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Since its inception, Echobox has become a haven for boundary-pushing broadcasters, giving space to voices that move through the shadows of sound. Among them is REGE SATANAS, a long-standing presence on the station and a name whispered with reverence by those drawn to the esoteric side of radio.From the very beginning, REGE SATANAS has stood for freedom in its most omnipotent form, a guiding force behind every broadcast. His shows are more than curated sets; they’re sonic rituals where Ennio Morricone collides with Dead Can Dance and spacey soundtracks bleed into psychedelic dreamscapes.After four years with Echobox and even more with Red Light Radio, REGE SATANAS is now waving goodbye. There’s nearly a week’s worth of original transmissions archived on his Echobox page.What does "freedom in its most omnipotent form" mean to you, and how does this guide the REGE SATANAS show?Freedom in its most omnipotent form, to me, is just an esoteric way to express that I'm doing exactly and only what feels good for me. That might sound egocentric, but it fits my way of life. For the show, it means that I can touch anything soundwise or choose any theme.Your show ties in a lot of inspirations from mysticism, rituals and magic. Do you think there's something magic about radio making?Of course, there is something magical about making radio. You're taking other people into your reality or realm. There is nothing so good as losing yourself to music.You're leaving almost a week of original radio in the Echobox archive. Are there any moments or episodes that stand out to you?After almost 4 years of Echobox and 10 at Red Light Radio, it's hard to choose one. I have to mention, however, that episodes about favorite composers always stuck most to me. Moments are countless, as I have met a lot of beautiful people while making radio. This goes for fellow radiomakers and listeners.What's next for REGE SATANAS?For now, I'm always open to play somewhere. Music will always be a motivator for me, especially if I'm asked to play soundtracks or spaced-out sets.What are some typical REGE SATANAS musicians?Wow, that's a tough one. But if I have to mention 5 artists, it would be as follows:The Devil's BloodEnnio MorriconeTangerine DreamDead Can DanceDeath In JuneNeedless to say, these are also in random order. And furthermore, I have a shelf full of weird and esoteric records that always speak to my imagination.As I did weekly shows at Echobox, I probably had the most encounters with other radio makers. To be honest, I like every single one of them for being themselves. But Stricktly Tapes has a special place in my heart.As far as evolution during my years of radio making, there are no major changes or shifts regarding my approach to creating shows. It only changed because my collection changed. And of course, life dictates my choices. So to sum it all up: REGE SATANAS, eternally moving and shifting through the vast sea of time, creating magick and chaos in the sonic structures of mankind…So stay free and stay pagan. REGE SATANAS out. 

This Sunday, July 27th, Garage Noord becomes a haven of resistance, community, and radical joy. From 15:00 to 01:00, it will host R.U.I.S. (Reimagining Us in Solidarity) — a queer-led, anti-capitalist rave and fundraiser reclaiming nightlife from corporate control. R.U.I.S. is a movement: a celebration of solidarity and a powerful demonstration that rave culture can be a force for radical change.In a cultural landscape dominated by corporate interests, R.U.I.S. stands as a defiant act of reclamation — of space, energy, and collective purpose. All proceeds from the event will support: Artists who withdrew from KKR-owned Milkshake Festival in solidarity with Palestine and direct aid to Palestine, via Oxfam Novib Emergency Fund for Gaza and the Sameer ProjectThe night is designed to amplify voices of solidarity, merging art, music, and activism to generate real, material support for those in need. With its queer-led, anti-capitalist ethos, R.U.I.S. transforms rave into a site of political power — where resistance and celebration meet. Every beat, every dance move, and every shared moment becomes an act of collective defiance against systems of oppression. Born from a commitment to queer liberation and anti-capitalism, R.U.I.S. is powered by a network of artists and organisers who believe joy and justice go hand in hand. The event offers both a platform for fundraising and a rallying point for solidarity.They dance for artists who refused to be complicit. They dance for Palestine. They dance because joy is resistance — and in that resistance lies hope. R.U.I.S. invites everyone to take part in this radical night of purpose and unity. On July 27th, Garage Noord won’t just echo with sound — it will pulse with solidarity — tickets available now!

