Farida Sedoc for Patta Magazine

Farida’s work doesn’t just engage; it rallies while exploring intersectionality and the influence of monetary economics, heritage, and politics on the future of globalism and community life. Hip-hop, punk activism and social care are all themes the acclaimed multi-disciplinary artist puts on wax via screen prints, textile art, murals and beyond. Her label HOSSELAER (est. 2008) has collaborated with Patta and Junya Watanabe, while her oeuvre includes a partnership with Emory Douglas, artist and former Minister of Culture for the Black Panther Party, in collaboration with HipHopHuis Rotterdam and work for Stedelijk Museum Amsterdam. Farida also recently designed a beautiful book and the visual identity for Our Colonial Inheritance at Wereldmuseum Amsterdam, where her art installation occupies an entire room. As the newly crowned winner of the Amsterdam Prize for the Arts - Work of the Year for her solo show and art market People’s Forum, Farida levelled the field, bum-rushed the show and won big. For those usually left looking up. For the underdog. For the arts. For the people.DOMINIQUE NZEYIMANA: Cover girl!FARIDA SEDOC: “A 44-year-old cover girl! Nice!” (laughs)

DM: Congratulations on your major Amsterdam Prize for the Arts win! I’d love to talk about the process behind People’s Forum, your now award-winning exhibition. I witnessed first-hand how fantastic it was. How did you land on wanting to do it and when did you start building it?

FS: “Some years ago, I had a conversation with Fadwa Naamna, an artist and curator living in Amsterdam. We’d worked together on an exhibition at the Stedelijk Museum Amsterdam. During that time, we talked about W139 - the independent art space squatted in the ‘80s by artists looking for alternatives to the traditional art world. W139, much like major institutions such as the Rijksmuseum or the Stedelijk, is often debated in the Dutch art scene, especially when it comes to its funding and future. The Netherlands has this unique, discourse-driven subsidy system free from commercial influence that supports critical thinking. W139 was on shaky ground financially around then, as Fadwa and I discussed alternative ways to sustain such spaces. The concept of organising a bazaar came up and I suggested an art market where artists could sell anything they wanted, not just their work. The idea clicked, and Fadwa invited me to develop it further when she joined the artistic team at W139. Initially, we planned it for 2021, but the pandemic delayed everything. A couple of years on, we set a date for late 2023. Working with W139’s new team and co-curator Claudio Ritfeld, we started drafting budgets, securing funding and coordinating logistics together with technical and supporting staff. It was a long road. In the Netherlands, curators often have to source their own funding instead of working with a pre-approved budget. It makes the process complex. It’s like: ‘Hey, do you want to do an exhibition?’ If you say: ‘Yeah!’, they reply with: ‘Oh, also, we don’t have any money.’ (laughs) And then if you’re still up for it, you start building a case to get funding.”Photographed by Pieter Kers, W139, 2023, Exhibition People's ForumDM: That takes a lot of faith!

FS: “Of course, you get some money while you’re working on your bid. But it does highlight the vulnerability of the art world. Institutions might provide a buffer but for artists, financial uncertainty is constant. It’s a system that often limits opportunities to the privileged few. After months of development and waiting, we finally secured backing from sponsors. So, after the 2022 group show Non-profit At All Cost I curated at NEST in The Hague, I was officially invited to do my first institutional solo show at W139. I wanted it to serve as the backdrop for a public programme that could engage wider audiences beyond the art world – a decision that also tied back to certain funding requirements. The market became part of this programme, spanning two weekends. Half the vendors were people we know and the other part was curated through an open call. They joined us, offering everything from independent magazines and music to clothing, crafts and handmade goods. Athenaeum Boekhandel hosted a pop-up, vinyl sellers brought their good shit and local artists added something unique. Artist advocacy group Platform BK had an office-in-residence. We also hosted workshops every Friday to help artists professionalise their artistic practices. These sessions covered everything from navigating contracts and understanding AI to owning your rights and working with digital art. Lawyers with art backgrounds guided participants and answered questions. For me, it wasn’t just about the market but about creating a space where artists could experiment, collaborate and exchange. The collectivity of it all was powerful.”DM: How did you approach the Farida Sedoc - Solo Exhibition part of it? 

FS: “I was working on what I love most: screen printing. I had been collecting images and when I thought about the huge space at W139, I initially wanted to make large works that would have an impact. But creating several big pieces wasn’t doable time and budget-wise, so I decided to make about 40 smaller works instead, hung in a single round-about line as one cohesive series. I also want to add that the graphic design and spatial design was done by Heavy Bones, and the success of the show as a whole was greatly impacted by this. It allowed me to focus on the story I wanted to tell rather than being overwhelmed because I had to fill the room. I also love doing research, so I set out to explore feminist archives. But the pandemic made access difficult. Instead, I went to my mom’s house and found a trove of books and self-published ‘80s magazines. The themes were still deeply relevant today, so I took pages that caught my eye and used them to create new prints and collages. One moment that stood out was finding old newspaper clippings about my father and my mother’s university friend. It highlighted the importance of migrant communities documenting and sharing their own stories, rather than having them told by others. This inspired me to create works that imagined new futures while building on past stories - a way of reflecting on our own narratives and shaping what’s to come.”

DM: What was the most important takeaway from the overall experience?

