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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.

As we step into the next chapter, we’re taking a moment to look back at the iconic Patta x New Balance Grey Days celebration. From timeless tunes to standout moments, the night was one for the books. Relive the highlights, soak in the atmosphere and get familiar with Grey Days - because the next Patta gathering is already on the horizon, someone at the party said that Team Patta will be in the city of lights very soon...

The iconic Rotterdam music group NoizBoiz, consisting of MAN LIKE AXEL, Mucky and Don de Baron, is seen as one of the founders of Dutch grime. On May 30th they celebrate their 20th anniversary with a grand event in Perron, Rotterdam. Of course, such a special anniversary calls for new music. That is why the compilation tape NoizBoiz presents: 'Zware Bassen, Zware Beats' 3 , which is released exclusively on mini-CD - a unique event in this digital age, is being released today.On the mini-cd you will not only find the new tracks of Zware Bassen, Zware Beats 3 , but also the music of parts 2 and 1, video clips, behind-the-scenes footage and exclusive songs. On the tape you will hear besides NoizBoiz also several guest contributions, including Zwart Licht, Shorty BBK, Krulle, Roll Deep and Skinto.In 2012 they already released an album on USB stick, with which they were guests at De Wereld Draait Door because of the special release format. The mini-cd is available from today. To announce the release, NoizBoiz made a commercial in collaboration with artist and actor Stepherd, in which they show in an idiosyncratic way how to use the mini-cd.NoizBoiz was the first act to bring grime to the Netherlands twenty years ago, inspiring other artists to also immerse themselves in the genre. Grime is an underexposed culture, but that is precisely why it has a very dedicated niche of fans. With the upcoming event and the release of the tape, we are not only celebrating 20 years of NoizBoiz, but also 20 years of grime in the Netherlands.To say that this will be celebrated on a grand scale is an understatement. Thanks to the pioneering work of NoizBoiz, they have built up a strong international network. During the anniversary event on May 30, big names from the UK grime scene will be on stage, such as Wiley , DJ MAXIMUM and Shorty BBK . Dutch top DJs such as Gomes , Wantigga b2b Franky Sticks and Jade Soul will also be there. In addition, NoizBoiz will provide an exclusive show, in which they will not only play work from the past two decades, but also present previously unreleased material. For this special occasion, they have also gathered a few friends - who they are, remains a secret for now.From 101Barz sessions and performances at 3voor12 Radio to collaborations with Ronnie Flex and grime parties throughout the Benelux: NoizBoiz has been selling culture for twenty years.Tickets and information can be found at: https://shorturl.at/uhuvZ

Hell’s Kitchen Block Party with OSCAM, Café de Duivel and Patta Soundsystem powered by Amsterdamse Poort⁠. We’re back! Last year, Hell’s Kitchen Block Party lit up the streets with a line-up of MCs and DJs that kept the Bijlmer moving from start to finish. This summer, we return to the heart of Amsterdamse Poort with even more music, community, and culture.⁠⁠On Saturday, June 14, OSCAM joins forces with Café de Duivel, Patta Soundsystem and Amsterdamse Poort to bring the energy right to our doorstep. From 15:00 to 19:00, expect beats, vibes, and a gathering that reflects the spirit of Café de Duivel in our neighbourhood.⁠⁠Preparations are in full swing,⁠ so hit this link in to let us know that you would like to join us.

There’s a storm coming and it sounds like Road Fever. Curaçao-raised sonic explorer Rozaly and mixed by DJ Intl Prostyle in Saint Lucia, Road Fever is a blistering, 26-track ride through the raw, rhythm-forward heart of contemporary Caribbean music. Released by Soundway Records, the compilation is a powerful testament to the evolving sounds of the region, built on riddims designed for movement, sweat, and release.At the core of Road Fever is a bold idea: to strip back the Caribbean party track and let the riddim speak for itself. These instrumentals, born from the streets and carnivals of St. Lucia, Dominica, and Guadeloupe, are usually foundations for vocalists. Here, they’re presented raw and unfiltered - standalone expressions of rhythm that punch, pull, and pulse with life.Rozaly, a DJ, curator, and researcher known for his previous work with Patta on our recent Marshall collaboration is committed to challenging the limits of Caribbean musical memory, describes the experience best: “Once you hear it, you can’t unhear or unfeel it.”And what you hear on Road Fever is nothing short of a sonic collision. Built from FL Studio percussion packs, chopped DJ samples, distorted vox clips, and synth riffs that could cut steel, these tracks sit at the intersection of trap, drill, dancehall, sped-up Haitian konpa, and Angolan kuduro. The BPM rarely dips below 150 so the energy never lets up.With contributions from both established and underground production crews - including Krome Productions, Viral Riddims, Ransum Records, Veaygel Productions, Shazdown Mmw, DJ Demafidem, ScarnX, Slaughter Arts Media, and a poignant appearance by the late trailblazer G6 Productions (RIP) - Road Fever is as much a celebration as it is a time capsule of a regional sound on the rise.The compilation zeroes in on two of the most electric genres coming out of the Eastern Caribbean: Dennery Segment from Saint Lucia, and Bouyon from Dominica and Guadeloupe. Both styles are defined by their fierce minimalism, DIY ethos, and relentless drive - music best heard through walls of speakers on carnival trucks or blasting from a cracked phone speaker with the volume maxed out.“This is a musical movement with an entire history,” Rozaly says. “And so many relevant reasons why it still exists, and why it exists the way it exists right now.”Road Fever is out now on vinyl, digital, and a limited cassette edition mixed live by DJ Intl Prostyle. It drops alongside a short IG reel-formatted film created by Rozaly and filmmaker Selwyn De Wind offering a visual companion to this urgent, body-moving release.Whether you’re a fan of Caribbean music or just looking to feel something different-louder, faster, rawer - Road Fever is essential for all collectors.