Interview by Passion DzengaOn July 24th, KRUISPUNT celebrates two years of genre-bending, basement-shaking, community-building chaos with their biggest event yet at Garage Noord. What started as a one-off club night for a band has grown into one of Amsterdam’s most vital underground platforms — a collision point for punk bands, out-there electronics, and dancefloors that don’t sleep.KRUISPUNT was born out of frustration — a lack of proper band nights in a city full of talent — and built on joy, urgency, and the belief that music should bring people together across scenes, genres, and generations. Their nights are messy in the best way: part gig, part rave, part family reunion. From mosh pits to strobes, every set is a new chapter in a night that feels like it could fall apart at any moment — but never does.Now, they’re throwing their most ambitious night yet: Eight live acts. Eight DJs. Two floors. The lineup is a head-on crash of styles, from INSIDE JOB's hardcore assault and Bleedroot's heavy riffs to the deconstructed club chaos of Arda(io) and the twisted pop of My Purse. Upstairs, a cast of wild selectors — Neska, dj dj, Bootleg Sjaak, Tommy T, and more — will carry the night into full-blown delirium. It’s a celebration of what happens when scenes overlap and walls come down. A space where a hardcore band might play before a cumbia-infused DJ set. Where queer kids and old punks find common ground. Where noise meets movement and the mosh pit turns into a dancefloor. Two years in, KRUISPUNT is still doing what they do best: creating moments of joyful disorder and giving the mic to the unexpected. If you’ve ever felt like the club was too polished or the gig too exclusive — this night is for you. We spoke to Andre and Dmitri to get familiar with what it takes to start a project with such broad scope.Your project just turned two years old. What sparked its creation and what were the core ideas from the beginning?Dmitri: We actually came together originally for a different project — to make merchandise and organise a concert for my band. Through that, we realised we shared a love for bands, music, and club nights. But we also noticed a lack of proper band nights in the city, and that’s where the idea started. Andre suggested starting this project in Amsterdam, and from there it just grew organically. Andre: Exactly. At first, it was just meant to be one night for Dimmitri’s band, INBRANDERS, maybe kind of a club-tour thing. But it quickly took on a life of its own. It became clear that it wasn't just about one band or genre — it was more about a collection of different sounds and communities coming together. We didn’t want to create just a club night or just a band night — we wanted something that mixed it all up, something more chaotic and celebratory.You've been building momentum in the underground scene. What does being "underground" mean to you in 2025?Andre: It means staying curious and being present in the scene. We're constantly discovering artists who don’t yet have a platform. Being in the crowd at their first shows, talking with people, living the night with them — that’s what keeps us rooted in the underground.  It’s about being in the crowd, talking to people, seeing it all firsthand.Dmitri: It’s also about building bridges. We connect people who would never usually meet — new audiences with new artists, older heads with newer acts. We love the educational part of what we do — exposing people to the range of what’s out there.  We’re growing a community that’s more than just a scene. We try to educate and expose people to the wide spectrum of underground talent that exists. From hardcore bands to abstract electronics.For someone who's never been, what’s the vibe like at a KRUISPUNT event?Andre: Unlike traditional band nights that might end by midnight, our events feel like a celebration — it’s chaotic, full of energy, and lasts deep into the night. It’s not just about watching music, it’s about being part of the experience. It’s chaotic — in the best way. Our nights stretch into the late hours and early mornings. People are screaming, moshing, dancing. The energy feels like a celebration. It’s also really about just being together, smoking and talking the whole night.Dmitri: Yeah, our nights are a bit rough in the best way — people scream, dance hard, mosh. There’s this wild, unfiltered energy. It's different from passive music consumption; the audience becomes part of the performance. There’s nothing polished or passive about it. People get sweaty; they lose themselves in the moment. It’s punk in spirit, even when the music isn’t.You mix punk chaos with abstract electronics. How do you curate such a wide variety of acts?Andre: We want sounds to clash and contrast. If we already have two hardcore bands, we’ll bring in something completely different — like a cumbia band — to shift the energy. It’s about creating a night that feels like a public space where different people and sounds intersect. We want contrast. If we book a fast-paced band, we’ll follow them with something completely different — like a DJ playing riddims or ambient sounds. That clash of energy creates momentum through the night.Dmitri: Exactly. Our name translates to “Cross Point” or “Intersection.” It reflects our approach: programming diverse acts to create a dynamic flow, avoiding nights where only one genre dominates. We want people to be surprised. We want the night to move — to shift between moods and styles. That’s what makes it exciting.Would a KRUISPUNT night ever feature just bands or just DJs?Dmitri: No, that wouldn't feel right for us. We want everyone to feel included — whether they’re there for live music or to dance to a DJ. We think of our nights as complete evenings, and DJs help create an energy shift that’s crucial. The mix is essential. DJs are just as important as the live acts. They help us close out the night and build a different energy.Andre: We actually tried doing just a full DJ night once, and the vibe wasn’t the same. Our regulars didn’t show up. It made us realise how central that mix is to our identity.How do you nurture your community and maintain those connections between events? Andre: We’re at all the shows, always talking to people. We’re not some distant curators. The events are cheap and accessible, and we treat everyone like part of the same family. We're just... around and involved. We’ve built relationships. It doesn’t feel transactional. It feels like we’re all part of it.Dmitri: We’re hosting a dinner for our second anniversary — cooking ourselves, inviting friends who helped build this community and anyone who would like to join. We’ve done bigger ones before, inviting every artist that’s ever played. It created an amazing energy and reminded us of the power of inclusivity. It creates such an amazing atmosphere before the event even starts.That dinner sounds amazing. What's on the menu and where’s it happening?Dmitri: Nothing fancy — mushroom noodles. But it’s about togetherness, not the food. We’re cooking it at home, then hosting the dinner at the venue, on the terrace before the event.Andre: We’ve seen how a shared meal sets a tone for the night. It creates a different kind of energy — one that feels like family.Is there a political or emotional thread that ties your community and events together?Dmitri: Many of the people who attend are active — politically or socially. The space we provide isn’t explicitly activist, but it’s a platform where people meet, talk, and share values. It's a different kind of activism — less protest, more community. Not explicitly — we don’t brand ourselves that way. But a lot of people in the crowd are politically active or involved in different communities. It’s a space where values are shared, even if it’s not the focal point.Andre: Most of our artists have strong stances, and that shows in their performances. The emotions and politics are there, even if we don’t frame the night that way. Conversations happen, connections spark — and often, something new is born from these nights.  