FS: “People’s Forum proved that it can be whatever you want: selling your art, the cookies you baked or even clothes left lingering in your closet. Artists have many facets. The beauty was that you weren’t forced to sell your art, if you made the best hot chocolate in Amsterdam, you were welcome to sell that. It forces you to reconsider what defines your practice and how you want to make a change in the world. At its core, it was about sharing resources and challenging the exclusivity and pretentiousness of the traditional art world. It responded to the idea that artists must follow a set path: go to art school, land a gallerist, make work in a studio and then let the gallery sell it. But that’s not the only way. People’s Forum showed there are many paths to success and no shame in a non-linear journey. The market also brought accessibility to the conversation. Artists reserved tables for 25 euro and sold whatever they felt like, with some making 600 euro, enough to cover their rent for the month. How great is that!”DM: I love how you have this introverted energy that I completely relate to, but yours almost always gets overruled by your care for the collective. FS: “I, myself, love working alone. I’ll be in my studio, minding my business, chugging away. But when I’m ready to step outside, a lot of my work is about shared energy. Not everyone is entrepreneurially inclined, yet the system often demands it. People’s Forum is a DIY approach to the art world system but with a collaborative spirit. Instead of DIY it became DIT, ‘Do It Together’. The Amsterdam Prize jury and the city saw it as something wild and impactful.”DM: So, where do you want to take your work next and what about HOSSELAER? How do you sense when it’s time to tap back into your brand?FS: “Well, it’s more practical. Whenever I have an exhibition, I create HOSSELAER merch, like a T-shirt capsule. It’s always tied to the show and when people are excited about the exhibition but perhaps not yet familiar with my work, they want something to take home. A T-shirt becomes an accessible way for them to connect with the exhibition without necessarily having to buy a piece of art. It’s also a way to communicate the message or context of the show in a simple, affordable format. I also enjoy doing collabs, but not by directly linking HOSSELAER with other brands. Instead, I’ll design T-shirts on commission. Like when I worked with Patta, they reached out and asked: ‘Hey, would you like to design a T-shirt for this project?’ and I said: ‘Bet, let’s do it!’ These collabs are more project-based. Of course, I’d love to keep doing this, but I’ve come to terms with the fact that it’s not my core business. That was hard to accept at first, but I’m okay with it now. Sometimes, I think about improving the quality of the T-shirts. For instance, on a random Monday night, I’ll go: ‘We need to step up the quality’. Recently, my studio mate made a really nice T-shirt and I was shocked by how good the fabric was. I yelled: ‘What is this?! I have the same supplier, but they never sent me these!’ (laughs). Then by Wednesday, I’ll have forgotten about it and three months later, it’ll pop back into my head. My neighbour says, at this pace, I’ll have a successful T-shirt business when I’m 80. Which is fine by me. Hopefully, I can keep collaborating - whether in fashion or another field - and maintain enthusiasm for the creative process. I’ve seen too many artists lose that passion over time, for various reasons, and it’s such a shame. Whether the work is big or small, I want to keep that fire close to me. It’s about having something to say, staying connected with my medium and finding my tribe. That’s what I strive for - to stay true to my art and continue to express myself in ways that resonate with others.”Photographed by Peter Thijhuis, Stedelijk Museum Amsterdam, 2020, The Future Ain't What It Used To BeDM: What’s next? I know you want to retreat a little bit, but momentum is also a real thing. 
FS: “What’s most important for me is that, as an artist, the focus stays on the work. Once your attention shifts to everything around it - negotiating contracts, dealing with different departments, making videos about the project or talking about it - then the quality of the work itself starts to suffer. That’s why I don’t say no just to say no - I do it because I need to stay sane and capable. I need time to sleep well, be able to get out of bed, not burn out and approach projects with the right energy. Whether I’m happy, pissed the fuck off or somewhere in between, I still have to be motivated to create. And that’s where I’m at now. I want to make space for that, and the prize gives me that freedom - to take time and develop new work. Even though I do have exhibitions lined up for 2025, I’m prioritising that deeper engagement with my practice. As for other goals: a solo expo internationally would be cool.”
DM: Any specific museums you have in mind?
FS: “I’ve learned to go where people understand my work without much explanation. In independent, experimental spaces, there’s genuine respect, and people get the work for what it is. That’s where I feel most at home. The gallery world is still new to me, and I’m exploring it to understand what production and storytelling mean in that more commercial setting. I want to dive deeper into that context. Sometimes I feel I may be overthinking it, but it’s a process and I’m open to seeing where it leads. Some of my friends will say: ‘Money is nice, Farida, it’s really fun to have. You don’t have to make it so complicated. Just create something, and then the gallery will sell it.’ (laughs) I’m still figuring out what that balance looks like for me. And finding a good gallerist is almost like finding a lover. You can’t force it.”Photographed by Goedfolk & Charlotte Markus, Nest Art Space, 2022The gallerists I know work so closely with their artists. They call them almost every day just to talk about what’s on their mind. It’s like a marriage. I don’t think I could take on a second husband or wife like that. Speaking of love: the night you won the Amsterdam Prize for the Arts, my IG feed was full of Farida, which was the best. Everybody was rooting for you. You were in a category with Steve McQueen. How do you look back on that moment? FS: “It was amazing to win a prize from the city and the people of Amsterdam, not just the art community. The recognition felt good, especially knowing a lot of this year’s winners were underdogs who have been at it for years and kept pushing against all odds.”Photographed by Goedfolk & Charlotte Markus, Nest Art Space, 2022DM: How did your family react? FS: “My dad is proud. My mom was at the ceremony, and brought along a bunch of elders. They were drinking wine and having an excellent time! (laughs). My daughter and my partner were with me, as were my little niece and my neighbour’s kid - they’d never been up that late. Our crew was rolling 20 or 30 deep. All the nominees were smiling big at the cameras. Everyone wanted that grant! My fellow nominee Ena, who’s won a bunch of Golden Calves (the award for the Netherlands Film Festival), told me backstage that she knew I had this. When they announced People’s Forum as the winner, everyone screamed as loud as they could. It was a great night.”The Patta Magazine Volume 4 will be included for free with each online order of the Patta Angelwings T-shirt while stock lasts.