On 16th May we’ll celebrate the first edition of Unbox, the new Echobox Zine, at Bonne Suits on Warmoesstraat.We’ll be there all evening with drinks, DJs and copies of Unbox ready to celebrate with you. The zine is free for Echobox family members and available to everyone else for a small fee to cover our costs.Unbox features stories, recipes, music recommendations and investigative features put together by Echobox makers and family members. It’s a celebration of the station so far and the people who make it special and (we think) its a great read!We’d love to see you there to find out for yourself.

The energy was unmatched, the vibes unforgettable. As we gear up for the next chapter, take a look back at the magic from our Patta x Nike "One For All And All For One" event powered by SNKRS. From beats to moments that made the night, it was one for the books. Relive every highlight from the Kingsday event—and stay ready. The next Patta gathering is coming, and trust us, you’ll want to be there. RSVP when the time drops. You won’t want to miss what we’ve got lined up.

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. In this feature, we dive into the world of Rambo Boy$, a duo that’s been with the station since day one, pushing an infectious blend of deep cuts, deadpan humour, and unfiltered conversation.More than just a radio show, the Rambo Boy$ bring their own philosophy—what they call Rambo Science—to the airwaves: a love for offbeat records, an aversion to musical pretension, and a belief that good radio should be as much about jokes, football, and family life as it is about dusty B-sides.From Philadelphia novelty electro to psychedelic disco garage cuts, they serve up sonic oddities with a side of banter that’s as real as it gets. So get locked in and don’t touch that dial—we’re going deep with the Rambo Boy$.What's up Rambo Boy$, I've always wondered where you got your name?There is a rap record called, Rap-N-Scratch goes rambo by M.C. Nikke & DJ Rap-N-Scratch. It's not the best record made but it's Rambo, to explain what Rambo means we suggest to listen 2 it.. It's has been the unofficial anthem for us since wayback, and when Bart and I started doing radio together it was a no brainer what the name should be, Rambo Boys.What are the main principles of Rambo Boy$ science?I believe the best way to describe Rambo science is this. We come from a "diggers" background I guess. We've been looking for fly records for a long time, and we always took great pride in not playing the most obvious shit in the range of hip hop, soul rock and what not.. Some call it rare, or slept on stuff or whatever, we call it Rambo, for us not stating the obvious when it comes to music is common behaviour, we are students and fans of anything Rambo.. But I guess our number one principle is that we don't get pretentious about the music. On the radio show we prefer talking about soccer, make a few shitty jokes here and there, discuss a bit of family life, instead of talking matrix numbers, first pressings and other obvious stuff that comes with record collecting. Rambo Boys is for the people! Are there any standout records that sum up the Rambo Boy$ attitude?Offcourse, we can even give you two! Rodney Jerome Keitt - West Oak Lane, a killer novelty electro ish record from Philadelphia with stupid fly lazerbeam sounds and Rodney playing a kazoo flute, the Rambo Boys would give their left nutt to be around when this was recorded.Gregory Andre and two plus three - I want to be with you. A psychedelic disco record that sounds like it has been recorded in somebody's garage. Which is probably the case. It's from San Diego, but to us it sounds like the Bronx looked in the eighties, probably because the beginning reminds us of Grandmixer DST playing keys live in the Bronx River Centre in 1982.You've been with Echobox since the very beginning, do you have a show that stands out as your favourite?if you don't mind we have to give you a top 4.The Heavy Heavy Radioshow by Taco FettStrictly Tapes by Anan StrikerHarvest Time by Ketama ManVersion Galore by Kraze Money aka General KA small disclaimer, this is Eelco 5000, but i'm pretty sure Lovebug Bart approves; Shabba!Echobox Radio has long been a space for sonic exploration and boundary-pushing broadcasts—and few shows capture that spirit quite like 333. Formed organically through a series of shared lineups and long conversations outside the club, 333 is more than a DJ trio; it’s a project rooted in friendship, experimentation, and a deep belief in the power of collaboration.Their styles may differ, but behind the decks, 333 operates with a kind of telepathic synergy that belies their short history. What started as a spontaneous B3B has grown into a platform that thrives on unpredictability—from themed mixes and unconventional back-to-backs to digging through playlists curated by non-DJs. Their Echobox residency has become a space to challenge norms, explore sound in playful ways, and champion community voices.With their first event on the horizon and a shared vision inspired by Brian Eno’s concept of scenius, 333 is less interested in solo stardom and more focused on building a creative scene where everyone can shine. From DIY ethos to silver pearl jokes, this trio is here to stir things up—in the booth and beyond.You all have your fledgling solo careers, but how did the story of 333 begin?We were booked together on several lineups and quickly became excited about each