We don’t always set out to make political statements, but we invite artists who have something to say — emotionally or politically. The politics are also in the connections people make. Conversations happen, ideas form. It’s a softer, community-based kind of politics.So even though you’re not labeling the events as political, they’re still spaces for organising and connection?Andre: Exactly. We've heard from people that projects and ideas were born during our nights. When you put like-minded people together in a space for hours, good things naturally come out of it. We’ve had people start projects after meeting at one of our nights. It’s a place where people from different worlds collide, and sometimes those collisions spark something new.Dmitri: Yeah. It’s a different kind of political — one rooted in joy, togetherness, and shared experience. Sharing space, building community, breaking genres, breaking norms — all of that is radical in its own way.What was the loudest set you've ever heard at KRUISPUNT?Dmitri: For me, definitely Key/Gen. Not even decibels here. I mean pure noise — distortion and chaotic energyAndre: Yeah, Key/Gen was just wild. I’d say Arda(io). Even though it's also electronic, I didn’t know what to expect, and it totally threw me around the room. Like, full-body experience.Dmitri: He just loves noise. It’s crazy — the grooves, the sound design... it’s rough but incredibly detailed. Really sick stuff.Can you describe what your first party was like?Andre: Yeah, if we count that first gathering at Café40. That’s where it really started. We were supposed to launch a publication, but the printing failed. So we just launched our Instagram and invited a bunch of friends... plus people we didn’t even know showed up. We had some rock 'n' roll DJs and realised — wow, people really need this kind of space. It wasn’t even heavily promoted, but the room filled up.Dmitri: It felt like a birthday party, honestly. That kind of joy. That moment confirmed something for us — we could bring people together. And that was enough reason to keep going.So just opening your doors showed you there was a demand. Were you imagining you’d still be doing this two years later?Andre: No way. But it kind of snowballed. After our first night at Garage, Tommy from Pacific invited us to program at a bigger event. Then more opportunities kept coming. It really never stopped. Now we work on almost everything together.Dmitri: Tommy’s been a huge inspiration. He gave bands space at club nights way before we did. He booked my band INBRANDERS back in 2018. That was a real “first time seeing it’s possible” kind of moment.Same here — he was the first person to book me at Garage Noord. Shout out to Tommy and Pacific Ondergounds! So you’re about to hit two years. Have any rituals emerged? Anything you see repeating at every party?Dmitri: Honestly, our ritual is just running all night. Artist management, troubleshooting, making sure people show up — it’s go, go, go. There’s also this one moment each night — you can feel the crowd click into place, like, “OK, now it’s happening.”Andre: But once the last band finishes around 1:30 or 2AM, that’s when I finally let go and just party. That’s my personal ritual. Yeah, it's usually after the first band. Everyone’s warmed up, and suddenly it feels like we’re all moving in sync. That moment — that shared energy — is kind of sacred.With live acts, there’s so much more coordination than a DJ night. It’s real production work.Andre: Exactly. Monitors, backlines, gear changes — it’s intense, but that chaos is what makes it fun.Let’s talk about your anniversary lineup. How did you approach curating it?Andre: Initially, we wanted a pure rock ‘n’ roll night — kind of nostalgic. But then we thought, nah, let’s keep it versatile. Downstairs is bands and rock-centric DJs. Upstairs is fully electronic. It’s actually our most versatile night ever.Dmitri: We’re part of a Garage box (funded project for “newer” Amsterdam-based projects, also with Fuuture Jazz and b3tter:irl) program now, which gives us a better budget. So we thought — why not open both floors?Andre: Upstairs is almost exclusively our friends, too. That was intentional — for year two, we wanted returning artists, but also fresh faces. It’s our biggest lineup yet: eight live acts and eight DJs, if I count myself.Dmitri: I’m most excited for Arda(io) again — that set will be chaos in the best way. Also, Inside Job, a proper hardcore band. First time we’re doing a self-titled hardcore band like that.Andre: And Grote Geelstaart— they’re experimental, wear suits, and just go off. I think they're from the conservatorium, but I’m not even sure. They’re just... amazing.Two years deep — what’s next for you?Dmitri: Staying rooted in Amsterdam is key. This city needs spaces like this. But we also want to expand — Utrecht, Rotterdam, The Hague where Andre is already working on projects but even abroad. But never at the expense of the home base.Andre: We’d love to host a stage at a festival — to really push ourselves, start early, end late, and see what we can do across an entire day.Dmitri: Production-wise, that’d be a huge learning curve. But we’re ready for it. Every night teaches us something.Andre: Also, still dreaming about doing a publication. Maybe digital, maybe annual print. It’ll happen — just need the time.Any final thoughts before we wrap this up and start preparations for tomorrow?Andre: Just that we care deeply about representation. We want young girls, queer kids, everyone — to see themselves on stage. That’s what punk is. You don’t need to be great to start a band. You just need to start.Dmitri: Exactly. If people leave our events feeling inspired, then we’ve done our job. The ones on the dancefloor today should be the ones on stage tomorrow.Andre: And we’re always open to hearing from people. Whether it’s an act, a band, or someone wanting to get involved — reach out. We’re listening.From one-off night to a full-blown underground force, KRUISPUNT has become the intersection where bands thrash, DJs explode, and new scenes are born on the dancefloor. It’s a movement built on joy, urgency, and radical togetherness. KRUISPUNT are the embodiment of what makes DIY culture so powerful. It’s a cycle of inspiration. You try something, someone sees you do it — and suddenly, they believe they can too. They are hosting their 2-year anniversary on July 24th at Garage Noord and tickets are available now. If you’ve ever felt like the club was too clean or the gig too closed-off — this night is for you. Come lose your voice, find your people, and become part of something that keeps growing from the ground up.

