INTERVIEW: HASKELL
HASKELL has been building momentum with a steady run of groove-heavy, no-frills club tracks—each one rooted in restraint, precision, and a deep sense of groove. His latest release, Deeper, feels like a statement of intent: minimal on the surface but built with precision, confidence, and a deep understanding of what works on a dance floor. It’s the kind of track that rewards patience—letting the tension simmer while keeping things punchy and locked in. We caught up with the London-based producer and DJ to talk about the creative path that led to Deeper, his no-nonsense approach to studio work, and how his instincts as a performer feed into his productions. From navigating feedback from heavyweight collaborators to launching a new label and staying grounded through it all, James Haskell shares what’s been driving him lately—and what’s coming next.
Can you tell us where you are in the world? What do you love about that place? What does your daily life look like over there?
I'm currently in London. I love the hubbub, the busyness. In the summer, it's one of the best cities in the world. I'm very lucky that my daily life is mostly shaped around what I want to do.
A lot of my time is taken up with music production — working with different engineers and producers, developing ideas — and travelling for DJ sets. Outside of that, I run a couple of businesses, including a production company and a gin brand called Blackeye Gin. I’m also a father to a two-year-old, so that keeps me very grounded.
You just dropped Deeper on Nervous—a track that feels stripped-down but dialed in. Did you approach it with a specific intention or did it unfold naturally in the studio?
Deeper was an interesting one. It started as a collaboration with Alex Jones from Dense & Pika. I met Alex years ago — he’s a rugby fan — and we got chatting. I told him I had an idea and would love to work together. He was really into it. I started the track but quickly realised it wasn’t quite right for Dense & Pika. Still, Alex took the idea and ran with it, developing it into something I loved. We went back and forth on it for a while.
Then I happened to be in a meeting with Will Clarke and played him a few tracks. He loved Deeper straight away and said he had a few ideas for it. When someone of Will’s calibre wants to get involved, you don’t say no. He added his touch, I made a few final tweaks, and that became the version you hear now. Mark Knight and the Toolroom A&R team also gave me some great feedback along the way. We sent it over to Nervous, and the rest is history.
Your recent run of releases leans into groove-focused, tightly produced house with a gritty edge. Has your process or sound changed significantly over the past year, or has it been more about refining what was already there?
Yeah, my sound has definitely evolved. I’ve gone back to what I really enjoy — skippy drums, groove, that stripped-back but gritty feel. A lot of it comes from sampling and finding references that hit the right note for me. I’m not trying to be a mix engineer. As long as something sounds good on speakers and headphones and I can play it out, I’m happy. Then I’ll hand it over to someone with serious experience to polish it properly.
I don’t want to overcomplicate things. For me, it’s about getting the idea down, capturing the raw energy, and then letting someone else bring out the full potential of the track.
As someone who produces and DJs, do you think about the dancefloor when you’re making a track—or do those instincts kick in later, once you test things out in a set?
It’s always in the back of my mind. I don’t necessarily write with the dancefloor as the starting point, but the instinct kicks in early. I’m always asking, “Would I play this out?” or “Would this work in a set?” That plays a big part in shaping the track as it develops.
What’s your current studio setup like? Are there any pieces of gear or software you keep coming back to when building a track?
My setup’s pretty lean. I’m more about finding the right sample or loop that sparks an idea and building from there. I’ve got a few go-to plugins, but I try not to get lost in gear.
It’s about feel and energy for me — if I can get something working quickly, that’s usually a good sign.
What advice would you give yourself if you were starting today? Or what advice would you give to a young musician or DJ starting today?
Be really clear on the kind of sound you want to make. Know your references and the artists you genuinely love. Keep making music and keep evolving. It’s easy to get sidetracked, especially if you’re chasing trends or second-guessing yourself. If you want to be a great tech house DJ, for example, then you’ve got to commit to making tech house — you can’t just dip in and out.
Also, don’t be too hard on yourself. Just keep creating, keep learning, keep watching others, and keep trying to improve. Some of the best in the game have been at it for 20 years and they’re still learning. I know I am.
What was the last track by another artist that really grabbed you?
Menage a Trois by Sidepiece. As soon as I heard it, I thought: this is an absolute belter.
Another one I’ve had on repeat — it’s by Iglesias and it’s called Take Your Pants Off. Ridiculous name, but the tune is just insane. I’ve been hammering it.
What do you have coming up next—more releases, shows, or anything else you want to plug?
Yeah, I’ve got a packed release schedule. And — hot off the press — I’m launching my own label this October. I’ve got upcoming releases on Toolroom, Sola, potentially Armada, and another label I can’t mention just yet.
Lots in the pipeline — I’m just excited to knuckle down and keep working.
Follow HASKELL online
SoundCloud | Instagram | Beatport
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