With his new track “Magic Pills” HASKELL is doubling down on building dancefloor weapons. With a subtle nod to Green Velvet’s cult classic La La Land, echoing that off-kilter vocal personality within a driving, late-night groove, it remains firmly rooted in HASKELL’s own stripped-back, controlled aesthetic.
From shaping low-end foundations in the studio, successful collaborations with Gene Farris and Mark Knight, reading dancefloors across the UK, the former international rugby player turned club mainstay approaches house music with the mindset of a professional athlete.
HASKELL speaks to Inflyte+ about discipline, UK scene, AI in production, and why building something steady will always outlast chasing hype.
Your new track “Magic Pills” is out. What´s the story behind the track and how did the release come about?
“Magic Pills” was one of those records where the energy felt right quite early on, which doesn’t always happen. I started, like I usually do, with the kick, because if the foundation doesn’t feel solid there’s no point building anything on top of it. I spent a good amount of time shaping it, filtering different parts of the signal, really making sure it had that tight, knocking feel without overwhelming the mix. Once that was locked in, the rest of the track had something strong to sit on.
The low end is really the driving force of it. There are two basslines layered together, and they’re working slightly against each other rhythmically so you get movement without it sounding messy. They’re both processed differently, but nothing exotic, mostly stock tools that I know well. For me it’s never about how many plug-ins you’ve got open, it’s about understanding how the parts interact.
The Serum pluck plays a big role as well. It’s quite simple on its own, but in the context of the track it gives it character and forward motion. Then obviously the vocal ties everything together. That line, “I don’t know what’s happening… someone gave me some magic pills,” has a personality to it straight away. We reversed parts of it, chopped it up, added space in certain moments so it breathes properly. It’s not the most complicated project technically, but it feels confident in what it’s trying to do, and that’s what I’m always aiming for now.
Your collaboration with Mark Knight and Gene Farris on “Go Deep” seems to have been a pivotal moment for you. How did your relationship with Mark Knight and Toolroom begin?
It developed gradually, which I actually prefer. I’d been sending music over to Mark for a while, just keeping him in the loop with what I was making. Not forcing it, not trying to rush anything, just sharing records when I genuinely felt they were strong enough to stand on their own. I’ve always respected how focused Toolroom is as a label, so I knew the standard had to be high.
There were conversations, bits of feedback here and there, and over time that builds trust. When the idea of collaborating came up, it felt natural because the foundation was already there. Working with Mark and Gene was straightforward in the best way. Everyone understood the purpose of the track. Nobody was trying to overcomplicate it or pull it in ten different directions. It was about making something that functions properly in a club, with clarity and intent.
For me it was a milestone, of course, but more than anything it reinforced that consistent work over time opens the right doors.
Could you run us through your creative process and setup? Do you spend a lot of time at the studio or prefer to work on the road?
I’m quite structured with it. I treat studio time like training. I’ll block out hours and stick to them, because I don’t really believe in waiting around for inspiration. Most of the time I’m working in-the-box, and I know my setup very well. I’d rather fully understand a small group of tools than constantly chase new gear.
When I’m touring, ideas will come from playing. I’ll test certain drum patterns or bass movements in a set and make mental notes about what’s working. But the proper development happens back in the studio where I can focus. Touring is high energy and reactive. Production is controlled and deliberate. They balance each other.
You’ve been building serious momentum across the UK club circuit. What’s your take on the current state of house music in the UK, and how has the scene shaped your development as an artist?
I think the UK scene is in a healthy place because there’s range, but there’s also a high standard. Crowds here really listen. You can build tension slowly and they’ll stay with you. That’s shaped me a lot.
Playing regularly in UK clubs taught me that you don’t need to throw everything at people straight away. It’s about pacing and understanding how a room responds to subtle shifts in intensity. That’s influenced my production massively. I’m always thinking about how something will feel at 1am rather than how it sounds on a playlist.
Before dedicating yourself fully to music production and DJing, you competed in rugby at an international level. As DJing can be seen as an athletic sport, especially when it comes to touring, what were the most important lessons you learnt as an athlete that you could apply to your career as a DJ?
Rugby taught me discipline more than anything. At international level you can’t rely on emotion alone. You prepare properly, you repeat fundamentals, you manage your energy. That mindset translates directly into music.
Touring is demanding. Travel, lack of sleep, performance pressure. Sport prepared me for that physically and mentally. It also taught me timing. In a match, you don’t operate at full intensity the entire time. You pick moments. A set is the same. If you try to peak constantly, it loses impact. Knowing when to push and when to hold back is crucial.
You’ve described your DJ sets as focusing on “pacing and flow” with music that sits between house and more stripped-back club records. When you’re in the booth, how much of your set is pre-planned versus reading the room in real-time, and how does that balance affect the overall flow?
I always prepare properly because that gives me confidence walking into a booth. I’ll have a clear idea of how I want to open and a general direction I’d like to move in. But once I’m in there, the room decides a lot.
I’m constantly reading reactions, adjusting tempo slightly, bringing things in or stripping things back depending on how it feels. The preparation means I have options ready. The instinct on the night determines which route I take. It’s a balance between control and adaptability.
AI tools are becoming more present in music production. What’s your perspective on how they might affect the creative process, and do you see them playing any role in house music’s future?
I see it as a tool, nothing more dramatic than that. If it helps speed up certain processes or sparks an idea, that’s fine. But the kind of records I care about rely on feel and small timing decisions that come from experience.
Technology will always evolve, but taste, judgement and restraint are human things. That’s what people connect with on a dancefloor.
For producers and DJs just starting out, what’s one thing you wish you’d understood earlier about building a sustainable career in dance music?
That this is a long-term process. It’s easy at the beginning to chase momentum and compare yourself to everyone else. What actually matters is building something steady.
Developing your sound properly, building real relationships, showing up consistently, those things compound over time. Once I shifted my focus to that, everything became clearer.
Are there any up-and-coming producers or labels that you think people should be paying attention to in 2026? Someone or something that’s caught your ear recently and deserves more recognition?
There’s a wave of producers right now who are stripping things back and focusing on records that feel purposeful rather than overloaded. I respect that a lot. The ones who know their lane and commit to it tend to last longer.
For me it’s less about hype and more about consistency. The artists who are patient and disciplined are usually the ones worth watching.
Without giving too much away, can you hint at what’s coming in 2026 for you?
More refinement. That’s the word that keeps coming back to me. More music that sits firmly in that late-night space, more European dates, continued presence in the UK, and a real focus on sharpening the identity I’ve already built. I’m not interested in sudden pivots. I want each release to feel more precise and more confident than the last one. That’s the direction.