A new cut from two of the finest in the kitchen. Skirt Steak is here — Roc Marci laces sharp talk over Alchemist’s medium-rare production. No filler, just flame. The Alchemist pulls up in the Patta x Avirex — heavyweight leather, heavyweight bars. This ain’t just music, it’s tailoring season for your eardrums. Stream it now. Let it sear.

We came together to celebrate the latest chapter in the Patta x Nike story, marking the release with an unforgettable night at the Patta Lagos store hosting a gathering of culture, creativity, and community.Footwear from the Patta x Nike collaboration dropped exclusively in-store, and the vibes followed suit. Live sets from OOO, WEAREALLCHEMICALS, and KEMKEM kept the momentum high, pushing sound boundaries and bringing the crowd to life.From sneaker lovers to music heads, the room was full of those who move culture forward. Conversations sparked, beats knocked, and the spirit of Lagos showed out. It wasn’t just a launch — it was a moment.Big love to everyone who pulled up and made the night what it was. The wave keeps moving, and this is just the beginning.

Echobox Radio is marking its fourth anniversary with a day-into-night celebration on Saturday, 26th July at Skatecafe, featuring a lineup packed with radio residents, familiar faces and leading lights from Amsterdam and beyond!The celebration begins at 17:00 with a live on-location broadcast from the Skatecafe courtyard. Echobox resident shows Key Sync, hosted by rising star Baby Ganoush, Taco Fett’s Heavy Heavy Show and Jamrock Radio with DJ Madbwoy & The Dancehall Explorer.Departing Echobox mainstay REGE SATANAS will open the broadcast as a final goodbye to the station, while new residents 333, hosted by Helmond Lang, DirtyDMs and Silver Pearl, will close the radio section.From 23:00 to 03:00, the evening program moves indoors with a three-room event hosted by Echobox residents and special guests. Taking care of the intimate Club 1900 are Echobox favourites Unauna & KITT and Zgjim & STATE OFFF for a dark and steamy session of breaks, bubbling and more. Kurashi collective’s Jackie Jr. will kick off Dick & Dick, followed by Tida Kamara and Jolani Jones.Amsterdam favourites Lamsi and angelboy will open proceedings in the Club room with a 2-hour B2B, before two Amsterdam icons in Nena and Cinnaman top the bill.Broadcasting live four days a week, every week, Echobox has produced more than 5000 hours of live radio and supports a community of over 150 monthly residents. Programming spans ambient, techno, classical, noise, jazz and talk radio about everything from sexuality to cycling – reflecting the station’s commitment to experimentation, accessibility and musical freedom.Tickets for the 4 Years of Echobox are live now and available from the Skatecafe website! In 2024, Echobox launched the Echobox Family subscription program. Family members have access to special discounted tickets for the event.