Interview by Passion DzengaHip-hop has always been more than just music - it’s a movement, a cultural force, and a reflection of its environment. While the U.S. laid the foundation, the UK developed its own voice, shaped by sound system culture, punk rebellion and the raw energy of garage and grime. From Britcore to drill, the evolution of UK Rap has been a story of resilience, reinvention and relentless innovation.Today, we’re joined by David Kane, a writer and cultural historian whose latest work, What Do You Call It? From Grassroots to the Golden Era of UK Rap, charts the first four decades of UK Rap. Through extensive research and exclusive interviews with key figures - from pioneers like Jazzie B, Roots Manuva and Roll Deep to modern trailblazers like Little Simz and CASisDEAD explores how UK Rap carved out its own lane, reflecting British identity and reshaping the global music landscape. If you got love for the culture, this is a conversation you don’t want to miss. David Kane has also been instrumental in the process of bringing the Patta Magazine to life from Volume 1 until now as the editor-in-chief of our seasonal offering. On the eve of the release of Patta Magazine Volume 4, we want to share the thought process and teachings from the brand new book so on a cold Tuesday morning, we met up with him in the heart of Amsterdam to discuss his brand new book.We’ll be breaking down the scene’s defining moments, the role of radio and social media, and the shifts that turned UK Rap from a grassroots movement into a dominant cultural force. So get familiar with David Kane.How does UK Rap reflect British identity?UK Rap has been a powerful medium for exploring British identity, especially for people from diverse backgrounds. Through the book, many artists have discussed what it means to be British in a multicultural society, using music as a platform to engage with complex social issues.There’s often talk about using an authentic British voice in UK Rap. What are your thoughts on that?I think it’s something every country goes through when they first adopt rap music. Early Dutch rap sounded American, for example. After working through the US accent thing, there was a little bit of a North-South divide, but artists like Tricky showed that you could rap in a non-London accent with authenticity and skill.How did UK hip-hop artists approach grime, and how did timing affect their success?In the mid-noughties, I began writing for magazines such as Touch, Big Smoke, Trace, and nascent blogs like UKHH.com. These titles specialised in what was then known as urban music. I tended to write about hip-hop and grime, convinced there was a connection between the two. I interviewed a few UK hip-hop MCs at the time who were not receptive to this and saw grime as a passing fad, while fans were often less kind. Speaking to Juice Aleem about the relationship many years later—his group New Flesh has frequently been described as “proto-grime”—he made a wise point: “There was a disconnect, [it was like] ‘Hey, young man, come off the mic,’ ‘Hey, fuck off, old man.’ And that’s the nature of be-bop to fusion, blues to jazz.” Like many things, timing can be everything. Klashnekoff—who collaborated with Terra Firma and was very positive about grime despite being considered a UK hip-hop MC—could have been huge if he had been born ten years later. He’s a versatile MC with great imagination, but he was probably too raw for the time. Durrty Goodz is another example, albeit coming from a grime background with an openness to hip-hop. Outside the scene, these artists were met with a mostly uninterested music and media industry. It’s changed now. You have someone like Loyle Carner jumping on a track with Unknown T that slaps, someone from hip-hop (or jazz or alt. rap as it's sometimes known) with a drill MC. There are still different scenes in some respects, but the barriers have come down.How did grime evolve from being club music to street music?Garage and jungle were dance genres built for clubs. Towards the end of the halcyon period of garage you had this MC-strain coming through, the aforementioned Heartless and Pay As U Go, plus the humongous (in every sense) So Solid Crew. Grime started in that space, but when MCs moved away from club-oriented themes - aspirations, champagne, heartbreak - and started telling real street stories, that shift happened.What changed when rap became financially viable in the UK?A few records charted in the late 80s, like Street Tuff by Rebel MC (who would later become Congo Natty) and Derek B’s Bad Young Brother, but these were the exceptions rather than the rule, and they didn’t make too much money by all accounts. The UK looked to the U.S. for formulas. Artists realized that by rapping over 95 BPM boom-bap beats and adding a hook, they could replicate the success of American acts like A Tribe Called Quest. British rap was still figuring itself out. It took a few decades before it became financially viable. Although, DJ Target told me a good story about Wiley making six figures in white label releases “easily” in the mid-noughties, and So Solid Crew enjoyed financial success, but even that was relatively fleeting. Around the late 2000s, things began to change. The pendulum started to swing from indie rock to artists like Tinie Tempah, with tracks like Pass Out, blending pop-friendly sounds with grime and drum & bass. Even though it was a bit of messy period—I doubt Skepta or Wiley look back with much creative satisfaction at Rolex Sweep and Wearing my Rolex (although I do maintain Dizzee Rascal’s Bonkers is a bit of a tune)—it helped grime and UK rap reach a bigger audience and find new opportunities.Who were some of the early UK Rap pioneers that inspired you?The earliest UK Rappers that inspired me came from two paths: the first was the garage MCs I went raving to in my late teens, the likes of Bushkin and Mighty Moe from Heartless Crew, Ms. Dynamite, and Pay As U Go, the precursor to Roll Deep, their sound took elements of dancehall, jungle and what we can now describe as proto-grime. It was more about the vibe. On the other path was UK hip-hop, artists like Roots Manuva, Ty, Jehst, and Skinnyman, who were more lyrical. It’s not to say that one is better than the other; I feel fortunate enough to have grown up with both, and it’s a—not-always-easy—relationship that I explore in What Do You Call It?How important was radio for UK street music?In the first 20-30 years of UK Rap, radio was crucial - it could make or break careers. Stations like Capital, Kiss FM, and BBC Radio 1Xtra played a massive role. However, with YouTube and social media creating their own ecosystems, radio lost some influence. The democratization of media meant artists no longer needed gatekeepers to gain exposure.How did hood videos contribute to UK Rap culture?Hood videos were essential in showcasing artists’ environments. They were the pirate radio of video, giving a face to street music. Channel U and, later, video platforms like SBTV & Grime Daily provided a visual to the culture. Before this, people outside of major cities had little exposure to the music beyond pirate radio (which had a limited signal reach), a few live shows and raves that were often shut down by police, and the trickle of mixtape releases available at record shops. (Although, as I write about, Napster certainly helped from an audio perspective).How did social media change UK Rap?The rise of social media and streaming platforms like Spotify created a digital revolution. Artists could connect with fans directly instead of relying on radio stations and magazines for their narrative. This was both a blessing and a curse: It meant fans could get a deeper insight into an artist's lifestyle, but often without the critical context that good music journalism provides.What role did Stormzy play in the recognition of UK Rap?It’s big and has a lot to do with the headline show at Glastonbury in 2019. I’m going to include a short extract from my book to explain why:Whether you like Stormzy’s music or not, it doesn’t matter. Everyone from Adele to Wiley and Jeremy Corbyn lavished the performance with praise. This was UK rap’s Woodstock moment. The culture had entered a new world where it would remain: the realm of superstardom and commerce. But to Big Mike’s credit, his performance was as much about everyone else—the legends of UK rap he thanked and, more importantly, those who lost loved ones after the Grenfell disaster—as himself. Do you think UK Rap will keep evolving?Absolutely. Music always progresses, and the UK scene has moved far. We’re seeing MCs from all over the country breaking through, rapping in a style with storytelling unique to where they’re from; whether it’s Pa Salieu in Coventry or Nemzzz from Manchester, it keeps getting richer. And externally, the influence keeps growing; you have Afrobeats and UK drill shaping sound, language and culture globally. It’s a beautiful thing to see. David Kane has written about music and popular culture for nearly 15 years. Bylines include Esquire, Dazed, CRACK, The Financial Times, and Wax Poetics magazine. He is the editor and publisher of Patta's bi-annual magazine. What Do You Call It?: From Grass Roots to the Golden Era of UK Rap is out now on Velocity Press. You can find an excerpt from the book in our Patta Magazine Volume 4.

