Berlin’s electronic music scene may be evolving, but its spirit remains unshaken and Floyd Lavine embodies that resilience. The South African-born, Berlin-based producer and DJ has become a vital voice in the intersection of Afro house and electronic music, crafting sounds that honor tradition while pushing boldly into the future.
With his upcoming EP Mind Expansion, Lavine delivers unique tracks that can be enjoyed beyond the club environment. Each composition weaves together Chicago house influences, Afrobeat rhythms, jazz elements, and disco flourishes into something deeply personal yet universally resonant. The title track, featuring live bass from session musician Shaniza and collaborations that explore themes of technology, consumerism, and human connection, represents Lavine at his most ambitious, creating music that works on the dance floor while asking listeners to think beyond it.
As one of the original founders of the influential Rise collective, Lavine helped shape Berlin’s Afro house scene before departing to focus on his solo vision. Now, as the city grapples with gentrification and club closures, he remains optimistic about the magic that still pulses through its underground. In this conversation, Lavine reflects on his journey from Johannesburg’s vibrant house culture to Berlin’s studios, the role of AI in music’s future, and why patience might be the most important advice he can offer emerging artists.
Sylwia Kubicka: Hi Floyd! Where are you connecting from? Are you in Berlin or Cape Town?
Floyd Lavine: Hi! I’m currently in Berlin. It’s cold. Freezing. I’m not made for this weather, but at least the sun is out, so this is a bonus. I’m based in Berlin most of the year, but I do go back to South Africa every year for at least about a couple of months. I mean, I call Berlin my home. This is where I pay my taxes. Home is where the taxes are, right? (laughs)
SK: Well, while we’re at it, do you want to share your thoughts on what the Berlin scene is like these days? Because a lot of people obviously talk about it, how it got a bit more gentrified, a lot of clubs have been closed recently. Obviously, you’ve been part of the Watergate club crew and that was closed recently too. What are your thoughts and feelings about what’s happening in the city right now?
FL: I mean, first of all, of course, it’s super sad that venues are closing. I think gentrification is catching up to the city, which has been kind of insulated from that for a very long time. I think a lot of people have come here and I can actually feel that from the rise in the rents, like when I first came here, you could be getting a place for like 200, 300 euros per month. Now it’s gone to like, 1000, 2000, some places 3000, which is quite a big jump in like eight, nine years, you know? So of course, from that side of things, it’s super sad to see that nightlife is no longer the priority for the Berlin government. But for the culture, it still is. People are coming up with different locations, off locations, clubs are moving out into the outskirts. So these things are still happening. Of course, the established places like Berghain and places like Heideglühen, they’re still there. And Sisyphos, I think they kind of saw the vision of being outside the city a bit further. I don’t think anyone could predict in 25 years that the city could change so much.
I feel like I’ve travelled so much that I don’t actually get to be in the city as much. But when I do, I still find Berlin to be super vibrant. And it’s still one of my favourite places to go out. I start to try to look at it from the angle of not being despondent, more of, I still feel like there’s still magic in the air in Berlin. So when you do go out, you still get that feeling. I don’t know if it’s because there’s this kind of mystique about going out in Berlin, there is this excitement that people, you know, they’re willing to wait in the line for like five, six hours, you know. No cameras allowed. So these combinations, and mostly DJs bring the A game when they come here, because they have this reputation of knowing that the audience knows, the other DJs are here, they’re dedicated to their craft. So you kind of get a special mix of everything. So I still think that it still exists here. And it’s going to be a very long time before that stops.
SK: And hopefully it never stops. Maybe we could go back to a younger version of you back in South Africa. Like, when was the first moment that you really fell in love with music? And when you realised, this is what you want to do professionally?
FL: When I heard music from South Africa – it’s such a dance culture. Music is always playing everywhere. And people are playing music loudly from outside, next door. We have the song of the summer, people are going wild and everybody’s playing it out there. The radio is usually pretty much house music. So that’s how I was introduced to electronic music and house music. And coming from South Africa, that kind of music is a very big backdrop to our lives in general. It’s quite a powerful thing.
So for myself, when I first heard DJs like Vinny da Vinci’s and Christos, they were my first introduction to Chicago style house, which was really nice. And then eventually, when you start to listen to later on people like Osunlade, then Black Coffee came through, then Louie Vega, and all those kinds of people, that was my introduction to house music.
But the thing in South Africa was, we had a compilation series where DJs would actually make a mix, a compiled mix. And this was the way in which everyone actually listened. You’d be like, “Oh, I’m gonna get DJ Fresh’s compilation,” you know, basically talking about a mix. You wouldn’t know who the composers are, you wouldn’t know this track is by Louie Vega, you’d be like, “I’m listening to DJ Fresh’s compilation.”
