Tales from the Echobox 023

Since its inception, Echobox has become a haven for boundary-pushing broadcasters, giving space to voices that move through the shadows of sound. Among them is REGE SATANAS, a long-standing presence on the station and a name whispered with reverence by those drawn to the esoteric side of radio.From the very beginning, REGE SATANAS has stood for freedom in its most omnipotent form, a guiding force behind every broadcast. His shows are more than curated sets; they’re sonic rituals where Ennio Morricone collides with Dead Can Dance and spacey soundtracks bleed into psychedelic dreamscapes.After four years with Echobox and even more with Red Light Radio, REGE SATANAS is now waving goodbye. There’s nearly a week’s worth of original transmissions archived on his Echobox page.What does "freedom in its most omnipotent form" mean to you, and how does this guide the REGE SATANAS show?Freedom in its most omnipotent form, to me, is just an esoteric way to express that I'm doing exactly and only what feels good for me. That might sound egocentric, but it fits my way of life. For the show, it means that I can touch anything soundwise or choose any theme.Your show ties in a lot of inspirations from mysticism, rituals and magic. Do you think there's something magic about radio making?Of course, there is something magical about making radio. You're taking other people into your reality or realm. There is nothing so good as losing yourself to music.You're leaving almost a week of original radio in the Echobox archive. Are there any moments or episodes that stand out to you?After almost 4 years of Echobox and 10 at Red Light Radio, it's hard to choose one. I have to mention, however, that episodes about favorite composers always stuck most to me. Moments are countless, as I have met a lot of beautiful people while making radio. This goes for fellow radiomakers and listeners.What's next for REGE SATANAS?For now, I'm always open to play somewhere. Music will always be a motivator for me, especially if I'm asked to play soundtracks or spaced-out sets.What are some typical REGE SATANAS musicians?Wow, that's a tough one. But if I have to mention 5 artists, it would be as follows:The Devil's BloodEnnio MorriconeTangerine DreamDead Can DanceDeath In JuneNeedless to say, these are also in random order. And furthermore, I have a shelf full of weird and esoteric records that always speak to my imagination.As I did weekly shows at Echobox, I probably had the most encounters with other radio makers. To be honest, I like every single one of them for being themselves. But Stricktly Tapes has a special place in my heart.As far as evolution during my years of radio making, there are no major changes or shifts regarding my approach to creating shows. It only changed because my collection changed. And of course, life dictates my choices. So to sum it all up: REGE SATANAS, eternally moving and shifting through the vast sea of time, creating magick and chaos in the sonic structures of mankind…So stay free and stay pagan. REGE SATANAS out. 

A new cut from two of the finest in the kitchen. Skirt Steak is here — Roc Marci laces sharp talk over Alchemist’s medium-rare production. No filler, just flame. The Alchemist pulls up in the Patta x Avirex — heavyweight leather, heavyweight bars. This ain’t just music, it’s tailoring season for your eardrums. Stream it now. Let it sear.