Interview by Passion Dzenga | Creative Direction by Rogier de Reiger | Photography by Maria VaroGot love for bass-heavy beats with soulful roots? Get familiar with JAEL, one of the most compelling new talents in Bass and Garage music today. Known for his unique blend of deep bass, 140 bpm and UKG tropes, JAEL is making waves in the scene. On January 31st, he’ll be supporting Sammy Virji at O2 Brixton Academy, the same day he drops his highly anticipated EP Motion Sickness. This project is what he calls a “cocktail of garage, 140 and deep bass,” packed with infectious rhythms and layers of soul.JAEL’s journey is one of reinvention. Formerly known for his R&B and future beats work, he’s now carving out a lane for himself in the world of electronic music. As a long-time member of Soulection, he’s built a global following, touring the world and lighting up stages at Boiler Room Festival and Village Underground. His track Motion Sickness is already a standout, with its skippy, sub-heavy UKG beat and bars from Ghanaian rapper Michael Ekow. And that’s not all – on the same day as the EP release, JAEL’s got a guest mix on Tiffany Calver’s BBC 1Xtra show, giving us even more to be excited about.With Motion Sickness just days away, Jael is not only helping to shape the growing mainstream presence of bass and garage music but is also looking ahead to new projects, remixes, and collaborations—all while maintaining a playful, intuitive approach to music-making. Join us as we unpack Jael’s unique blend of influences, their vision for the future, and what fans can expect from this exciting new chapter.JAEL’s sound is all about balancing his soulful past with his present as an electronic producer. Whether he's performing on massive stages or delivering his music on the radio, it's clear: he’s got love for the culture, the energy, and the people. In this interview, we’re diving into his journey, his influences, and how he’s merging the best of both worlds to create something fresh, real, and full of feeling. Get ready to get familiar with the next wave of JAEL’s already illustrious career.Your new EP Motion Sickness is dropping on January 31st. It’s been described as a mix of Garage, 140, and bass. Can you break that down for us? How would you describe the sound to someone who's never heard it before?For those unfamiliar with the music, it’s got heavy bass with upbeat drums around 137-140 BPM. The 140 track has dubstep influences, with a bit of grimy energy. It’s very rooted in the UK music scene. I grew up listening to UK Garage, 2step beats, and artists like MJ Cole, so it’s that kind of vibe. When I started DJing, I was drawn to that sound, so this project is really me going back to my roots and producing something that resonates with me.You’re from the Netherlands, but your sound has strong UK influences. How prominent was UK dance music like UKG, Dubstep, Grime, and Garage when you were growing up?Well, I’m from Maluku, and in the Netherlands, especially in the Maluku community, everyone loves UK Garage and 2step. Back in the day, at most 2step events, like Speedfreakz, the crowd was mostly Maluku people. It was our sound, and it just stuck with me. That’s why I started DJing in this space, and eventually, I decided to produce it myself.Motion Sickness features Michael Eko, how did that collaboration come about, and what’s it like working with him?I got the vocal topline through my manager and I was like, “This is sick!” I was on a flight to China, didn’t sleep at all, worked on the track, and tested it the same night in the club. That’s when Michael and I got in touch. He’s amazing - his style and vocals are incredible, and he’s into so many different genres. We definitely want to work together more. I didn’t know him before this project, but now we’re planning more tunes together.The blend of your background in UK music and Michael’s international roots is quite a melting pot. What’s it like combining your influences?We both come from different places, and it just works. I think that blend of UK influence, mixed with his roots, really gives the track an exciting energy. It makes total sense for us to work together.Your new EP represents a shift toward more bass-heavy electronic music. What made you decide to make this transition?My DJ sets have always been high-energy, and I’ve played a lot of bass-heavy music. But I never thought about producing it until recently. I was a bit caught between DJing, singing, and producing R&B music. I even made an R&B album in 2021. But I realized I needed to push myself forward as a DJ, so I started focusing on producing electronic music with heavy bass and original tracks. It’s a new direction for me, but it feels right.Do you think your R&B influences will still be present in your new electronic music, or are they separate projects?They’re definitely going to blend. I’m working on a few tracks that mix jungle drums with R&B vocals. So, I’ll be singing on top of those bass-heavy productions. It’s still an experiment, but I have a clear idea of where I want to go with it.How did your time with Soulection shape your current sound and approach to music? Is there anything from that time that you still carry with you today?Soulection was a game-changer for me. I discovered future beats and that whole sound, which was a missing link for me. It opened up my mind to mixing genres. It’s not just about house, R&B, or hip-hop, but combining all of them. Soulection taught me to be open-minded with music, and that’s something I still carry with me today.How do you plan on mixing your soulful background with bass music?Early garage music was all about samples - chopping up vocal bits and pitch-shifting them. What I’m doing with Michael, and what I plan to do in the future, is bringing original soul vocals back into the mix. I love sampling, but I also enjoy recreating samples in a more soulful way, either by playing them live or even sampling myself and my own music. It’s all about layering that soul back into the sound.You’ve got a huge upcoming performance with Sammy Virji at the O2 Brixton Academy. How are you feeling about it, and what can we expect from your set?I’m still trying to wrap my head around it! Sammy Virji is a legend in the UK scene, and I’ve been a fan for so long. It means a lot to me, especially as someone new to this scene. The Brixton Academy is iconic, and I’ve played there before with Soulection, but this is on a whole other level. I’m excited to play a mix of garage, 140, and maybe even some jungle. I want to test the energy and just go with the flow.You’ve also recently played a sold out show at Village Underground in London. There seems to be a strong connection between you and the London crowd. What do you think it is?London has always been a special place for me. I’ve been playing there since I was around 24 or 25, especially during the golden Soundcloud era. I linked up with producers and DJs there, and the crowd always felt right. The UK electronic scene has always inspired me, and when I lived in London for 18 months, I was fully immersed in the scene, doing radio at Rinse and connecting with promoters. It just resonates with me, and the crowd there gives that energy right back.You’ve done some massive performances, including the iconic show at Boiler Room Festival. What does it mean to you to play at these big events?These big shows are crucial. I use them to test new ideas and take risks. For example, at the Boiler Room Festival in London, I played an edit I’d made the night before, and I was nervous since it was a jungle edit in the UK, the birthplace of jungle music. But those moments, where you take risks and see how the crowd reacts, are everything to me. It’s all about pushing myself and challenging myself to grow as a DJ. Even though big crowds can be tough to read, when you hit the right vibe, it’s pure magic.With your improv-heavy sets, how do you prepare for a radio show like your upcoming guest mix for Tiffany Calvin on BBC Radio 1Xtra?For radio shows, I definitely prepare a bit more. For this one, since it’s dropping on the release day of my EP, I focused on tracks that fit the vibe of the EP. I dig for new music, pick tracks that fit the mood, and then create a playlist. I usually go in with about 40 to 50 tracks, even though the set is only 30 minutes. I like having options, so I can freestyle and decide what feels right in the moment.It seems like you're getting quite a lot of support from BBC Radio One and BBC Radio One Extra. How important is radio to you, and how has it influenced your career?It’s huge! Radio is still an amazing platform for me. Not everyone is checking music blogs or streaming platforms, so hearing your track on the radio is a big deal, especially for people who aren’t tuned into the usual platforms. It’s also great for reaching new listeners, which is something I really want to do. Radio still means a lot to me. I’m one of those who only really listens to radio when I’m deep cleaning my house, but when I do, I tune into Jamz Supernova or Benji B. They’ve really supported me a lot, especially with their radio plays and by picking me as the EP of the month.It’s one of the best ways to share and connect with a broader audience. Streaming is big, but radio still plays a big role, especially in reaching those who aren’t as involved in the digital space. The power of taste-makers like Jamz Supernova and Benji B has been key in helping drive music forward. Radio can create entire scenes, just as these taste-makers have shaped the future of festival and club culture. With garage music and bass music making a big comeback in the last five years, what do you think your role is in pushing the genre forward?I’m really excited that garage and bass are making their way into the mainstream. It's something I’ve been watching for years, and I’m so happy to see it getting recognition. As a DJ and producer, I feel like I’m helping introduce new sounds. We were playing things like Brazilian Funk or Amapiano before they hit the mainstream, and it’s exciting to see that movement evolve. As DJs, we’re kind of like educators, introducing new genres to listeners, and when they finally click, it's amazing. I’m always curious about where this scene is going, especially how bass music is blending with other genres. It’s an exciting time.Do you think the mainstream recognition of these genres is beneficial for the culture?Yeah, 100%. It’s great to see these genres get bigger visibility. For young people who only see house or techno parties around them, having bass and garage in the mainstream gives them more options and spaces to explore. It’s important to keep these scenes alive and growing, especially for young, new fans.With all that in mind, can you walk us through your creative process for this EP? Were there any specific rituals or environments that helped you channel your sound?A lot of my inspiration came from festivals I went to last year, like Bass Coast, Lowlands, and Boiler Room in London. I went with the mindset of not just partying, but really observing, absorbing, and getting inspired. I started playing more electronic stuff, which opened up my mind to different sounds. I didn’t want to overthink it like I had in the past. I just wanted to create what I felt. When I was traveling, I’d get super excited about creating something special for the show I was heading to. That energy made its way into the EP.It sounds like you have been really living for the music. With that in mind, what are your long-term goals? Where do you see yourself in five years?My main goal is to keep creating music that resonates with people, whether it's electronic, soulful, or even commercial music down the line. I just want to continue making music from the heart that connects with my fans. Right now, I’m diving deep into bass and electronic music, but I’m also combining it with my soulful side. Who knows where it will go, but I’m open to any style of music. It’s all about evolving and growing, both as an artist and as a person.If you could speak to your younger self, the one who was listening to D'Angelo, what would you say?I’d tell that younger me to keep going and not stop. All that time spent listening closely, soaking in every part of the music, that’s what helped shape the artist I am today. Don’t give up, just keep doing what you're doing, and believe in yourself.That’s some solid advice. One last question—your music comes from such a genuine, soulful place. Do you think that no matter where your sound goes in the future, that joy and soul will always be there?Yeah, definitely. Whatever direction I go in, that soul and joy will always be there. It’s the heart of my music. Whether I’m making bass, garage, or even something completely different, that energy will always be there because it’s part of who I am.Before we wrap up, anyone you want to shout out or thank for this project?Definitely. Shout out to Killing Skills, who’s been mastering my music for the last five years. He’s been a huge part of the sound of my work. Thanks to him for always making my music sound amazing.On January 31st, not only is he dropping his brand new self released EP Motion Sickness, but he’s also supporting Sammy Virji at O2 Academy Brixton - a night you don’t want to miss! This EP is packed with percussive rhythms and soulful layers, blending garage, deep bass, and 140 beats in ways you’ve never heard before from the artist. But that's not all - catch JAEL on BBC 1Xtra that same day, where he'll be dropping a guest mix for Tiffany Calver. Talk about a day full of pure music! With years of global touring and a signature style that merges soulful R&B vibes with electronic beats, JAEL is about to take over. His journey from Soulection member to electronic innovator is just getting started, and Motion Sickness is the perfect introduction to the next chapter of his career. So, what are you waiting for? Stream the EP, grab your tickets to see him live at Brixton, and get familiar with the magic of JAEL. Let the Motion Sickness take over - you won’t regret it. 