Interview by Passion Dzenga From dusty attic record collections to underground club nights in Cardiff, Earl Jeffers’ musical journey is rooted in deep listening, creative evolution, and community connection. Whether crafting soulful house under his own name, building hip-hop landscapes as Metabeats, or collaborating through collectives like CRST and Darkhouse Family, Jeffers has consistently pushed the boundaries of genre and process.His approach is as much about heritage as it is about innovation—drawing from classic ‘90s sounds, jazz records, and MPC experiments while always keeping an eye (and ear) on what’s next. With a DIY spirit and an ear for detail, he’s developed a body of work that spans labels like Local Talk and Ten Thousand Yen, as well as his own eclectic imprint, Melangé.In this conversation, we dive into the foundation of his career, the role of Cardiff in shaping his sound, the magic of sampling, and what it means to stay true to your creative instincts in a fast-shifting musical landscape.Let’s start from the beginning. Can you walk us through your musical journey—from childhood to becoming a DJ and producer?At around five years old, I was picking up whatever was playing from my dad’s room or on the car radio. Then a few years down the line, my older brother and cousin were into hip-hop—N.W.A., Wu-Tang—and later jungle. My first tape was a Fabio set from Amnesia House. I remember the gold case. That stuck with me.They also bought rave tape packs—Dreamscape and all that—and got into house and garage. My brother’s friend was a DJ, so I’d go to his and pick up some basics. The youth clubs were also key—there was this guy putting on parties, in the local area. But I was a little too young. So he would bring his turntables to the youth club sometimes. I’d walk 45 minutes across town just for a go. That’s where it really started. That’s all I wanted to do. I would be up before school mixing records. Once I got decent at DJing, I started thinking: how are these records made? A friend got an MPC 2000, and we started experimenting. I’d make beats for MCs, and over time I knew this was what I wanted to do—not just for fun.How did you transition from hobbyist to professional?It clicked in college. I tried plumbing and a few other courses, but nothing stuck. Nothing felt as right as music. So I focused entirely on it.You’ve worked under several names—Metabeats, Chaser, Earl Jeffers. How do you decide which alias fits?It evolved naturally. I had three styles. The hip-hop and instrumental stuff was Metabeats, which was my first name. Chesus came from a nickname a friend gave me—I used that for house. Then Earl Jeffers was more sample-based house, where I applied a hip-hop approach to house music. Over time, I just focused on the Jeffers identity to simplify things. I still do Darkhouse Family work, where I go by Jeffers.How did growing up in Cardiff shape your sound and access to music?It was challenging. In the early 2000s, there was a healthy hip-hop scene and dance music always had a presence since the late 80’s But to break through from Cardiff, you had to look beyond it.That said, Cardiff gave me my first gigs—I was DJing in clubs before I was even legally allowed in! These days, younger artists have more access to music, which leads to more genre-blending. That’s really exciting.Tell us about the old Cardiff parties that helped shape you.Places like The Emporium and Vision were great for the House & Garage nights in the late 90’s/early 2000’s, then Higher Learning at the Toucan Club was massive for Cardiff hip-hop in the early 2000s. They booked a lot of UK talent. We’d leave the club and head straight to the studio to make records all night. That’s how I met Mayor from Associated Minds, the label that released my Metabeats projects. We even worked with names like Quelle Chris, Action Bronson, and Elucid.Your sound often pulls from classic ’90s house to soulful, jazzy textures. What draws you to those older sounds?Constant digging. My ears have matured—I’ll revisit records I bought years ago and hear new things I missed back then. That shift in perspective keeps the music fresh.Sampling is key to your style. What’s your process like?Definitely. Sometimes I’ll hear a sample and it sparks a whole track. That usually happens with jazz, soul, disco, or early house—sounds I grew up with. My dad had a music room, and hearing the music he was playing through the walls left an imprint. What’s your studio workflow like these days?It varies. Sometimes I start with records and chop samples. Other times, I build from scratch using keys or synths. I’ve got a Rhodes right in front of me—I've been using that a lot more lately.Any essential hardware you rely on?Yeah, the Rhodes is huge for me. It’s expressive—the action lets you really put emotion into the keys. I also use a Korg Triton and Roland JV-1080. You’d be surprised how many iconic sounds are in those. Even “Grindin’” by the Neptunes came from a Triton preset.Have collaborations always been part of your journey?It started solo but quickly became collaborative. My friends weren’t DJs but were deep into music, so we made stuff together. I’ve been part of CRST (garage/house), Darkhouse Family, and other projects. I honestly enjoy it more than working solo—two ears are better than one.CRST was pretty influential in shaping modern UKG. Could you see yourself returning to that?Possibly, but only two of us still make music. It was the right timing and energy back then. My focus has shifted, but I’m open to doing something future-facing—maybe not strictly UKG, but something new. That era, with dubstep, fidget house, and UKG colliding, was a pivotal time.Tell us about Darkhouse Family. What sets that project apart?It started with Metabeats energy but evolved. During the peak of the LA beat scene—HudMo, Hoya Hoya, etc.—we were influenced by that experimental sound while still staying rooted in hip-hop. Our last album leaned jazz-heavy, mixing samples with live instruments. Now we’re working on a new one—it’s more raw, hip-hop-leaning, with vocalists and rappers. We’ve come full circle.You’ve released music on respected labels like Local Talk, MCDE, Ten Thousand Yen, and Handy. What do you look for in a label now?Early on, it was about where the sound would fit and getting exposure. Now it’s more about relationships and community. Handy, for example—I’ve known James for years. That trust matters. I also release through my own label Melangé, which gives me full creative control.What’s the vision behind your label Melangé?“Melangé” means “mixture” or “cocktail” in French—that’s what I aim for. I don’t want it to be just a house label. It’s a platform for all styles I love. We’ve put out music from people like Javonntte and Byron the Aquarius. I also created Melangé Archives to re-release older tracks I had on other labels, so everything lives under one roof and tells the full story.Have you put out any LPs through Melangé yet, or mostly EPs?Just 12"s so far. I think club music works best in short formats. If I were to do an album, it wouldn’t be strictly house—it’d showcase a range of styles.Your visual aesthetic is distinct. How did the collaboration with Ral Duke and the family photo direction begin?From the start of Melangé, I wanted something personal. I used old family photos for artwork. I love that aged-photo feel, especially when it carries meaning. When other artists release on the label, I ask them for images from their own family archives too. It adds soul to the whole thing.Ral and myself have been good friends for many years before the label and his art was even a thing, so that was an organic relationship and approach. You’ve toured widely. Any standout shows or cities that left a mark?Glastonbury and Bloc were definite highlights. But smaller clubs are where it’s at for me. Glasgow, for instance—the energy is insane. Places like Sneaky Pete’s and Sub Club never disappoint.You’ll be playing in Amsterdam soon. What can the crowd expect?Yeah, I’m playing with DJ Pointless at Phono Lake. First time there, so I’m excited. Amsterdam’s always been a favourite—not just to play but to soak up the vibe. I’ve been digging into older NYC sounds recently, so expect a bit of that, along with new material.What else should we be looking out for from you this year?I’m continuing the Boomedit series. I don’t really think of them as edits—more like remixes or reinterpretations. The first was disco-heavy, the second leaned into late ’90s/early 2000s R&B, the third had a Neptunes-style flavor. More of that is on the way, along with reissues on Melangé. ‘Special’ is the first release in the series that’s just dropped.You’ve also been involved in community work. What’s Extravagaza about?It’s a series of fundraising parties we’ve been running to support relief efforts in Gaza. We’ve done a few in Cardiff and plan to expand to Bristol. It’s a small gesture, but it matters. People can follow me on Instagram or Facebook for updates.Any final thoughts?Just that I’m grateful to still be doing what I love. There’s a lot more to come—through music, art, and the projects we’re building together. Stay tuned.From MPC experiments in Cardiff bedrooms to shaping the sound of UK house and hip-hop, Earl Jeffers has carved out a deeply personal, genre-defying path. Now, he brings that energy to Phono Lake x Handy—alongside DJ Pointless and Tiago—for one unforgettable night in Amsterdam. Expect soulful house, deep cuts and raw grooves from across the spectrum, delivered by artists who live and breathe the underground. Tickets on sale now — don’t miss it.