Interview by Passion Dzenga From dusty attic record collections to underground club nights in Cardiff, Earl Jeffers’ musical journey is rooted in deep listening, creative evolution, and community connection. Whether crafting soulful house under his own name, building hip-hop landscapes as Metabeats, or collaborating through collectives like CRST and Darkhouse Family, Jeffers has consistently pushed the boundaries of genre and process.His approach is as much about heritage as it is about innovation—drawing from classic ‘90s sounds, jazz records, and MPC experiments while always keeping an eye (and ear) on what’s next. With a DIY spirit and an ear for detail, he’s developed a body of work that spans labels like Local Talk and Ten Thousand Yen, as well as his own eclectic imprint, Melangé.In this conversation, we dive into the foundation of his career, the role of Cardiff in shaping his sound, the magic of sampling, and what it means to stay true to your creative instincts in a fast-shifting musical landscape.Let’s start from the beginning. Can you walk us through your musical journey—from childhood to becoming a DJ and producer?At around five years old, I was picking up whatever was playing from my dad’s room or on the car radio. Then a few years down the line, my older brother and cousin were into hip-hop—N.W.A., Wu-Tang—and later jungle. My first tape was a Fabio set from Amnesia House. I remember the gold case. That stuck with me.They also bought rave tape packs—Dreamscape and all that—and got into house and garage. My brother’s friend was a DJ, so I’d go to his and pick up some basics. The youth clubs were also key—there was this guy putting on parties, in the local area. But I was a little too young. So he would bring his turntables to the youth club sometimes. I’d walk 45 minutes across town just for a go. That’s where it really started. That’s all I wanted to do. I would be up before school mixing records. Once I got decent at DJing, I started thinking: how are these records made? A friend got an MPC 2000, and we started experimenting. I’d make beats for MCs, and over time I knew this was what I wanted to do—not just for fun.How did you transition from hobbyist to professional?It clicked in college. I tried plumbing and a few other courses, but nothing stuck. Nothing felt as right as music. So I focused entirely on it.You’ve worked under several names—Metabeats, Chaser, Earl Jeffers. How do you decide which alias fits?It evolved naturally. I had three styles. The hip-hop and instrumental stuff was Metabeats, which was my first name. Chesus came from a nickname a friend gave me—I used that for house. Then Earl Jeffers was more sample-based house, where I applied a hip-hop approach to house music. Over time, I just focused on the Jeffers identity to simplify things. I still do Darkhouse Family work, where I go by Jeffers.How did growing up in Cardiff shape your sound and access to music?It was challenging. In the early 2000s, there was a healthy hip-hop scene and dance music always had a presence since the late 80’s But to break through from Cardiff, you had to look beyond it.That said, Cardiff gave me my first gigs—I was DJing in clubs before I was even legally allowed in! These days, younger artists have more access to music, which leads to more genre-blending. That’s really exciting.Tell us about the old Cardiff parties that helped shape you.Places like The Emporium and Vision were great for the House & Garage nights in the late 90’s/early 2000’s, then Higher Learning at the Toucan Club was massive for Cardiff hip-hop in the early 2000s. They booked a lot of UK talent. We’d leave the club and head straight to the studio to make records all night. That’s how I met Mayor from Associated Minds, the label that released my Metabeats projects. We even worked with names like Quelle Chris, Action Bronson, and Elucid.Your sound often pulls from classic ’90s house to soulful, jazzy textures. What draws you to those older sounds?Constant digging. My ears have matured—I’ll revisit records I bought years ago and hear new things I missed back then. That shift in perspective keeps the music fresh.Sampling is key to your style. What’s your process like?Definitely. Sometimes I’ll hear a sample and it sparks a whole track. That usually happens with jazz, soul, disco, or early house—sounds I grew up with. My dad had a music room, and hearing the music he was playing through the walls left an imprint. What’s your studio workflow like these days?It varies. Sometimes I start with records and chop samples. Other times, I build from scratch using keys or synths. I’ve got a Rhodes right in front of me—I've been using that a lot more lately.Any essential hardware you rely on?Yeah, the Rhodes is huge for me. It’s expressive—the action lets you really put emotion into the keys. I also use a Korg Triton and Roland JV-1080. You’d be surprised how many iconic sounds are in those. Even “Grindin’” by the Neptunes came from a Triton preset.Have collaborations always been part of your journey?It started solo but quickly became collaborative. My friends weren’t DJs but were deep into music, so we made stuff together. I’ve been part of CRST (garage/house), Darkhouse Family, and other projects. I honestly enjoy it more than working solo—two ears are better than one.CRST was pretty influential in shaping modern UKG. Could you see yourself returning to that?Possibly, but only two of us still make music. It was the right timing and energy back then. My focus has shifted, but I’m open to doing something future-facing—maybe not strictly UKG, but something new. That era, with dubstep, fidget house, and UKG colliding, was a pivotal time.Tell us about Darkhouse Family. What sets that project apart?It started with Metabeats energy but evolved. During the peak of the LA beat scene—HudMo, Hoya Hoya, etc.—we were influenced by that experimental sound while still staying rooted in hip-hop. Our last album leaned jazz-heavy, mixing samples with live instruments. Now we’re working on a new one—it’s more raw, hip-hop-leaning, with vocalists and rappers. We’ve come full circle.You’ve released music on respected labels like Local Talk, MCDE, Ten Thousand Yen, and Handy. What do you look for in a label now?Early on, it was about where the sound would fit and getting exposure. Now it’s more about relationships and community. Handy, for example—I’ve known James for years. That trust matters. I also release through my own label Melangé, which gives me full creative control.What’s the vision behind your label Melangé?“Melangé” means “mixture” or “cocktail” in French—that’s what I aim for. I don’t want it to be just a house label. It’s a platform for all styles I love. We’ve put out music from people like Javonntte and Byron the Aquarius. I also created Melangé Archives to re-release older tracks I had on other labels, so everything lives under one roof and tells the full story.Have you put out any LPs through Melangé yet, or mostly EPs?Just 12"s so far. I think club music works best in short formats. If I were to do an album, it wouldn’t be strictly house—it’d showcase a range of styles.Your visual aesthetic is distinct. How did the collaboration with Ral Duke and the family photo direction begin?From the start of Melangé, I wanted something personal. I used old family photos for artwork. I love that aged-photo feel, especially when it carries meaning. When other artists release on the label, I ask them for images from their own family archives too. It adds soul to the whole thing.Ral and myself have been good friends for many years before the label and his art was even a thing, so that was an organic relationship and approach. You’ve toured widely. Any standout shows or cities that left a mark?Glastonbury and Bloc were definite highlights. But smaller clubs are where it’s at for me. Glasgow, for instance—the energy is insane. Places like Sneaky Pete’s and Sub Club never disappoint.You’ll be playing in Amsterdam soon. What can the crowd expect?Yeah, I’m playing with DJ Pointless at Phono Lake. First time there, so I’m excited. Amsterdam’s always been a favourite—not just to play but to soak up the vibe. I’ve been digging into older NYC sounds recently, so expect a bit of that, along with new material.What else should we be looking out for from you this year?I’m continuing the Boomedit series. I don’t really think of them as edits—more like remixes or reinterpretations. The first was disco-heavy, the second leaned into late ’90s/early 2000s R&B, the third had a Neptunes-style flavor. More of that is on the way, along with reissues on Melangé. ‘Special’ is the first release in the series that’s just dropped.You’ve also been involved in community work. What’s Extravagaza about?It’s a series of fundraising parties we’ve been running to support relief efforts in Gaza. We’ve done a few in Cardiff and plan to expand to Bristol. It’s a small gesture, but it matters. People can follow me on Instagram or Facebook for updates.Any final thoughts?Just that I’m grateful to still be doing what I love. There’s a lot more to come—through music, art, and the projects we’re building together. Stay tuned.From MPC experiments in Cardiff bedrooms to shaping the sound of UK house and hip-hop, Earl Jeffers has carved out a deeply personal, genre-defying path. Now, he brings that energy to Phono Lake x Handy—alongside DJ Pointless and Tiago—for one unforgettable night in Amsterdam. Expect soulful house, deep cuts and raw grooves from across the spectrum, delivered by artists who live and breathe the underground. Tickets on sale now — don’t miss it.