other's sound. Outside the club, we connected further - spending hours talking about what draws us to DJing, community, and sound. Despite our slightly different styles and approaches to DJ sets, we discovered a shared perspective and deep common ground. That connection became even more apparent when the three of us were programmed to play together for the first time. None of us had ever done a B3B set before, but it felt like we had been playing together forever.Through our residency at Echobox radio, we’re exploring the craft of DJing in playful and challenging ways - curating unexpected back-to-backs, creating themed mixes, or building sets from the playlists of non-DJ diggers. This spirit of experimentation is essential to us; it pushes us to discover new genres, connect with different voices in the scene, and keep learning.We’re currently planning our first event, where we aim to book artists who inspire our sound and aren’t afraid to take creative risks in their sets. With both our events and radio show, our goal is to foster a community where diverse sounds, ideas, and people can express themselves freely - and, most importantly, have a great time.Why is collaboration so important to you?Collaboration means a lot to us, and it makes things more fun, more surprising. We love seeing what happens when different people bring their own energy, taste, and perspective. Inspired by Brian Eno’s idea of scenius, we believe creativity thrives in shared spaces, where curious and passionate people come together. With 333, we want to create those kinds of moments: where people step into each other’s worlds, spark unexpected connections, and build something together that would not exist otherwise!“Brian Eno’s scenius idea says that big creative ideas don’t just come from one genius, but from a whole group of people working together. When artists, thinkers, and friends share ideas and support each other, amazing things can happen. It's not just about one person—it’s about the creative energy of the whole scene.”The supergroup is nothing new, do you have any that you look up to? McBusted? Boygenius?We found a funny comparison with Skrillex (silver pearl), Fred Again (Helmond Lang) and Four Tet (Dirtydms).Between the 3 of you you have 6 sleeves, you must have something up them?! What's coming up for 333?Our first event of many!!! We will elaborate more about this in our next episode on Echobox Radio.Tune in to Echobox - broadcasting from below sea level every week, Wednesday until Saturday.

Interview by Passion DzengaFrom East London to Botswana, Brunei, and now Belgium, Bex has been quietly building a global sound rooted in raw honesty and musical versatility. With a journey shaped by continents and cultures, he’s not just another artist—you’re looking at someone who's lived the rhythm, not just studied it. His new acoustic EP marks a bold departure from trap and wave, diving deep into themes of vulnerability, mental health, and modern romance, wrapped in stripped-back production that keeps it painfully real.Now headlining his own shows and gaining recognition from platforms like Colors and Dazed, it’s time to get familiar with a voice that’s resonating far beyond his growing fan base. Bex is proof that delusion can sometimes be a superpower, especially when it’s backed by undeniable talent and tireless work. And whether it’s looping guitar riffs at home, engaging with fans on Discord, or preparing for a fully acoustic tour, one thing’s clear—this is an artist we got love for.You've been on quite a journey, from East London to Botswana to Belgium. How have these different places shaped your sound and your identity as an artist?Yeah, definitely. So, being born in London, my first memories of music and influence came through my big brother and UK hip hop. Then I moved to Botswana where I was involved in all sorts of musical activities—playing in a Mima band, singing in a choir, playing flute in an orchestra. My mom really encouraged all that, and I appreciate it now. Later, I moved to Brunei and joined a band, though I wasn’t too immersed in the local scene there. But I was still picking up different rhythmic and melodic ideas. That’s also where I started guitar lessons properly. Then I came to Belgium, continued guitar, and by the age of 16, I decided to focus on being a vocalist. I was already making beats using GarageBand on my laptop as I traveled. It was a bit messy, but it was the start.You were trained on guitar and flute, and played in a Mima band. How have those diverse musical experiences shaped the sound of your acoustic EP?At the time I was focused on certain instruments, I was developing musical ability without realizing it. Playing the Mima, a percussive instrument, trained my rhythmic sense. Being in the orchestra and learning flute helped me understand harmony—how each part contributes to a bigger whole. All of that informs my creative process now. The guitar, in particular, gave me a new vocabulary and allowed me to explore sounds beyond what I’d done before, especially once I dropped the ego of being "just a rapper."Your debut EP marks a big shift from wave and trap into a more acoustic, pop-R&B sound. What inspired that transition?It was my mindset and life experience. School wasn’t going well, and I was at a point in my career where it felt like “now or never.” That urgency stripped away the ego, and I felt free to sing about my feelings and be vulnerable. It was the only option that