In the realm of pulsating rhythms and sonic explorations, Chinnamasta stands as a luminary figure, intricately weaving the vibrant tapestry of Caribbean riddims with contemporary beats. As the creative mastermind behind the latest Patta SS24 Mixtape , her name resonates across club spaces and festiv

Photography by Juvenal MazePatta x Nike x Play Piem took it there in London for The New Wave - a celebration of heritage, community and the iconic Air Max 90, reimagined through Patta’s lens. The vibes were high, the music hit deep and the energy was unmatched from start to finish.We brought the people together - from sneakerheads to sound chasers - and turned the night into something more than just a link-up. Live sets lit up the space, conversations flowed and culture moved through the crowd. This was about honouring what’s been while pushing what’s next. Big love to everyone who came through and made it one to remember. The wave’s only getting stronger. Until next time.

Photography by Akadrestudio, Jamal Denzel and Romario PierauGet familiar with what went down when Latto pulled up to the Patta Amsterdam store for a special meet & greet ahead of her sold-out show at Paradiso. The energy was high, the vibes were unmatched, and the exclusive Patta x Latto T-Shirt flew off the shelves. Couldn’t make it? We hope to see you at our next event! The Patta x Latto T-Shirt is available now exclusively at Patta Amsterdam. 

Photography by Dennis BrankoPatta x Awake NY x Marshall took it there for Fête de la Musique, we amplified the sound, the streets and the soul in the City of Light. Beats bounced off the buildings to a crowd that kept it moving, our all-day radio broadcast that brought our people together, and exclusive Patta x Awake NY x Marshall x Chop Chop merch made statements in the streets. This wasn’t just a party, it was a celebration of culture, community and sound in Paris. Big love to everyone who pulled up and made it unforgettable. Until next time.

Interview by Joe Leonard-Walters | Edited by Passion DzengaLaunching in 2021, Echobox has been steadily building a reputation as one of the most exciting voices in community radio, spotlighting the characters, crate diggers, selectors, and sonic explorers that make up its unique broadcast universe. Since its inception in late 2020, Polychrome Audio has quietly carved out a space of its own in Amsterdam’s electronic music landscape. More than just a record label, Polychrome is a collective of five close friends driven by a shared commitment to open-minded curation, deep collaboration, and community-rooted creativity. With projects spanning event production, a growing label catalogue, and a freshly launched podcast series on Echobox Radio, Polychrome functions as both a launchpad for emerging talent and a gathering point for kindred spirits across disciplines. In this conversation, the team shares the story behind their collective vision, the importance of community in shaping their path, and what’s on the horizon - from upcoming releases to cross-cultural club nights pushing sonic boundaries.Tell us a little about Polychrome: What do you do? What is your mission? Who are the main characters?Polychrome Audio is primarily a record label. Founded as a collective project at the end of 2020, our mission is to provide a supportive platform for electronic music. Our vision is guided by an open approach to curation, rooted in our diverse musical backgrounds and inspired by artists, music, and the stories that connect them. Anchored in Amsterdam's nightlife, Polychrome has been organizing events from the beginning, with its Polychrome Nacht concept and collaborations with other collectives. Through Polychrome Radio—our podcast series that joined the Echobox program in January 2024—we showcase the incredible talent of artists within our community across a broad spectrum of sounds. We are a team of five friends—Jonathan, Tom, Jeremy, Bea, and Hervé—and part of a growing ecosystem that includes many artists and music creatives.You host many guests, and community seems to be a central part of everything you do. Why is this so important?We could never have developed our vision without the support of our friends and the great energy of the collectives and communities around us. It's through experiencing life and embracing new initiatives and ideas that we discover talent and get creative. Our story is a collection of lives interconnected by a shared passion for music and its related cultures. We draw a lot of energy and support from the people around us, and we do our best to give back by providing talented artists with a platform to express their art through our label.Are there any people, projects, or places in your community you'd like to shout out?So many! First, we would like to thank Echobox for the genuine space and care offered by the whole team. We want to thank all the artists who trust us with their music—it's never taken for granted. A big shoutout to Gerard "Geri" Musquera, who has been skillfully crafting our visual identity for many years. Photography is very important to us, and we'd like to highlight the lenses capturing Polychrome: Marius Renard, Stefan Daniels, Leopoldo Chumaceiro, and Camilla Colognori. Special thanks to