№ 124 - Darwin

It all started in the bygone party location Griessmühle, where Darwin celebrated 24-hour raves, inviting bass music initiators like Pinch, Kode9, Ikonika, and Ben UFO as well as local heroes like Shed.

Today, her party goes down at Berghain, where it takes over the venue for blissful, singular raves that unify techno with elegant UK-influenced bass districts. 

Besides forming unequalled rave adventures, Darwin has run her label SPE:C since 2015, exhaling Techno, Dubstep, Breaks, Drum & Bass and unrestricted electric steppers, giving new producers like Montreal’s Sim and Carré from Los Angeles space for expressions beyond the norm. Feverish, fresh, absorbing, always worshipping, crushing bass sensations. 

Embarking on a journey through dance floor transcendence and sonic catharsis, Darwin paints a vivid picture of her latest mix: “These tracks are about healing and are rooted in original dubstep and sound system culture. They have a deep low-end frequency effect on the body and move me in a very personal way.”

As ever, we reached out to our host, questioning Darwin about her origins, mission as a DJ, record label runner, music activist and singular, sincere DJ with a community vision that explores club culture deeper than the next booking date.

Q. Hello Darwin, how did you end up doing what you do? Can you give our readers a brief introduction to your career as a DJ, label runner, and party producer?

A. It started when I moved to London from Canada in 2007 to pursue a music career. I ended up landing a job flyering the back door of Fabric, and I guess that became my school for all sorts of electronic music. This was the minimal heyday, when commercial breaks were massive, and dubstep was kicking off. Getting those experiences in Room 1 probably imprinted my obsession with sound systems quite early on. 

Q. When did you know that you wanted to be a DJ?

A. Not until I moved to Berlin in 2010. I was going to Panorama Bar almost every weekend, and seeing Cassy and Margaret Dygas behind the decks inspired me. I still remember the moment when Cassy played Theo Parrish’s “Soul Control” as her last track during a closing set and I burst into tears. That was when it all clicked, I wanted to create moments like that for others one day. Cassy will always hold a special place in my heart because she used to play DMZ and Shackleton records in her sets, and when I look back on it, I realise those tracks are foundational to my sound now. 

Q. How do you stay on top of all the new music being made right now?

A. I spend hours digging through the weekly releases. I think it’s also important to dig through your own archive and back catalogues of labels to find “new” music as well.

It's very obvious when a DJ lacks experience or depth when their sets consist of all recent music or big classics that were easily fed to them through an algorithm.

Another thing I often do is hit up producers and ask for unreleased dubs, as it’s exciting for me to showcase new artists who may not have the platform to release yet. That’s also how I find music for my label.

Q. What does a track need to have for you to play it? 

A. Weight, space, and something trippy.

Q. How important is social media for your work?

A. Social media is exhausting and reductive. The only reason I use it is to stay connected to my community and the people who enjoy what I do. I only got social media in 2018 and never followed anyone to avoid doomscrolling and popularity games. I’ve had so many moments where I’ve wanted to rid myself of it completely, but I’m aware that in 2024 that’s essentially career suicide.

Q. You travel almost constantly around the globe playing your very own style of modern bass music. What do you experience on your trips? 

A. I feel incredibly lucky and privileged to get to share music with people, period. It’s so inspiring for me to see promoters who grind to cultivate underground music communities in smaller cities, especially the ones doing it illegally or totally DIY. I just played this wild party in Querétaro, Mexico, that was in an old wine cellar underneath a vape shop. The power kept cutting out because people would trip over the cables, so they had to get someone to guard it for the rest of the night. I love the raw spirit of these DIY events. It captures the essence of what raving is for me.

I also love playing in the USA, as the scene there is very genuine and intentional. Most cities don’t have dedicated clubs for this music, so you know everyone who comes out that night is there because they knew about the party. This also allows for more open-minded crowds, as the genres aren’t as cemented the way they are in Europe. I want to shout out the nonstop I played recently at Nowadays for DJ Voices too. Getting to drop halftime ceremonial-style dubstep at 7 AM was really special and soul-affirming.

Q. What will 2024 bring for you? What are you anticipating the most?

A. I’m closing the greenhouse Sunday night at Dekmantel b2b with DJ Storm this year. I don’t think there’s anything I’m anticipating more than that.

Q. In 2015 you opened your label Spe:c. What was the impetus behind the launch and what does the label aim? 

A. I wanted another space to be creative and to curate a cohesive aesthetic while showcasing up-and-coming producers. I’ve worked in the music industry since 2007 in almost every job you can imagine, so I have a lot of experience in helping to push new artists. A remaining concept of my label is to release artists who may not have the resources to get their music heard. 

Q. How did you select the tracks for your EDWIN MUSIC CHANNEL mix? 

A. These tracks are about healing and are rooted in original Dubstep and sound system culture. They have a deep low-end frequency effect on the body and move me in a very personal way. Some are very early dubstep records that have been key pillars to my sound, and others are new and tap into the same emotions I had listening to this music for the first time on a massive rig. This session intentionally goes nowhere. It’s about space and the feeling of lucid dreaming. The mixing is loose and allows the tracks to breathe as they were intended. 

Q. Can you name three upcoming producers that you feel need more attention? 

A. None of these artists are “upcoming” but are producers I can’t get enough of: 
- El Irreal Ventiuno
- A Strange Wedding 
- Mystic State 

Q. Can you take us through a day in your life? Do you have a fixed schedule? How do music and other aspects of your life feed back into each other? 

A. I crave routine but have set myself up for sabotage in the lifestyle I chose. I kind of feel like my passion and my career is in direct conflict with what my body and mind need to function properly so I’m on a never-ending journey to achieve this balance. When I’m in Berlin I’m very antisocial. I spend most of my time with my dog Taco, working on my sets, exercising, meditating, manifesting, and decompressing from weekends. 

Q. You are in Mexico currently. What are you doing over there? 

A. Mexico is my sanctuary from city life. I’m a super sensitive person and I absorb a lot of energy on the road, online, and in the city. I need time to be in nature to cleanse and reconnect to myself again. I need to shed energetic gunk and spend as much time as I can in the ocean. I was born on an island so being by the water makes me feel grounded. 

Q. What do you do besides music? What are some things you are into? 

 A. I’m very active and love to be in nature. Surfing is my second love next to music. I want to start a new art project this year working with textiles. I miss working with my hands and creating tangible objects, so I want to focus more on that when I get back to Berlin. I tried to start making music last year and it bored me to tears. I'm trying to get away from screens as much as possible these days. 

Q. How would you describe your fashion style? 

 A. For me, it’s just another way to express myself. I think all of my musical influences and personal history can be referenced through my style. I say I’m giving quite a bit of redneck chic, sound system culture, a lil punk and a dash of Xena Warrior Princess on acid.

Q. Complete this sentence: “The world would be a better place if only…” 

A. There was an immediate ceasefire!! And if Germany would stop with all their censorship bullshit.