Then I guess I was in 2000. And after hearing those kinds of compilations, I was like, “I want to make house music.” And ever since then, that’s how I kind of fell in love with it. And I wanted to learn a little bit more. I went to study music production, sound engineering. And then ultimately, after that, I just started to do my own events. I combined my own events, creating products, producing my own tracks—this kind of, I feel like that was the natural progression for most people.
SK: Well, talking about progression and also production, maybe we can talk about your new EP, Mind Expansion, which is coming out soon. What a great EP, by the way. Love it.
FL: Thank you so much.
SK: Because I love that they’re not just typical club tunes. They have so many layers. Do you want to talk about the first track, which is a collaboration between you and the Illustrious Blacks?
FL: Yeah, thank you. I really appreciate it. I think before, these tracks were actually going to be part of my debut album. And long story short, it kind of has been pushed back. So I was building them in that kind of sonic way to have interesting music. Let’s say I’ve always wanted to play music that sounds like that. To have a song that works on the dance floor, but doesn’t have to work on the dance floor, and when it does play the dance floor, it kind of gives you—you can feel the energy, you can feel that it’s a special track. I just feel maybe it’s the environment that I’m in, or the scene that I’m in. I feel like otherwise things are super formulated. And some sound almost similar, they almost have similar structure. This uniform kind of fitting in is kind of championed at the moment. And I´m trying to find a way to not only be individualistic, but just to give a different point of view. Having a different point of view of like, okay, I’m a fan of house music, I’m a fan of techno, I’m a fan of disco, I’m a fan of Afro. But I’m also a fan of just taking all that and giving my own twist.
And I think with Mind Expansion, you can really hear the references from hearing old school Fela Kuti, Afrobeat kind of stuff in the reference there. Then you can hear the house elements. And then also, almost disco, you think, but then you think, oh wow, because the Illustrious Blacks come on top of it, they just like—you’re like, “Oh, is that disco funk? Is that funk?” I’m feeling funk, you know what I mean? So it kind of that.
Then I started to work with another friend of mine who was an amazing jazz drummer. And he’s also a good producer as well. I was like, “Dude, I need something on this track. There’s something missing.” He’s like, “Man, don’t worry, I’ve got a friend of mine. She’s a great bass player, bring her on.” And then she came through to the studio, Shaniza, and after a couple of takes she was like, there was this, I think it’s called “Love’s Gonna Get You” by Jocelyn Brown kind of bass. So you have these little references from everywhere, and you bring them in. I feel like Mind Expansion has got everything in there for me. It’s like the ultimate funky, electronic house music with a twist, borrowing from the past, looking into the future, and having a message at the same time about what is currently happening in the world.
SK: And did you write the lyrics together?
FL: No, I didn’t write the lyrics, they wrote the lyrics. They tapped into exactly the theme in which we were both feeling at the same time.
And I think that’s what makes the track extra special is that you have to have a message. I think house music was always about pushing boundaries, revolutionaries, taking—speaking truth to power and opening each other’s minds, you know what I mean? Creating a safe space for those that need that space, you know? And I think this is so important. And especially some people, when they’re in the state of mind, wherever they are, whether they’re in Berghain or a festival, sometimes just give them a little message in their mind that they can—they can really find comfort in the song. That is like, someone’s thinking about those kinds of ideas as well.
SK: Absolutely. And the artwork, it’s quite interesting with your face and the phone screens. Was that your idea? Or how did that come up?
FL: I was not so involved so much in artwork before, but this time I wanted to take a little bit more of a director’s role in it, you know? It adds on to the theme of what the EP is about. I think we have something so beautiful and so revolutionary with the phone, but yet something that can ultimately destroy us at the same time. And I think, Expand Your Mind is like, this phone can expand our minds and give us such an amazing ability to connect with each other, but also it might be the beginning of our downfall if we’re not careful with this. And apart from that, it’s also tapping into our consumerism, our capitalistic ways… these phones, how many phones do we really need? That tapping into how many things do we really need?
I hope when you listen to the song, looking at the artwork, it can evoke this kind of subconscious thought process of like, wow, “there are so many phones we’ve gone through in this lifetime already”, you know? And then that can be that one thought. The second thought can be “how far can technology take us”? Can it expand us to a further place? Can it take us to the future where the song has got this futuristic element in the song, you know? So I’m hoping that kind of mirrors and matches and morphs into one thing—the artwork, the music and the message.
SK: Absolutely. And in terms of your creative process, do you prefer to be in the studio or you like working on the road?
FL: It always changes. I think you can be inspired at any time. I can be like right at home here with my family, jotting down some ideas while the little one is running around. Or I can be on the plane, you know. I think this year I’ve written everywhere, but ultimately the studio is my favourite place.