Photography by Caleb FemiToday, Peckham, London-born alchemist Sam Akpro announces his debut album, Evenfall, ahead of a March 28th release on ANTI-. Evenfall's ten tracks - which include the previously released singles “Chicago Town” and BBC 6 Music A-List staple “Death By Entertainment” - craft an immersive sonic world, rich in mood and atmosphere - a flowing tapestry of South London noir that's serrated yet dream-like, psychedelic yet pounding with intent. Launching today alongside news of the album is its lead single and title track “Evenfall” a perfect example of the towering world-building and audible chemistry at the heart of Akpro's magnum opus. Fusing shoegaze-tinged guitars, an insistent beat and Akpro's searching vocal, it deserves to be a staple of night bus headphones for years to come. He describes it as existing "somewhere between a before and after space in time, where moments have passed & where events are yet to take place."'Evenfall' comes accompanied by a stunning introductory visual - directed by Pedro Takahashi, who worked with Akpro previously on the MVA-nominated video for “Death By Entertainment” - that perfectly sets out the dusky, inner-city soundscapes of the wider album. It evokes the early hours loneliness of a metropolis that never sleeps, where streams of late-night traffic rush past static underpasses, scenes of stillness and tension colliding.Speaking on the video, Takahashi offers: "'Evenfall' is a culmination of all the videos Sam and myself have collaborated on. Thematically, the video is about fading away in a city that is hard to live in. The idea is to express that if you pick out any individual in this city of millions, you'll find that everyone has their own grand internalised life, full of hopes, fears, dreams and failures.""Long time no see friend. Come around. Listen to this record. I know what you’re thinking. I fully agree. This will take us through this wild time. This will still be the soundtrack on those sunny days. Still hearing it. Sat tight. Cold nights." - James Massiah on EvenfallWatch the music video below.

Interview by Joe Leonard-Walters | Edited by Passion DzengaLaunching in 2021, Echobox has been forging a path for community radio by showcasing the diverse characters and concepts that surround them. In this feature, we will be looking into a few of the broadcasts that you can tune into so get locked in and don’t touch that dial.From one-half of Black Cadmium to the mastermind behind GLXY Records, Joginda is a force to be reckoned with in the electronic music scene. Known for his no-filter, everything-goes approach, his creative energy flows through every project he touches — from label releases and radio shows to curating unforgettable club nights."It's just an illusion, nothing is real," he says, channeling his instinctive, gut-driven vision into GLXY, a label dedicated to championing fresh talent while pushing sonic boundaries. With his Fam. event series set to debut during the International Film Festival Rotterdam, Joginda is creating a space where emerging artists stand shoulder-to-shoulder with seasoned pros, reigniting the essence of the underground club scene.We caught up with him to talk about the philosophy driving GLXY, what makes a great club night, his dream radio guest, and what’s next for the label. You can catch up with this show now on Echobox Radio.GLXY is going from strength to strength with new releases, radio shows and now your FAM events. What's the vision that ties it all together?GLXY is still a young label, so I’m definitely still finding my footing. But right now, my vision for GLXY Recs is to strike a balance between showcasing fresh, emerging talent and more seasoned artists who have a unique sound — or simply a vibe I love playing in my sets. Eventually, I want to push the boundaries and release more experimental music on the label too. I tend to be pretty impulsive with these decisions, letting my gut guide me.The GLXY radio show, on the other hand, is where I get to spotlight what’s coming up on the label while also sharing tracks from new artists who send me demos. If I vibe with their sound and it fits with who I am as a DJ, I make it a point to give them a platform.Fam. is a concept I’ve been wanting to launch for a while now — even back in my Black Cadmium days. But with everything I’m already doing — DJing, running the label, hosting the radio show — I had to find the right moment and collaborators to make it happen. Now, I’ve teamed up with GIRLS, a young artist and DJ collective from Rotterdam, and on January 31st, during the International Film Festival Rotterdam, we’re finally bringing Fam. to life.The idea behind Fam. is about creating a space for emerging talent to stand shoulder-to-shoulder with established artists from GLXY Recs. For this first edition, we’ve got Panda Lassow and Prince Pasensi headlining the GLXY stage, alongside a lineup that blends fresh faces with seasoned performers. It’s a night where the energy of the next generation meets the experience of the pros.What do you think makes a good club night?Good, affordable club nights are rare these days. But for me, what really makes a club night great is when there’s a balance in the lineup — fresh talent mixed with more established names — and if that’s paired with an enthusiastic crowd, that’s the perfect combo.I come from the club scene myself, and I’d love to see a stronger focus on that again, rather than these massive festivals that are almost impossible to afford for the new and upcoming generation of ravers. With this club night, we’re trying to do our part to bring that energy back. If you could invite anyone (alive or dead) as a guest on your show, who would it be?These questions are always tricky for me because you end up naming someone who probably doesn’t need any extra attention. That’s usually how it goes, right? But if I were to invite someone from the more established names, it would definitely be Skee Mask. I’m a huge fan of him as both a DJ and producer, and I find myself appreciating his work more and more, especially his productions. I’d love to have him play a show sometime, who knows :)How do you use your show to showcase GLXY records?With the GLXY radio show, I really try to create a space where the sound and vision of the label come to life. It’s where I showcase upcoming releases from GLXY Records and give listeners a taste of what’s to come. But it’s not just about what’s already on the label — I also use the show to highlight fresh talent and new music from artists who send me demos. If their sound fits the vibe of the label and my sets, I’ll make sure to feature them. For me, the show is about building a connection between the label, the music, and the wider scene — it’s like a sonic diary of where GLXY is heading.What's next for the label?I’ve just finished my own EP, so logically, that could be the next release on the label. But I’ve also got some amazing producers lined up for the coming year. Like I mentioned before, I’m pretty impulsive in how I work, so the exact release order isn’t set in stone yet. Ultimately, though, I want the freedom to put my own music out there whenever it feels right, while continuing to push the sounds and artists that inspire me.From adventurous electronic music label topo2: label head, music enthusiast, avid vinyl & mp3 collector/tracklist fundamentalist, Bert de Rooij (previously hosting under his bertbert cloak), will juxtapose music from every corner of the 'experimental' electronic music spectrum. With more than 20 years behind the decks, this seasoned DJ and curator has built a career on pushing the boundaries of experimental electronic music. From his early bertbert radio show to the creation of topo2, his new label and creative platform, his ethos has always been about championing fresh sounds and breaking free from genre constraints.  In this interview, we delve into his passion for radio as an art form, the obsessive attention to detail that defines his craft (spoiler: tracklists are non-negotiable), and how his love of electronic music informs the vision for topo2. As a label, blog, and newsletter, topo2 is more than just a platform for releases — it’s a space to celebrate everything that makes up the beautifully niche corners of the electronic music ecosystem.  We also discuss his proudest achievements, including the debut release from upsammy, and what’s next as he prepares to drop even more boundary-pushing sounds. You can catch up with this show now on Echobox Radio.Your show has a very clear ethos - why is it so important to push the freshest experimental electronic music?I actually think it’s not always as clear to the world as it is in my own head. topo2, and previously my bertbert radio show, are basically outlets for me to share music that I’m enthusiastic about in a mix format. Being a DJ for more than 20 years now, I still think mixtapes or radio shows are the best format to appreciate electronic music outside of an event. An hour of radio or a dedicated mixtape creates a new piece of art in itself and brings a different context to all the different tracks in the set. My ethos has always been trying not to be scared by genres when DJ’ing. I would describe my taste as quite broad within the spectrum of niche electronic music, but I tend to spend most of my time listening to “electronica”, ““experimental”” (that one just deserves two pairs of air quotes), and “ambient”. Do expect some dancefloor-oriented house, techno, and bass music too.What's the nerdiest thing on your USB?Waving the nerd-flag myself feels a bit uncomfortable, but there are interesting things on my USB for sure. I have a few playlists with dedicated loops or vocals, drum patterns, and sometimes just a 1/4 hi-hat that I really like that I can use as layers over other tracks as they’re going.What’s not on my USB but addresses the spirit of the question is my obsession with tracklists. I have debated this with a lot of people, but I think they are mandatory for every mix out there except for when you’re solely playing your own music. I think you should take every chance to platform art that you’re wild about, and more importantly, as a DJ, you are building your art from the fruits of others.You've just started a new label; how much does this ethos inform your vision for topo2?It’s basically the same! The topo2 world gives me the chance to do a bit more than only playing music, though. Navigating a label within the music industry usually is done from a kinda strict point of view, only communicating on the label’s output. With topo2, I like to broaden the scope to the wider ecosystem and be enthusiastic about everything that forms this silly corner of the music spectrum.I’m releasing music on a myriad of formats, and I can blog about music I like on my website. I also started a monthly newsletter where I recommend music that caught my ear. I hope to both engage with fellow music heads that already recognize most of the music and curious minds that are not in the know about what’s in some random niche pocket of the electronic music spectrum.You say that your label is about exciting music, whether you've released it or not - what's most exciting to you at the moment?The volume of good and interesting music being released! Just a few examples here below. Other than that, I’m still super proud of the first release by upsammy on the label I did last November! I can’t wait to drop the next three releases I’ve worked on for the last year and a half. More news on that soon!https://mirrorzone.bandcamp.com/album/proxygen-proxygen?from=embedhttps://melkeane.bandcamp.com/album/airs?from=embedhttps://howaboutplor.bandcamp.com/album/orchestration-of-my-joy?from=embedhttps://brukrecords.bandcamp.com/album/earth-rotation-2?from=embedhttps://33-33.bandcamp.com/album/instinctTune in to Echobox - broadcasting from below sea level every week, Thursday until Sunday.