Photography by Juvenal MazePatta x Nike x Play Piem took it there in London for The New Wave - a celebration of heritage, community and the iconic Air Max 90, reimagined through Patta’s lens. The vibes were high, the music hit deep and the energy was unmatched from start to finish.We brought the people together - from sneakerheads to sound chasers - and turned the night into something more than just a link-up. Live sets lit up the space, conversations flowed and culture moved through the crowd. This was about honouring what’s been while pushing what’s next. Big love to everyone who came through and made it one to remember. The wave’s only getting stronger. Until next time.

Photography by Akadrestudio, Jamal Denzel and Romario PierauGet familiar with what went down when Latto pulled up to the Patta Amsterdam store for a special meet & greet ahead of her sold-out show at Paradiso. The energy was high, the vibes were unmatched, and the exclusive Patta x Latto T-Shirt flew off the shelves. Couldn’t make it? We hope to see you at our next event! The Patta x Latto T-Shirt is available now exclusively at Patta Amsterdam.

Photography by Dennis BrankoPatta x Awake NY x Marshall took it there for Fête de la Musique, we amplified the sound, the streets and the soul in the City of Light. Beats bounced off the buildings to a crowd that kept it moving, our all-day radio broadcast that brought our people together, and exclusive Patta x Awake NY x Marshall x Chop Chop merch made statements in the streets. This wasn’t just a party, it was a celebration of culture, community and sound in Paris. Big love to everyone who pulled up and made it unforgettable. Until next time.

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.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.