made sense at the time.Why focus on vulnerability, mental health, and modern romance in this project?It’s too relevant not to. Especially for my generation and those younger, there’s a lot of silent suffering and emotional weight people carry. I didn’t want to just talk about it—I wanted to embody it and hopefully set a standard through the music.Was it an aesthetic choice to keep the production minimal with just guitar and vocals?Exactly. It was intentional. I wanted something that was honest and vulnerable. Keeping it simple was a foundation for future projects. I didn’t want to jump straight into a polished, full production sound. This way, it’s more true to the moment and easier to replicate live.Does the simplicity also help with live performances?Definitely. I’m currently rehearsing and it’s nice to be able to recreate the whole song live, with just myself, the guitar, and the mic. It brings people into that vulnerable space with me.Can you take us through the creative process of making this EP? Who were you working with?Most of the songs I wrote at home, looping a guitar riff until I found a chorus or hook I liked. I’d post some of those on social media. When I had three or four solid ideas, I took them to my producer Alexis, who I’ve worked with for two years. We built out the songs from there—he helped with production, and I wrote verses on the spot. Two of the tracks were actually written years ago, but they stuck with me, and I knew they needed to be on this project.So it was mainly you working solo until you were ready to bring Alexis in?Exactly. I’d build the demos, and then we’d work together in the studio to polish them.Was Alexis also involved in your earlier tracks?Yeah, he worked on “Miss Me” and “Uptown,” the two acoustic tracks leading up to this EP. He did some production and also mixed and mastered them.Did you expect “Miss Me” and “Uptown” to take off the way they did? Why do you think they resonated so well with listeners?I kind of expected them to do better because there was real buzz online and anticipation. It wasn’t necessarily about adding to my audience—it was about finding the audience. These songs reached the right people and helped build the fanbase.You've received recognition from big platforms like Colors and Dazed. How does it feel to be recognized on that level?It means a lot. In the music industry, success is measured in so many subjective ways, but having people show love to your work—that’s the most rewarding part. I’m grateful for those features.I heard that a trip to Tenerife sparked something in you. Can you talk about what happened there?Honestly, that one’s a bit tough. I went with a friend, but neither of us were really in the position to go. I came back feeling like I should’ve been focused on the work. It wasn’t regret exactly, but it felt like misplaced energy. Can we skip that one?No problem at all. Let’s move on. You’ve grown a loyal fan base and you’re really savvy at sharing your creative process in real time. How do you stay connected with listeners and make sure your message is getting across?I pay attention to how people respond and take that into account. I post previews, and the ones that get good feedback often become releases. I also make vlogs, run a Discord channel, use Instagram broadcast channels—stuff like that. I even take beats from supporters and give feedback or record on them. I’m always trying to improve that connection.I’ve heard you’re rehearsing for shows in London, Paris, and Brussels. What can fans expect from the live show?It’s going to be fully acoustic—just me and the guitar. This is my way of introducing Bex to the world as a performer. It’s intimate and minimalist, focused purely on the music and the experience.Where will you be performing in the coming weeks? Will you be playing in London and Paris as well?I still need to confirm dates for London and Paris. I can’t share anything official yet, but I’ll post details on my socials. As for Brussels, I’ll be performing on Thursday, the 27th of March at V-Gas for a Black History Month event.Back to your music—you’ve gone from performing alongside big names to headlining your own shows. Has your approach changed? Do you feel like this is a coming-of-age moment or more a sign of maturing as an artist?It’s a mix of both. I was the definition of a delusional dreamer—I never took "no" for an answer and was fully convinced music would be my path. Now, I feel ready to learn and grow. I’ve always felt secure in my musical ability, but stepping into live performance has been a whole new challenge. It showed me that being good in the studio doesn’t guarantee you’ll give people a powerful live experience. There’s a big difference between recording a good song and truly moving people on stage.How old are you now, if you don’t mind me asking?I just turned 22 two weeks ago.Congrats! Sounds like you're right on track to realizing your dreams. And honestly, a little delusion can be healthy—sanity doesn’t always breed creativity.Facts. I appreciate that.Now that the acoustic EP is out, do you see yourself sticking with this sound, or are you planning to explore new directions? What’s next for Bex?Definitely expect some Afro sounds. My goal is to drop an Afro project for the summer. I’ll keep the acoustic vibe alive, especially for these upcoming performances, but by the end of the year, Beex won’t just be defined by the acoustic style. I’ll have branched out into other sounds too.