SK: Definitely, definitely. Well, talking about production and technology, what’s your view on AI? Like, do you use any tools? Do you think it’s a threat? Or do you think it’s something we’re all going to use?
FL: That’s funny, because I had avoided that conversation for about a year or so. I didn’t really want to think about it. And then a couple of weeks ago, I was in the studio with a really amazing producer called Kiko. And he was showing me some AI stuff. I actually remember when people were saying recording studios were the devil. And then going to where the computer was a devil. Like when people said that kids can make their music on a laptop now. I remember being in that generation. I was like “oh my God, I can make music on my laptop.” That’s how I started, on my laptop.
So my viewpoint on AI is you need to embrace it, you need to understand that it’s happening. Whether you like it or not, it’s gonna happen. I don’t want to be a person that is scared of something that is new. I’m always wary of how it can lead into monotony. But I still find like, if you are creative, you will always find a way to create using any form, any method. And there’s nothing more fulfilling. Like, you cannot beat creating something from your head to coming alive. Like, it’s 10 times better than just copy and paste.
I mean, of course, people are going to use it for capitalistic gains, that’s going to always be there. I think record labels, Spotify, and all these things, they’re not going to care about me, they don’t care about musicians. So they’re going to use that, they’re going to create that for that. And people who don’t really pay attention to music will ultimately fall in line. They’re the same people that will just be consumed by media and marketing and all that kind of stuff.
I think there’s going to be a revolution of people that understand that it exists, but they still appreciate the analog of life. You know what I mean? So this is going to be kind of a beautiful split, in a way, which I feel, it’s gonna exist. And it’s gonna create being self-aware. And I think for musicians it’s about really pushing the ability to come see people live. Come see things that cannot be replicated, you know. So that’s, I think this ultimately is going to lead us to—I hope it leads us to a warmer place where people can sit back and listen to songs for longer. Because right now, it’s just like McDonald’s. It’s like a McDonald’s kind of franchise of music. And because of AI, it’s going to be so saturated that eventually you’re gonna be like, “Oh, I like the song, but then how can I see this person live?” And that live is going to come back.
SK: Definitely, hopefully. I guess it’s just how you’re going to use the tools. The tools are there, but how you’re going to use it is going to make a difference for sure.
FL: I think the “how” is going to be the difference.
SK: Definitely. Do you have any tips on how to survive the touring life? Because obviously it can be quite challenging sometimes if you’re on the road and maybe don’t have so much time, not enough sleep. Everything is a bit dysregulated.
FL: I think a lot of rest. I guess I spend a lot of time in my hotel room to be honest these days. Sometimes I go out and see places. But if you’re there for less than 24 hours, you don’t really have much of anything. I used to have more energy to just run around and do stuff. But now I reserve my energy for playing and for the audience these days. What’s the main goal? Delivering a good set. Let’s focus on that. So rest, it’s the most important.
SK: Absolutely. Well, any other advice to upcoming DJs or producers who would like to start right now? I mean, obviously the times have changed a lot since you’ve started, but can you give a little bit of wisdom?
FL: In this new age, I still feel the same. I think patience is the most important thing. I think it depends on what you want out of your career. I think your “why” is important. What is it that you’re looking for in this career? Also, what are you willing to give into it? What you give is what you’re going to get.
But also, I still think that having patience is the key. It’s not so easy. There’s an ebb and flow. Sometimes you’re up, sometimes you’re down. So those down times are going to be important because you can always do things. So it’s not necessarily about gigs. It’s about what you do in the down times that actually matter. And if you want a long career, definitely don’t look at what’s going to happen in six months, seven years. Just think about it in 10 years, 20 years. If you think about it like that, it takes a long time to find your sound and find yourself and be confident in your craft. I’m still on that journey. I just feel like it’s only beginning. It never ends. I stay curious.
Patience is key. I’ve studied with so many people that didn’t have patience. After a year, they go by the wayside because after one disappointment, they give up. Be prepared for disappointments because they are the things that make you grow. They might not be the things that make you feel like you are accomplishing things, but they make you grow.
SK: That’s very well said. Well, thank you so much for everything, for all the answers. Do you want to maybe share anything that you have upcoming, like any tour, any other EPs or something maybe with your label?
FL: Yeah, I’m excited. I think from next year, we’re going to have a great release schedule. I’m excited about that. We’ll finally have a beautiful way of finding some really amazing artists. I’m going to be touring Asia in December. And then I’m playing with Black Coffee at his show in Miami. That’s going to be cool. And then I’m also going to be in Phuket. And then I’m looking forward to just—is it Christmas? Christmas with the family.
SK: Sounds like lovely plans. Okay, well, thank you so much for your time!
FL: Thank you so much for your time. I really appreciate you guys doing it!