the RPU and Etape communities, with whom we've created truly memorable moments, as well as our Noord Space crew and family, where magic happens, and to Alex and Sol Systems, who tirelessly work to deliver the best sound on our dance floors. Lastly, we would like to showcase appreciation to our distribution partner One Eye Witness, who early on trusted us in their rich catalogue  and help our records reach audiences worldwide.What do you have planned for the next few months?We have lots coming up! First, Rotterdam producer Mata Disk returns to Polychrome with the LFH-Proxy EP, set to be released on Friday, June 27th. The EP features two original club tracks and interpretations by producers Eversines and Jopie, showcasing a wide spectrum—from bassy breaks to IDM and tech house. On the events side, we're launching a new cross-cultural club concept called Interfering Grounds in collaboration with RPU and Etape. The debut night is scheduled for Saturday, June 28th, and will feature Australian record label Pure Space for a sonic exchange in both a club and listening room at our favorite venue, Club Raum. We're excited to present not only DJ performances but also spoken word, dance performances, and custom sound by Sol Systems, complemented by innovative designs from our creative team.For Loma Doom, radio isn’t just a medium - it’s a vessel for memory, activism, and sonic experimentation. Her Echobox show Left of the Dial explores the poetic tension between sound and archive, weaving together recordings, field material, and hidden audio gems into hour-long broadcasts that feel both intimate and expansive. Informed by the work of artists, archivists and activist networks past and present, Loma uses the show as a space to question what it means to preserve, reframe and listen. Drawing inspiration from experimental practices and pirate radio culture, Left of the Dial becomes an ever-evolving soundscape - where history echoes into the now, and radio transforms into an archive of its own. In this interview, Loma reflects on her deep love for archives, her fascination with forgotten frequencies and the thrill of stumbling across the unexpected.How does your Echobox show relate to your practice outside of the station?I’ve always had a strong interest in archives and how archives hold the tools for present day activism. Inspired and informed by the practices of friends like Experimental Jetset, Mariana Lanari & Remco van Bladel,  De Appel Arts centre and Jacob Dwyer, I have tried to bring my sonic practice into archives and archives into my sonic practice. My show Left of The Dial tries to build an hour long sonic landscape of archives I have stumbled upon or that were brought to my attention. So Echobox has given me a platform to experiment with how an archive can sound outside of their own container.Where did your love of radios and the archive come from?As said the interest and love for archives is based on how we can look at movements from the past that can be re-used to create new tools or tell a story that has not been told before through the archival material. It also allows me to go on a treasure hunt, filing through boxes or digital realms and discovering what I think are gems that need to be shared. Radio is the perfect medium for that, as its a container of its own that creates an intimate moment between me and my silent listeners. Radio also has this amazing quality to act as a platform for experimentation through sound and sound alone. Again when looking back into the past; there were these (and there are still a few of those around) amazing radio stations that allowed artists to use the radio as a medium for performance - Wave Farm for instance has an entire archive of artist run shows that were made in the 80’s an 90’s on New American Radio (NAR) - and I would like to think I’m following in their footsteps. And of course radio will always have this activist element for me where radio pirates would broadcast illegally to get their message across (like for instance Radio De Vrije Keyser - a station run by squatters in the ‘80s). And of course the radio broadcast then become an archive in themselves as well again.Do you have any favourite field or archive recording that you've worked with in your show? What was so special about it?Oof… That’s a hard one as they are all very special. Whether it was remixing the archive of student led radio Mushroom radio or sampling the great wok of radio and Fluxus artist Willem de Ridder, they all have their own qualities that then inform my show. My last show was really great to do as I was using this shortwave receiver build by the amateur radio club ETGD of the Math Faculty at the University of Twente to create this crazy noisy landscape. That was so much fun! At one point my dear friend and Echobox cofounder Chalice ran into to see where all the weird noises were coming from!Do you have any memorable snippets from within our own archive?Actually for someone who works with archives I have a really bad memory and I always find it hard to come up with memorable snippets or funny anecdotes. Let’s just say I like to live in the moment of the broadcast.Tune in to Echobox - broadcasting from below sea level every week, Wednesday until Saturday. 