A collection of trap & drill classics from Patta's Nadim. This is his first mixtape and it is perfect for all our community. So if you're taking on the Patta Running Team January challenge or you're getting ready for a night out on the town, turn this one up and get Back 2 The Trap with Nadim.Nadim · Back 2 The Trap (LIVE SET) 

This Friday, December 27th, we’re keeping the festive spirit alive as Kids of Immigrants touches down at the Patta stores in Amsterdam and London to release the Kids of Immigrants Air Max SNDR Sunrise. Kids of Immigrants is a brand rooted in celebrating heritage and channeling it into creativity. With the Air Max SNDR Sunrise release, they pay tribute to their immigrant parents, the original creative directors of their story. Founded in Los Angeles, the brand’s message resonates far and wide. This partnership between Patta and Kids of Immigrants is about coming together as a community and honoring the stories that make us who we are.To celebrate the occasion Patta and Kids of Immigrants created a collaborative limited long-sleeve, only available for purchase on Friday, December 27th. While the Kids of Immigrants team will be at the Amsterdam store, they’ll be there in spirit at the Patta London store. Don’t miss your chance to grab a pair of the limited-edition sneakers. With every purchase, you’ll receive. A limited-edition product poster and an exclusive book showcasing the design processSee you at Patta Amsterdam, Zeedijk 68 (11:00 - 19:00) or Patta London, 6 Silver Pl (12:00 - 18:00) on Friday, December 27th.