Interview by Joe Leonard-Walters | Edited by Passion DzengaSince its launch in 2021, Echobox has been turning the volume up on community radio, offering a platform where voices usually kept at the margins take centre stage. From sonic experiments to subcultural celebrations, Echobox is carving out space for radical expression—and few shows encapsulate that mission quite like The Queer Agenda.Now, you might be wondering—what exactly is The Queer Agenda? A manifesto? A mission? A myth? According to the trio behind it—Jackie, Micklin and Iona—it’s “just a bunch of hot lesbians” (Said Nobody, 2025). But dig a little deeper, and you'll find a cultural collective making serious moves in Amsterdam’s queer scene. From photographic calendars of queer venues to sweaty DIY club nights and full-on takeovers of iconic institutions like Paradiso, The Queer Agenda is creating space, visibility and plenty of mischief for queer women, trans and non-binary folks.In this interview, we caught up with the brilliant minds behind the mic to talk about the origins of the collective, the ethos of their Echobox radio show, and the queer anthems that soundtrack their lives. From carabiners with exes' keys to Kingsnight strip clubs, they've got a lot up their sleeves—and you're gonna want to tune in. You can catch up with this show now on Echobox Radio.What is The Queer Agenda? What do you have up your sleeves? ‘Just a bunch of hot lesbians’ (Said Nobody, 2025).The Queer Agenda is a collective that organises a range of cultural initiatives, focusing on events, photography, that increase the visibility of queer women, trans and non-binary people, and also create new spaces for this group.We are composed of three people: Jackie, Micklin and Iona, and collectively have backgrounds ranging from photography, styling and film production to social science, art direction and campsite entertainment (this list is not exhaustive). Up our sleeves we collectively have a carabiner with an ex’s housekey, too many rings, a 35mm film camera, a USB with multiple heartbreak playlists, nail clippers and a protein bar- if you must know. How did the collective come about?The Queer Agenda came about quite serendipitously. So, the OG founders are actually Micklin and Jackie, who together created a photo calendar of queer venues across the city with models from the community, to act as a guide for new queers in the city, and to document queer spaces and people. This calendar was called The Queer Agenda (queers in a calendar, you get it, right?). This project was a huge success, with the calendar soon after being seen everywhere, from the bar at Pamela, to the toilets at Footy and even your new situationship’s fridge. Just after the calendar had been launched, Iona started running a queer live music clubnight called SNEAKOUT. She wanted to create more variety in the queer nightlife sphere and have a night that wasn’t only centred around electronic music (…and also play there with her band so people would find her cool and interesting). After the success of the first three editions, SNEAKOUT got a slot at Paradiso (e.g. big boy full building Paradiso) the week after pride, which we called ‘Pride is Not Over’. This was the first collaboration in our current configuration, and we managed to pack our Paradiso with nearly 1000 queers. We thought that we must have been doing something right, so we decided to continue- and here we are!After that, we continued to run more projects together, and officially tied the knot last March after moving into an office together at TILLATEC (class U-haul), which is still the TQA HQ. How does the ethos of the collective extend into the show?We like to keep things fun and non-pretentious- in both our show and the work we do. I think conversations around queerness can often be quite heavy, and whilst these conversations absolutely have their place, I think we should seize any opportunity to laugh at ourselves, as well as making each other laugh, which we try our best to do during our show. The world is very quickly becoming a more difficult place for our community, so if you don’t laugh, you’ll cry. We like to do both, but think we should, as much as we can- laugh. Do you have any queer anthems that connect to your show? What makes a queer anthem in 2025?I have three queer anthems that are really cornerstones of our show.I play this one a bit too often. It is a cheesy 90s heartbreak banger by the Outhere Brothers- about a man being in love with a lesbian, but it simply isn’t meant to be. Don’t cry brother, we’ve all fallen in love with straight girls too. A 160 club banger by local rap duo LIONSTORM- sounds sexy mixed into any 160 track- I mean ANY. Give it a listen, give it a mix and you’ll thank me later!This banger is part of a whole EP of Sapphic bangers called ‘Anthems for Lezzies’. This particular track contains sirens beckoning all lesbians to the dance floor. The plot thickens when they throw in samples from ‘The L word’ theme tune (if you don’t know what that is, do your homework). Overall, great stuff, 11/10.What have you got coming up that we should look out for?Our Queer Agenda is actually very full in April- so I have a lot to tell. The one I am most excited about is the XXXXL Queer Strip Club in collaboration with Striptopia on Kingsnight- essentially we are opening a queer strip club for one night at TILLATEC because we wanted to make Kingsnight a bit more sauuuuucy. I know you’re intrigued- just come. We are also organising an opening event for the Josephine Baker exhibition at Verzetsmusem on the 16th of April, which will have an amazing panel and also the chance to see the exhibition + get some gratis welcome drink.There is lots more on our instagram, so check give us a follow on instagram at @thequeeragenda.ams Don’t let the name fool you. While it might conjure up images of sizzling pans and secret recipes, Garlic & Onions is less about the kitchen and more about taste—in all its forms. Named for two everyday ingredients Bella Hall can't live without, the show is a celebration of the music that nourishes us daily, just like a good meal.In this interview, Bella peels back the layers of her creative process, sharing how a deep dive into her own musical archive turned into a personal sonic diary. From memory-driven mixes to childhood nostalgia and genre-free journeys, she’s creating a carefully curated audio scrapbook—one emotionally resonant show at a time. Ready to cry, groove, and maybe get a little hungry? Let’s get into it.  You can catch up with this show now on Echobox Radio. What recipes have you been cooking up on Echobox? When I came up with the name for my show, I debated if I should incorporate the theme of food more literally. Still, I decided against it because I realised the main purpose of the name was to create a strong visual identity behind it (shoutout to Stan Hillen & Meryl Barthe for helping me) and not directly link it to the music. But so often, people think that food or cooking is the idea behind the show. Though I love cooking, really, the Garlic & Onions show name is inspired by the fact that I love garlic and onions, in all their forms, and eat them every day just like I listen to music every day. Having studied philosophy I often feel the need to make things deep and have lots of meaning. By naming my show after such everyday objects, I stepped away from that in a way I have really been enjoying. What made you want to start your show?Over the years, I have collected a decent amount of music, and so often, I found that they would just disappear in one of the many playlists I have on my USB or at the back of my record collection. So, to kind of counter that, I wanted to do a show that actually used my existing collection as inspiration. I also wanted every show to have a super specific theme that wasn't genre-related necessarily.  I find my creativity flows best when I put certain constraints on myself. By starting the Garlic & Onions show I made myself go back to my collection in such a fun and creative way. Sometimes, all it takes is for me to listen back to one song I used to listen to a long time ago to inspire a whole theme and then mix around it.  I have found that the stronger my theme, the better my mix is, which is also usually the case with all my mixes.  My ultimate goal with the show is to create a thematically organised mix archive of my own archive of music. You said that this month's show is a very personal one - What do you have planned?You will just have to tune in! No, but the mix is inspired by my first conscious memory of listening to music and the specific time and place I was in. The mix might actually contain one or two songs from back when I was a child, but mostly, it will be music I have collected over the years that are able to transport me back to that exact time and place. Genre wise it will be very much outside what I usually play, so it will be quite vulnerable as well. But I also think you can quite easily draw a red line between the music I grew up with and what I listen to now. What's you favourite track from your shows so far?Offff this is, of course very hard as my shows are based on and contain songs that have been with me for a long time. I think that my favourite mix so far would be the one I called "moodstep" I think the theme and the way the mix came together was super solid. However, my favourite track is probably the track that inspired my "Unstable" mix, aptly called Unstable by OCB. This is one of my all-time favourite songs ever, so it felt natural to make my first mix be inspired by this track. Tune in to Echobox - broadcasting from below sea level every week, Thursday until Sunday.