As we turn the page, we’re looking back at a warm summer night at Patta Milano, where the bold energy of Patta met the colourful spirit of Havaianas. From the sound of all-Brazilian DJ sets to the aroma of finger foods, the store transformed into a slice of Rio for just a few hours all captured by Mamadou Diagne.It was a tribute to the community, creativity and cultural connection that we found in this partnership. Drinks were flowing, the vibes were ripe and the rhythm carried us from the heart of Milan to the soul of Brazil.Big love to everyone who pulled up and made the night what it was. If you were there, you already know. And if you weren’t… well, keep your ears to the ground - the next Patta gathering might be closer than you think.

Photography by Dennis EluyefaTo celebrate the launch of their second collaboration, Patta and Rapha brought the streets of London to life with a party that united cycling culture, community, and style. Held in the heart of the city, we brought together intersection of sport and street. Cyclists, creatives, and culture-shifters came together, reflecting the spirit of the new collection - where performance meets purpose, and heritage meets hustle. The second Patta x Rapha collection builds on the first, blending functional design with bold storytelling, rooted in community and connection.

Interview by Passion Dzenga | Photography by Claryn ChongTo get familiar with Léa Sen is to step into a world where sound, memory, and emotion blur like light in a hotel hallway. Her debut project, LEVELS, unfolds like a quiet odyssey — each track a floor in a surreal, liminal hotel, each space a reflection of growth, grief, and the slow return to self. Born from solitude, sharpened by collaboration, and grounded in deep introspection, the album is a reformation in real time. In this conversation, Léa opens up about confronting perfectionism, reconnecting with girlhood, and learning to trust her voice — not just in music, but in life. From wormhole elevators to unresolved endings, we journey through the LEVELS that shaped her.You frame LEVELS as a journey through a liminal hotel, with each floor representing a different stage of emotional growth. When did that visual metaphor first come to you?I was listening to an astrophysics podcast and the guy said elevators are like the poor man’s wormhole. You step in and suddenly you're in a different place without realizing how you got there. It reminded me of how memory works — how you can be fine one second, then in a feeling or a past version of yourself the next. That visual stuck with me. It reminded me of Interstellar as well.The idea of moving through life like levels in a video game is so relatable — especially the feeling that there's always another level. What level do you feel like you're currently on in your life?Falling in love with girlhood again after rejecting it for so many years. Slowing down, listening, becoming someone I feel safe being. I still want it all, but I want to get there with love and patience.The concept of an “empty hotel” evokes a feeling of isolation and introspection. Was that influenced more by your physical environment during lockdown or your internal emotional state at the time?Definitely physical. I actually met so many people in London, made friends, fell in love, even during lockdown I connected with people online. But I just felt a load of ignored baggage I needed to sit with. I isolated myself very intentionally. I'm a pretty sociable person, I love people so much — but I just needed solitude even though it felt uncomfortable.You’ve said the album explores spaces that shape us — cities, relationships, seasons. Which of those spaces did you find the most difficult to revisit in the writing process?Ghostwriter was difficult. I really struggle to communicate with people I love more than anyone else and admitting it sucked.You moved to London on impulse, without contacts or a plan. Looking back, do you feel like that risk was essential to your growth as an artist?As a woman it was everything and my art is just a reflection of what I go through. I couldn’t even imagine a version of myself without leaving it all behind.How did working with your brother Florian change the dynamic of creating this album? Did having that familial trust make you more vulnerable in the studio?It forced me to look at my perfectionism and control freak tendencies and eventually just let go. To trust that I’d be okay if I opened up in my lyrics — and okay if I asked for help. It helped me ease into opening up.You’ve collaborated with artists like Sampha and Joy Orbison. How has working on other people’s music helped you unlock new aspects of your own?With Sampha I tapped into a fire I didn’t even know I had. With Joy Orbison it was the first time I just had pure fun making a song.You’ve described the album as a reformation. What were you reforming from? And what did you feel you were reforming into?I was making music to survive — now I want to build the world I’ve always dreamed of. The album was my first step into doing that.“Ghostwriter” deals with the difficulty of expressing yourself, especially in a new language and a new city. How did you find your voice during that time?I kept second guessing my pronunciation over and over — so one day I just decided to speak how I speak and not care how people feel about it.There’s a beautiful mix of the familiar and the surreal across the album. Was that tension between reality and dream intentional from the start, or did it evolve naturally through the process?It was intentional. I always knew the first song would be Home Alone. I wanted to explore my struggles with daydreaming and how memory works — how we all remember things differently, how emotions warp what we hold onto.“Video Games” is both nostalgic and existential. How did memories of childhood become a way for you to reflect on who you are now?I think it was inevitable that the more I had to face patterns, the more I would ask the question: where does it all come from? It’s not that the memories helped me reflect — it’s the reflection that helped me revisit the memories.The final track, “Lobby Boy,” leaves us with more questions than answers. Why was it important for you not to end the album with resolution?In my heart, I wanted resolution. I’m an idealist. I love the idea of beautiful endings. But real life didn’t give me that — not when we finished the album, not when we shot the visuals, not now. There’s no answer. Just growth. Lobby Boy was my way of embracing that.You’ve talked about wanting to give people a sense that they’ll find their way, even if they feel lost. Which artists gave you that feeling when you needed it most?Mitski gave me a lot of peace in my own struggles and questions. Also Joni was one of those women that felt so strong and independent yet such a devoted lover and I felt really seen by her.Now that LEVELS is out in the world, how has your relationship with the songs changed? Do you still feel like you’re living in the hotel — or have you started checking out?I’ve definitely left the hotel of memories now. It was just a visit. A necessary one but temporary.What do you hope listeners take away from walking through these “levels” with you?That making peace with your past often starts in solitude. And that the support you need isn’t always the one you imagined.

The Roman Sabajo Lezing is back! After a successful first edition, the Roman Arantes Sabajo Alumni Club (Patta Academy) invites you to an evening around the theme ‘COMMUNITY 101, showing up or showing off?’: what does community mean in today’s creative and cultural landscape?Brands like Patta, SMIB and The New Originals have shown how you can build something bigger than yourself from friendship, business and a shared passion. From a deep connection with streetwear, art, music and HipHop principles such as ‘Each One, Teach One’, they managed to create a space of their own, while also making space and paving the way for others.I vs. WeTheir success stories have inspired the next generation of creatives to start their own community. But that’s easier said than done. In a world full of grind culture, social media and competition, self-interest is encouraged above all else. It seems that individualism has become the norm. So, how do we rebuild a sense of ‘we’ in a time when ‘I’ has taken centre stage?The ProgramExpect an inspiring program starting with a premiere screening of a self-made mini-documentary (in collaboration with Scenery & NL Film) about the Patta Academy Alumni Club community. Showcasing the multidisciplinary creatives of the Alumni Club, they will provide you with their insights & experiences about being part of the Patta Academy community. This is followed by an interactive panel talk with different voices from the creative industry, from community builders to experts in the field. The panel consists of a cognitive psychologist - Consuela Esseboom, founder of PrettyGirlsLoveTrapMusic - Lara Jade, founder of Lowrey Foley McClane collective & visual artist - Brian Elstak, co-founder of The New Originals - Rizky Lasahido and moderator Adiam Tseggai.They will share their experiences on building, maintaining and growing their communities, including the struggles and lessons along the way.Tickets & more info: https://felixmeritis.nl/programma/roman-sabajo-lezing-community-101/This event will be in Dutch.