Interview by Candy Reding & Passion Dzenga | Moving Images & Film Stills by Safi GraauwGet familiar with Safi Graauw, a filmmaker whose work is anything but ordinary. Safi’s unique approach blends his scientific background with a passion for purpose-driven storytelling. With a background in Earth Sciences, Safi has a keen ability to look at the world through a socio-economic lens, always asking not just what people want to see, but what they need to see. This perspective infuses his projects with a deeper meaning, whether he's creating a visually striking commercial or tackling complex environmental and social themes in his documentaries.From his work on the Patta x Alpha Industries campaign to his innovative exploration of identity, belonging and diaspora, Safi has continuously pushed the boundaries of storytelling. His projects are known for their emotional depth, where aesthetic mastery is paired with a profound sense of purpose. Safi is also a director who understands the power of collaboration - believing in synergy and giving his team ownership in crafting the vibe of each project. It's clear that every film he creates has got love for the story, the culture, and the message it carries.In this interview, Safi opens up about his journey - from his early career challenges to the filmmakers who inspire him - and reflects on how film can shape a more empathetic and informed world. Get ready to dive into the world of a director who doesn't just want to entertain, but to ignite a shift in perspective and leave a lasting impact.Your campaign video for Patta x Alpha Industries showcases a distinct narrative. Can you walk us through how you approached this project, and what specific message you wanted to convey. When it comes to projects, I always try to be as collaborative as I can. I’m not the type of director that completely sets their vision in stone. The creative process to me is a fluent thing. We started thinking in different directions and ended up with the idea of uniting the four cities Patta has landed in through language and using wind as a metaphor. We wanted to show where Patta started by starting our verse in Surinamese, and wanted to create a full-circle moment by ending the film in Nigeria. Sort of as a homecoming of the diaspora. As a connective tissue, I was looking to use point-cloud animation to transition us from space to space, creating the aesthetic we have now. Your background in Earth Sciences has clearly influenced your storytelling. How did your experience in academia shape your views on communication, and how do you bring that into your work as a filmmaker?My background in science, is a lynchpin to everything I do. Creativity is a very subjective thing, and when being confronted with the creativity of others one can easily get lost in the sauce of what seems relevant. My scientific background keeps me grounded because I always try and approach a project from a socio-economic perspective. I’m the kind of director that doesn’t look for what people want to see, but what people need to see. And to get there, I look at society in a scientific way. You’ve mentioned that you prefer to work from a purpose-driven perspective rather than focusing on aesthetic or medium. How do you go about finding the right form or style for each project?The purpose driven perspective comes from a deep desire to make sure my work adds something positive to the real-life perspective of the viewer. In the case of the Patta x Alpha industries project we aimed for a sense of pride and belonging. There’s so many aesthetic directors, and I love looking at visually pleasing imagery. But to me, at the heart of storytelling lies purpose. Purpose to me is much like a sense of belonging, it creates a goal that is higher than just the work. I need that as a director. I don’t want the work to be about me or my skill. So before I find the right form, I must find the heart of the work, which is essentially its purpose. You emphasize the importance of breaking away from expectations. How do you navigate balancing creative risks with the need to engage an audience and meet commercial objectives?Balancing between creative risk and commercial objectives is an internal conversation about ego. It’s about understanding who you are working for. It’s a conversation that comes before I say yes to a project. I know what I’m working for, I know why I’m working for the brand and its commercial/social objectives then merge with mine. Once that internal conversation is done, it’s all about finding the most interesting angle. In your view, what role does film play in shaping positive narratives in society? How do you ensure that your work adds something meaningful or impactful to the conversation?As someone with a scientific background I am convinced that we live in an age of information. If we look at subjects such as the environment, the research has been done, the scientific consensus is there and the information is widely available. Yet we’re still seeing too little change. This is because the information we share, has little to no emotional value. And that’s where film comes in. Films about nature, make sure we build a love for our natural surroundings and a will to protect it. Because how do we protect that which we do not love? In my work, I try to build just that inside the viewer, an intrinsic love for whatever project they just saw. As a self-taught director, what challenges did you face early on in your career, and how did you overcome them? How did your journey as a filmmaker differ from those who formally studied film?Haha you got time? It’s the insecurities, trying to stand out but not losing your core, being too humble and shy. Early in my career, this idea of having purpose did not exist in the industry. Most of it was about being aesthetically pleasing or comedic. So as someone that wanted to change or influence the perspective of a viewer, there was no space. I think my stubbornness is what saved me. Sticking with my plan, even though being made fun of. Constantly looking for ways to hone my craft. The big difference between me and people who formally studied film, is that failure was always my starting condition. There was no safety switch in the projects I did, and failure could lead to a career end. I got comfortable with the idea that failure was always looking over my shoulder. And as soon as that happened, I started understanding what taking a risk really meant. Pop culture is a key carrier for the social and environmental stories you tell. How do you choose which aspects of pop culture to incorporate, and how do you ensure these stories resonate with a broad audience?Popular culture, has an enormous carrying capacity for a purposeful message. I always try to indulge myself in aspects of popular culture by being part of it. Consuming it, studying it constantly. The aspects of popular culture I choose are mostly linked within the scope of my own interests. And with pop culture, comes that broader audience most brands are looking for, but only if the right story is told.  Making sure these stories resonate is much less about the visual part of storytelling, but much more about understanding its mechanics. It’s about understanding the way we as human beings are moved by stories and hitting the right tone for a broad audience to feel something. Your work blends environmental and social themes with commercial and fiction filmmaking. What unique challenges does this blend of purpose-driven storytelling and commercial work present?Filmmaking for most directors is something done intuitively. Navigating environmental and social themes in documentary, fiction and commercial projects requires a relatively in-depth knowledge of storytelling and environmental/social themes. I’m lucky enough to have obtained a master’s degree in earth-sciences which gives me the tools to navigate these spaces whilst being able to fact-check myself whilst doing so. It also makes me a director that thrives when we get off the beaten path. There’s no standard set of rules I apply when coming up with ideas. It’s about finding the core of a project but still having the tools to make sure you are on the right track. The unique challenges I have are more about staying up-to-date with new developments within these subjects and constantly understanding the very core and nature of the project I’m doing. I personally think the challenge is setting aside your ego and understand you’re always learning.  Looking at your body of work, there’s a clear sense of consistency in your approach to filmmaking. How do you maintain this coherence while still ensuring each project feels fresh and unique?That’s a very hard thing to describe, but I think it has a lot to do with the projects I choose to work on. I think my enthusiasm is the connective tissue in my body of work. The projects I work on are often an extension of who I am, or want to be. Culture-wise and aesthetically I have certain things I love about storytelling. I think when looking at my body of work you can feel the things in the world I gravitate towards and you can feel them in the different forms I have created them in. How do you see the evolution of film as a medium? Do you think we’re at a turning point where storytelling can transcend traditional boundaries and break even further from conventions?At this point, we’re kind of in a no-man’s land when it comes to film. There’s the development of new tools such as AI on one side. And then on the other hand there’s the focus on fast-paced imagery. I honestly feel like directors are focusing too hard on creating visual impact and developing an aesthetic muscle. We’re being bombarded with aesthetically pleasing shots every day and actually telling a story seems to be left aside more often. But the most important aspect of being a director, is understanding story first. And after that, it’s about understanding shots. If we do not break this convention, directing (commercial) film will become much more like photography.  The Patta x Alpha Industries campaign video has such a unique vibe. What’s your process for developing a ‘vibe’ or tone for a project, and how does it inform your decisions about visuals, sound, and pacing?This comes back to finding the heartbeat of a project. What is this really about, aside from a well made jacket. We found this is a project about belonging. It’s about how a brand coming from the minds of the diaspora found its way back home. Using that as our starting point, the conversation clearly stated what we should do. From there, we use our aesthetic muscle and create a vibe around that. Creating that vibe is not just something I do, it’s something that comes from the whole team, from the styling (Esmeralda Tan) to hair and make-up (Gladys Ferro) and art-direction (Floris Eysink-Smeets). I always try and create a synergy between the people I’m working with and make sure there’s a sense of aesthetic ownership within the team. You’ve stated that film as a medium should introduce a new perspective. What do you think audiences often miss when watching mainstream films, and how do you work to highlight those missed elements in your own work?Films (whether its feature film or episodic TV) are supposed to be conversations with our own humanity. The characters we create resemble us, but don’t make the choices we would. They explore possible ideas and mechanisms within humans. Too often do I find a mainstream film that tries to resemble reality too much. I know this is subjective but I feel that’s a missed chance. The Coen brothers nicely wrote; “We all love hearing stories about ourselves. So long as the people in the stories are us, but not us”.  I personally try to put my characters in situations that we aren’t familiar with, I try to create a world around them that resembles ours but isn’t. And in the process of doing that, I hope to create something magical and serve some perspective. You’ve built a reputation for creating films that are anything but ordinary. Are there any particular filmmakers or creators who have inspired your approach or worldview?Oh yes! This will be a long answer so brace yourselves: There’s so many but to give you the tip of the iceberg, Guillermo del Toro is a director that makes fairy tales for adults. His work inspires me to my core. Then there’s Guy Ritchie and Edgar Wright, their fast-paced crazy worlds are filled with impossibilities. But these makers always know how to make it believable. I mean, in Snatch, Guy Ritchie literally makes a character travel from America to England in one sentence of dialogue and we eat it like raspberry pie. Then there’s Steve McQueen and Barry Jenkins way of telling black stories, which is one I’ve studied and carried with me forever. In documentary, Yann Arthus Bertrand, an ecologist and director has inspired me to make films that show the grandeur and essence of us as human beings. I’ve learned tonnes of his approach on filmmaking. Ava Duvernay and Spike Lee are the directors I see as an example when it comes to being great examples to others and powerful leaders both on and off set. In my style of directing, I learn from and look at Greta Gerwig. Then there’s Jeymes Samuel, his eclectic personality, excitement, musical taste and the fact that he made The Harder They Fall. Inspires me to the bone. And one day, I hope to live up to the words of Chadwick Boseman. If I could be half of the man he was, I’ve lived a good life. “Take your time, but never waste your time”.Filmmaking has the potential to bring about change, but that’s a significant responsibility. How do you stay grounded and true to your purpose while navigating the pressures of the industry?I like to see myself as someone that truly shows what I stand for in the most honest way I can, so that the industry gravitates towards me, instead of the other way around. How do you want audiences to feel after watching one of your films? Do you aim for specific emotions, or do you hope they walk away with new ideas and perspectives?When starting the edit of a film or TV-series, I always say “We zagen ze door de helft!” which literally translates to: “Let’s cut them in half!”. By saying that, I state that my intention in creating the film or an episode of a TV is cutting right through the emotions of the viewer. I always try to convey honest emotion within the viewer. I want them to experience everything in between laughing and crying so that the film they watched is the sum of an actual human experience. Finally, looking ahead, what projects or stories are you most excited to explore? Are there any themes or concepts that you're eager to tackle in the future.There’s so many things in store at this point. I’m the showrunner and main director of a series in currently the biggest crime-franchise in the Netherlands. I’m working with awesome writers to create a new direction. I’m currently working on a very interesting short documentary about the Second World War. That’s been an amazing journey up until now. There’s feature films hopefully being commissioned at the time of writing. But there’s one thing I’ve been really excited about. It’s a lot smaller than most of the things I summed up until now, but I’m going to work on a children’s book with a very good friend of mine (Jerrold). It’s a small endeavour but I’m really excited about it and hopefully I one day get to develop that into an animated feature for you to see. To commemorate this landmark year, we’re releasing a limited-edition collaboration with Alpha Industries, the iconic MA-1 Bomber Jacket. The Patta x Alpha Industries MA-1 is a timeless piece that blends Patta’s signature style with Alpha Industries’ heritage, creating a jacket that’s as bold and authentic as the cities we represent.The Patta x Alpha Industries MA-1 Bomber Jacket will be available on Friday, December 20th at 13:00 CET on patta.nl, patta.co, pattaclothing.us and the Patta mobile app.