Interview by Passion DzengaSome brands start with a pitch deck — West Milan Club started with a connection. What began as a tight-knit creative crew has grown into one of Italy’s most exciting underground fashion movements. At the heart of it all is Shiva, the rapper whose sound helped define a generation, and his longtime collaborator and creative director, a Cuban-Italian filmmaker with a passion for style and storytelling. Together, with a team of designers, friends, and local talents, they’ve built more than just a brand — they’ve built a movement rooted in community, culture, and authenticity.In this interview, we spoke to Ivano from West Milan Club and we went behind the scenes of how the brand came to life, why its name carries the weight of a neighborhood, and how the team’s outsider perspective became its greatest strength. From DIY pop-ups and grassroots marketing to deeply personal graphic design and a bulldog mascot that symbolizes loyalty, the story of West Milan Club is one of hustle, heritage, and heart.How did the West Milan Club come to life and what sparked the idea?  It started pretty organically. The brand came out of a team — I’m the creative director and handle project management. We also have two graphic designers who work on visuals who go by the name notfoundstudio, and Shiva, the rapper, is the founder and central figure. Shiva and I go way back — I’m also his video director. He’s built a strong identity here in Italy with his own label and studio. He had the idea to start a brand, and I’ve always been into fashion. We clicked creatively, and since 2022, we’ve been building this together.Can you tell me a little about the name West Milan? Are you all from there?  The name comes from Shiva’s roots. He’s not originally from Milan, but his grandmother is from the west side. He grew up around there and had most of his early success in that area. His label is called Milano Ovest, which translates to West Milan. We chose that name to represent our area and the side of Italy people don’t usually see — not just the pretty tourist spots, but the outskirts and neighbourhoods where real stories happen. Our models and team all come from that area too.Milan is known for fashion, but you guys clearly have your own lane. How would you describe your approach to style, and what makes it uniquely yours?  We’re building a style rooted in our identity. Growing up, a lot of the fashion we liked was hard to access or expensive. Especially in the hoods, people stuck with sportswear like Nike. So our idea was to bridge that gap — bring the fashion we love to our community. We're in the music business, we love fashion, and we wanted to create something that speaks directly to our people. I’m not from Milan originally either — I’m half Cuban and from a small village near Milan — so when Shiva and I met, we connected over our shared vision. He brought the Milan side, I brought the outside perspective.Do you think that outsider perspective gives you an advantage?Definitely. When you come from the outside, you see the bigger picture more clearly. You’re hungrier. I came from a village with maybe 1,000 people. So arriving in Milan, I saw all these opportunities and wanted to make the most of them. Sometimes people already in the scene can’t see that, but I think that’s what helped me bring something new to the table.How important is community to your brand, and how do you keep that spirit alive as you grow?  That’s the key to everything. We had a strong community even before we started the brand. Because of our relationship with fans and the people around us — doing giveaways, meetups — we had that support. Once we launched the brand, we kept doing the same things. We even gave out 100 t-shirts in Milan during an event. We did pop-up stores, and always brought people from the community in behind the scenes — during shoots, styling, whatever.  Even when Shiva was arrested — first for five months, then on house arrest for a year — and couldn’t promote or release music, the community carried us. Our connection with them kept the brand alive. Music, fashion, and our neighborhood are the three pillars of everything we do.When you say you involve the community, you really mean they’re part of everything — models, photographers, stylists?  Yeah, 100%. We’ve got three models who started just by being part of the vibe, believing in us. One of them is building his own brand now, and we’re helping him grow. Another guy, Demba, didn’t even have a clear role at first — he was just always around, super passionate. Now he works closely with me and helps push the culture. We try to lift up anyone who’s part of the movement.Can you tell us a bit about the pop-ups West Milan Club has done in the past?We mostly drop online, but last year we had our first physical temporary shop. It gave people a chance to see the collection in person and understand who we are. It was also a chance to meet the community and grow from that. Our last event lasted three days and included gifts and printing. We also collaborated with More Money, a brand that supported us during tough times and helped develop one of our most consistent collections.What’s the goal of these pop-ups?We’re building an experience. Even though things can get messy with multiple plans, we’re trying to blend our clothing drops, community events, and musical projects together. We want to mix past, present, and whatever resources we have to do the best we can.You’re activating both online and in-person communities. How does the team support that?Yeah, for sure. A lot of the team are friends and multitask on everything. For example, Shiva’s personal manager and security also help with our pop-ups. Someone who works on music auditions is also the guy I call to get 100 t-shirts printed in