-hop. I met my first producer friends Wizual and Freezer through Bandzone, and one of them sent me Fabriclive.37 by Caspa & Rusko — that really changed everything for me. I started making dubstep and grime beats, and shortly after that I released my first album, Different Sounds, on CD, thanks to Smack.

How did that influence your taste in music — both as a fan and as a musician/DJ?

Completely. I got into the Prague scene pretty quickly and became a concert DJ for Smack for a while. After that, we started our own night at Cross Club called Konnekt — a two-stage party focused on dubstep and grime, with some incredible names coming through.

Bass music — especially dubstep — has gone through several waves of creativity and popularity. What do you think is behind its recent resurgence in Prague and beyond?

For me, it feels like this is already the third wave. Around 2020–21, I started playing dubstep tracks again at Nite Vibes parties, and it really felt like there was finally space for this kind of sound within the techno scene. I think it’s important to always keep things colourful.

I’m curious what you mean by “finally space for this…” since I’ve noticed both new and older tracks getting played in this “third wave”: what do you think has changed in the attitude towards dubstep? The fact that older music is also part of the revival seems to suggest it’s not just about a refreshing of that scene.

Personally, I think 4×4 stuff might’ve just hit a point where it started feeling a bit overplayed, and people were ready for something different. Dubstep has so much to offer, and a lot of people don’t really know the older stuff — which gives me a chance to bring it back into my sets, alongside the fresh ones too, which I’m really enjoying.

There’s a deep love of classics in UK bass subcultures — can you share some of your divisive preferences? Anti War Dub or Changes?

Definitely Anti War Dub. If I hear that tune in the club, it’s absolutely killing.

Photek or Source Direct?

That’s a really tough one. Both represent the best that drum & bass has ever offered. If we’re talking jungle, I’d go with Source Direct — but for me, Photek went completely beyond that genre. I love his albums.

Benga or Skream?

Skream 🙂

There’s a good amount of bass music being made and released in Czechia these days. Can you give us three local picks from recent years that might end up in your playlist on the 10th?

WZ, DDAT, and the legendary Fred Hassel — I’m always playing some of his beats. Where are you, mate?

What do you like about these tracks? Are they doing something new, or is it more of a classic feel?

I think WZ blends the old and new sound really smoothly — definitely our biggest producer at the moment. DDAT (aka atch22 & Kobayashi Maru) come more from the “psy” side of sound, but that’s what makes it special for me. And Fred was making beats a few years back — check his SoundCloud.

A huge part of experiencing bass music in the UK is through the soundsystem culture, which came about through social migration. What were your first experiences with that like, growing up in a place with a very different socio-cultural background?

My first proper experience with soundsystem culture was when I was in London for about a year in 2012. I went to a FWD>> night at Plastic People where Youngsta, dBridge, J:Kenzo, and Truth were playing — that was absolutely groundbreaking for me.

What was the system in Plastic People like? I was barely of-age when the doors closed, but I really liked this Om Unit track, ‘Back at Plastic’, that was written for the club.

The system completely surrounded you. I remember how the whole room was dark except for this one light… I wasn’t used to that kind of atmosphere. It felt otherworldly — like you were inside the music, not just listening to it.

You’re a regular at the wubwub nights. What feels different (if anything) about a bass night compared to a techno event?

Honestly, it still just feels more like home to me. At bass nights, I feel way more free — I even find myself on the dancefloor sometimes, which isn’t something I usually do that much.

You’re opening the floor on the 10th, and I’ll be stepping up after. For both my benefit and to tantalise the crowd, what can we expect from your set?

I’ve had the opening in mind for a while. I’m going to go deeper into the meditative side of dubstep, with some more ambient-ish tracks to start the night off right.

Silhouette play wubwub on Friday, October 10.