Interview by Passion Dzenga | Photography by Andrea AmponsahIn anticipation of the brand new Patta x Alpha Industries collaboration for 2024, we sit down with one of the talents from the campaign, Epoque, an artist whose unique blend of Afro sounds, R&B melodies and rap is reshaping the music scene in Italy. Raised in Paris, Brussels, and Italy, her multicultural upbringing has played a significant role in shaping her sound and artistic vision. From her deep connection to her Congolese roots to her collaborations with some of the biggest names in music, Epoque has quickly become a trailblazer for second-generation artists in the industry. In our conversation, Epoque shares insights into her musical journey, the challenges she faces as an emerging artist in Italy, and the influences that have helped shape her style. She also opens up about the importance of authenticity in her lyrics, the impact of Afrobeats on her sound, and her hopes for the future of the genre in Italy. Get familiar with the artist behind Tram 83, as she talks about her creative process, personal growth, and the exciting projects that lie ahead. Epoque, your upbringing in Paris, Brussels, and Italy has clearly shaped your musical journey. How has living in these different cities influenced your sound and artistic vision?  Living abroad certainly helped me appreciate a lot of different music, which allowed my style to emerge and evolve. Above all, it helped me make my music credible in the Italian language, which may seem obvious, but it’s not easy.  Your music blends Afro sounds, R&B melodies, and rap. How did you first get into these genres, and how did they come together in your own unique style?Ever since I was a little girl who loved listening to music, I wasn’t allowed to go out much, so I closed myself off by listening to music all day. My older brothers had CDs of rap, R&B, and hip-hop, so I listened to a lot of that non-stop. My parents also loved listening to traditional Congolese music on Sundays, and we had small parties with traditional food to liven up our days when we were all free. Then, as I grew up, I started listening to reggae, Michael Jackson, Gorillaz, and soft rock, which were a bit of a departure from what I had always listened to. In my opinion, this broad musical background allowed me to create my own style.  You mix Italian, French and Lingala in your lyrics. What is the significance of these languages in your music, and how do they help express your identity?In everyday life, I tend to mix the languages I know and have learned. When I started singing, I wanted to do the same, but I also believe that musically, I did it to stay close to my roots and complete the identity of the genre I’m working in.  Can you tell us a bit about the moment you realized music would be your calling? Was there a specific artist or event that inspired you to pursue this path?  When I was little, I certainly loved Michael Jackson, because in addition to his music, which moved me deeply and gave me many emotions, he always wanted to give a message. And for me, this is very important. On the other hand, at the beginning, I wasn’t aware of where I could go with music, given my background and the type of music that is generally listened to in Italy. But it was certainly the positive response from people that made me realize I could do something serious with music.  You’ve worked with big names like Ernia, Jovanotti, Villabanks, and Irama. What have these collaborations taught you about the music industry, and how have they helped you evolve as an artist?I never went to a music school. I started this journey from my hobby and personal background, so working with big artists helped me shape my songs in a different way. It taught me to look for influences suited to my genre in the right places and to have a more productive approach in the studio. It helped me believe in what I do, regardless of the results, and to give the right weight to everything. I’m very grateful for this.  In December 2022, you were part of the exclusive opening event for the World’s First Jordan Store in Milan, alongside Lazza. How was that experience, and how did it feel to be recognized at such a high-profile event?When the invitation arrived, it was hard to believe. I’m very grateful and felt a great sense of responsibility at that event. I didn’t want to mess anything up. As a Black artist who makes Afrobeats in Italy, being invited to an event like that means a lot to me. It shows that things are changing.  You were also featured in the Fred Perry Subculture campaign, where you shared the influence of alternative music on your style. What was it like to represent a brand that celebrates individuality and youth culture?  The collaboration with Fred Perry was very important. I wanted to give a voice to all the second-generation people with talent who have something to say and bring to the music industry and beyond.  You were the face of New Era’s 2022 campaign titled “Now Playing.” What was your role in this project, and what was it like being the Italian representative for such an international initiative? For New Era, I wanted to represent the second-generation segment that, through their roots, can bring something new to the music scene in Italy.Your lyrics are often self-conscious and deeply personal. What role does authenticity play in your music, and how do you balance vulnerability with your public persona?  For me, authenticity is very important. I grew up listening to rap music where the lyrics were very clear and explicit, talking about everyday life, the good and the bad, and the culture. I feel very comfortable with this, and for me, it’s also a way to connect with the people who listen to me, to make them feel involved and part of something.  Afro rhythms are a key part of your sound. Can you talk about the significance of Afrobeat and Congolese culture in your music and how you stay connected to your roots while pushing your own boundaries?I don’t know if it’s an urban legend or if it’s true, but Congolese people are very proud of their music, and when I started making music, I felt that pride within myself. It’s about carrying forward the culture. My parents unconsciously influenced me a lot and helped me understand how strong both the message and the sounds of traditional music were. So, I’m proud of it.  As an emerging artist in Italy, what challenges have you faced in the music industry, and how do you navigate those obstacles?  Being an emerging artist is definitely about pushing myself beyond what I can do. Sometimes it requires giving my best, and it can be draining and make you feel a bit alone. But I’m aware that this is just the beginning. Doing a genre that isn’t popular in Italy is still the biggest obstacle, but I’m happy with the positive response I’ve gotten from people, colleagues, and professionals. I feel that there is a desire for something new and different in the music industry. You’ve already achieved so much at a relatively young age. What’s next for Epoque? Are there any upcoming projects or collaborations that we should be excited about?In 2025, there will definitely be new music and collaborations, but for now, I’m enjoying the release of my first EP, Tram 83, which I’m very happy and proud of.  You’ve become a role model for many young people, especially those who identify with a similar multicultural background. What advice would you give to other aspiring artists who are trying to find their voice in the music industry?One piece of advice I can give is to be humble and patient. Focus on your goals clearly, surround yourself with positive people, and do what you believe in as best as you can - without caring about trends or what people usually listen to on the radio.  Finally, what’s the message you hope to leave with your fans through your music, and where do you see your career going in the next five years?  In five years, I hope to be the best version of myself as an artist, and I hope that with my music and the music of my colleagues in the same genre, we can truly integrate Afrobeats into Italy. With my music, I try to remove any boundaries, to give a message of positivity and faith in victory. In my case, coming from a very humble background and family, I believe victory can be achieved by anyone - you just have to believe in it and stop comparing yourself to others.To commemorate this landmark year, we’re releasing a limited-edition collaboration with Alpha Industries, the iconic MA-1 Bomber Jacket. The Patta x Alpha Industries MA-1 is a timeless piece that blends Patta’s signature style with Alpha Industries’ heritage, creating a jacket that’s as bold and authentic as the cities we represent.The Patta x Alpha Industries MA-1 Bomber Jacket will be available on Friday, December 20th at 13:00 CET on patta.nl, patta.co, pattaclothing.us and the Patta mobile app.