two days. We all help each other out.West Milan Club has a unique visual identity. Can you explain the meaning behind the Bulldog mascot and your graphics?The bulldog is like our gang’s mascot—Shiva bought a dog years ago that became symbolic for us. It became one of the graphics for the brand. Our graphics often mix product ideas with a concept or a word that reflects our story. For example, the Cholo collection was inspired by West Coast Mexican cholo culture. The West Milan Gun Club drop was a nod to a real-life incident with Shiva, and it symbolized exclusivity and warning—like “keep out.”Tell us about your collaboration with More Money?That was our first official collaboration. They represent the hustler side of things while we’re more like rebels—our color is red, and we use the word “demons” a lot. The concept was “More Money, More Sins,” reflecting Milan as a city of sin. The graphics were gothic and referenced nighttime, a flipped perspective of the city’s religious identity.This recent collection included women’s wear. Was that a first for you?Yeah, it was the first time we designed specifically for women. Before, women would buy our unisex tracksuits and t-shirts, but this time we added bras, skirts, and tube tops. It was possible because the collab gave us space to do a full collection. We want to open up to the women’s community, even though it’s a different market.

Words: Shawn Alexander AllenYou may be wondering, ‘but Shawn! There’s a list of - counts fingers - one, two … TEN great characters I can list! Miles Morales, Franklin from GTA, the NPCs in Horizon Zero Dawn, Travis Scott in Fortnite, and the Carlton dance and… and… I mean, I could go on!’ And you’re absolutely right. Those characters do exist. Some of them are good, great even. But here’s the thing: how many Black people were involved in bringing those characters to life? How many were in charge of those teams? And why does the “Killmonger” haircut have the games industry in a chokehold? The key answer to these questions, and more, is what I said, that Black representation in games is bullshit.First, let me introduce myself. I run an independent game development company that pushes culture forward in games. I’ve worked at Rockstar Games and Major League Baseball, and I’ve released all manner of games, from tiny story-based games to VR home run derbies and, of course, some of the biggest games in the world. The first game I shipped at Rockstar was GTA (ed. Grand Theft Auto, among the best-selling video games ever) IV, after all.  Now that that’s out of the way let me give you a brief history of how we got here. Most early games with Black characters in them were sports games, and that representation was all over the place, with characters ranging from pixelated abstractions of the visages of athletes and sports-adjacent celebrities to straight-up racist stereotypes. Sure, there was Mike Tyson’s Punch-Out!!! (where he was the bad guy?), but there was also Frank Bruno’s Boxing with a character called “Tribal Trouble” who looks like the worst stereotype. He even had a bone through his nose. Sometimes there’s a Black character who was “2P”, as in 2nd Player. Like in the Taito game Crime City, where the first character looks like Mel Gibson in Lethal Weapon (aka Martin Riggs), the Black “2P” character looked like… a random Black guy in a suit. While they got Gibson’s looks down pretty well, they couldn’t even bother infringing on Danny Glover’s likeness a little bit.For a while, the Black character was always the 2nd Player, and/or a sports player, and/or a celebrity. There was M.C. Kids, an official (and batshit insane) McDonalds game, where the Black kid on the cover is … the 2nd player. At least he’s on the cover? There’s a whole host of basketball games, and even Will Smith and Jazzy Jeff were in NBA Jam. And then there’s fighting games and the beat ‘em up sub-genre where Black folks were once again, the 2nd or 3rd tier character, usually with the white guy up front and center. In fact beyond white characters, the 2nd most prevalent beat ‘em up characters were the Ninja Turtles. Are the Ninja Turtles Black?For me, the first really great Black character in a game was Micheal Leroi from Shadowman on the N64 in 1999. He was a Blaxploitation character who had to travel to hell and kill a bunch of white serial killers to save the world, which I was completely on board with. A Black dude IRL at least voiced him. His co-star, “Agnetta” had the worst wannabe voodoo accent, and with the help of IMDB many, many years later, I found out she was a VERY white woman.  Fast-forward and Black characters have definitely gotten better. But not because the industry wanted them to. It took some very key people to move the culture forward and bring about the best Black characters, and it was only the independent games uprising of the 2010s that we really saw a change in WHO makes the games. This is even more egregious when you look at how games REALLY got their start. I found out, with much of the world in the 2000s that Jerry Lawson, a Black programmer and technological innovator, was key in advancing the tech that allowed the games industry to exist as it does today. He was part of the team that made the Fairchild Channel F, the first game console to use cartridges, which paved the way for everything since. He also founded his own company and developed some games, but he saw his company destroyed by the video game market crash in the ‘80s. It seems only fitting that a Black man who innovated in a mostly white industry would get lost in the shuffle because that is the story of the games industry and representation. The fact that the industry made billions on cartridges, and Jerry Lawson’s name only began popping up decades later, is basically the story of American business. (Look up Uncle Nearest) Why does this even matter, right? ‘They’re just games!’ They’re for recreation! Maybe you don’t even pay attention to your character's appearance in the games you play, which is obviously a lie, but you do you. These are popular refrains from folks who claim to be fans of games while being fine with the cultural stagnation of the medium. I’ve even seen supposed Black folks proudly beat their chest about how they are “gamers” and don’t care about representation on message boards and social media, often trying to refute a Black person asking, ‘Where the Black people at?’ I’m not sure who they are trying to gain brownie points with, but that ain’t it.  Games are a cultural art form like film, music, comics, animation, you name it. In fact, games, video games specifically, can encapsulate ALL other art forms, which is super special and should be celebrated. For me, as a Black kid who had aspirations as a musician, a comic artist, an animator, and a film director at one point in time, when push came to shove, video games, with their unique interactive elements was the one true artform that could satisfy what I wanted to do with my own art. That's what I do. I make cool art, as I am an artist and writer first and foremost, and I work with dope musicians, including some of the biggest and best indie Hip-Hop artists including Open Mike Eagle, Mega Ran and AIRCREDITS, to make my games even cooler. But beyond me, there’s a small but mighty contingent of independent Black game developers who are bringing the representation to games but not through tokenism or “forced diversity” (I mean, all fiction is “forced” to exist, ya dig?) but through sheer force of will in making their art. A few years back, a budding developer by the name of Derrick Fields reached out to me. They wanted to know the ins and outs of game dev. We had a great conversation, and now, Derrick has their own studio Waking Oni Studio, making games with a fusion of Japanese and Black art. The first release was the very fun Onsen Master across multiple platforms.  Very recently I met C.Bedford who is a relatively new face to games. They are an amazing illustrator with a poppin’ instagram and they took their talents to work with their partner on their first game, Sorry We’re Closed, a neon, queer reenvisioning of Silent Hill, and they worked with Okumura, an amazing rap duo with an energizing flow, to make their soundtrack pop. Someone who always seems like a fresh face, even if he’s been around for a minute, is Xalavier Nelson Jr. who is a powerhouse writer and design director (who got his start writing about games at the age of 12 by tricking websites into thinking he was an adult). Between himself and his label Strange Scaffold he’s put out a staggering number of games, with my favorite being El Paso, Elsewhere, a neo noir horror love story where you slow down time and blow away werewolves, vampire mummies and biblically accurate angels as the coolest low polygon Black protagonist this side of Shadow Man. It can be a bit daunting seeing the new talent coming through, because I often wish I had been able to make my own games decades ago. It’s weird to accept that I’m sort of an “elder” in the space, but I am comforted by knowing Justin Woodward, a fellow OG in the games industry, who I met about a decade ago at EVO, the world’s biggest fighting game tournament. He was demoing Super Comboman, an offbeat fighting platformer which had such an amazing art style. But Justin had a lot more going on. Beyond his company Interabang Entertainment, he has his other brands, including the MIX games, where he’s put out some dope retro inspired games including Jay and Silent Bob: Mall Brawl, and Rugrats. Speaking of the MIX, it’s also an event, serving as the premiere way to get indie games in front of the press, and has been for over a decade. The year after I met Justin he was running the indie space at EVO.I could go on and on, because even if we’re a small group, I know and love so many of the Black folks who are sticking around despite the difficulties of our industry. I’ve worked in the nonprofit mentorship/accelerator space for almost a decade now, and the success of Black folks means a lot to me.Something very telling is how several of these titles have this raw, visceral creativity behind them. I’d say directly, my game, Treachery In Beatdown City, as well as El Paso, Elsewhere, and Sorry We’re Closed have this unflinching “Blaxploitation” era style of eschewing the norms of the industry, taking existing genres and making them very Black, where we can fight power structures and win, just like in Blaxploitation films. One day I got a text from a few colleagues telling me that TreaAndrea Russworm, a professor at University of Southern California, was lecturing about Treachery in Beatdown City and its direct connections to Blaxploitation. I felt a very warm feeling that day.This representation, the full spectrum of Blackness on display through writing, directing, art direction, music composition, and more - is how you achieve real, transformation in the industry that has no way of just being turned off because we are here to stay. There was a time where we (the collective Black people in games) were being asked by those in the press, “Will video games have their Black Panther moment” reacting to the massive cultural success of the movie. The answer is complex, and requires a mapping of history. In short, Black Panther was a confluence of many different cultural forms coming together that simply wouldn’t exist without the Blaxploitation era of film. I wager video games are just now hitting their Blaxploitation era. But as we’ve seen with the history of games, they grow quick and fast as a culture, so maybe we’ll see it sooner than later.