Emerging from Utrecht, Tifra has been making significant strides in the electronic music scene with his distinctive fusion of leftfield house, progressive rhythms, and old-school breaks. In October 2024, he released “The Algorythm EP” on PROXY Records, showcasing his ability to blend 90s rave influences with contemporary production techniques.
Following this, his “Terra Incognita” EP was released via Haŵs, offering a journey through 90s/00s house, progressive, and undulating grooves. Tifra also contributed a track to the compilation “Neptune Discs Vol. 10,” released by Neptune Discs, further cementing his presence within the underground electronic music community. With performances at esteemed venues like Sisyphos in Berlin and La Mazette in Paris, Tifra continues to captivate audiences with his dynamic soundscapes. We caught up with him to discuss his recent projects, creative process, and future plans.
INTERVIEW
Your latest EP, “Terra Incognita,” is out now via Haŵs. Can you delve into the inspiration behind this project and how it builds upon your previous work?
It’s a combination of two things. The first is the inspiration I took from travelling to other continents, experiencing new landscapes and architecture. That gave me certain moods that are difficult to capture with text, so I tried to encapsulate this using pads, melodies, and rhythms. Secondly, I got inspired by the revival of South American genres, keeping tracks groovy with a stronger focus on drums.
From “Trans Atlantique” to “Mesoamerica,” and now with your recent releases, your sound has traversed various genres and styles. How would you describe your musical evolution over the past few years?
“Trans Atlantique” was really my first dedicated “Tifra” project. Around that time, electro was having a bit of a revival, so I wanted to integrate this into my productions—experimenting with offbeat drums and electro glitches. But I was already into the sounds of Kalahari Oyster Cult and Klasse Wrecks, appreciating the 90s nostalgia in their productions.
“Mesoamerica” feels like a natural evolution of “Trans Atlantique.” I discovered producers like Guy Contact, DJ Life, Solar Suite, Bliss Inc, and Maruwa, defining the sound we now call Prog.
With my recent releases, “Terra Incognita” and “The Algorythm,” I still apply a similar philosophy—creating something contemporary and nostalgic while incorporating today’s trends.
You’ve performed at notable venues like Sisyphos in Berlin and La Mazette in Paris. How do these diverse environments influence your sets, and do you tailor your performances based on the location?
I really like to prepare a track selection specifically for each gig, envisioning what the vibe of the venue might be. I also do my homework—knowing who’s playing before and after me, while keeping the timetable in mind. However, I always make sure the selection is broad enough to adapt on the spot. You can never fully predict what the DJ before you will play or how the crowd will react. I notice differences between cities and clubs in how far you can explore your deeper track collection. I like to tease the crowd sometimes with unexpected genres or breaky tunes, though lately, I’ve been keeping it more groovy—like the Bolting Bits mix.
When producing a new track, do you follow a specific routine or process? How do you balance experimentation with maintaining a cohesive sound?
My starting routine differs every time. It can begin with a sample from an old record or an attempt to recreate a track—which never really works out, so I end up with my own unique twist. Sometimes I watch tutorials for a specific sound or genre I haven’t explored yet. Fiddling around with synths has also worked as a starting point.
The cohesive sound mostly comes from tricks I often apply—using the same FX plugins, drum samples, or arrangements. It’s always easier to pinpoint someone else’s specific sound than to identify your own.
Your music blends elements of leftfield house, progressive sounds, and old-school breaks. Which artists or experiences have significantly influenced your unique style?
Before 2018, I produced and played mainly slower deep/tech house. I felt stuck in the same patterns and wanted to experiment more. Discovering labels like Klasse Wrecks and Kalahari Oyster Cult helped me broaden my horizon. Artists like Roza Terenzi, D Tiffany, Fantastic Man, and Luca Lozano inspired me to be more genre-fluid and playful with BPMs.
Two friends—Súya (label owner of PROXY Records) and Maskilo Man—definitely steered me in this direction. The Australian scene from the last couple of years also had a big influence on me.
With “Terra Incognita” now available, are there any other upcoming projects or collaborations you’re particularly excited about? What can fans expect from you in the near future?
I’ll be part of two new VA compilations with labels I’ve worked with before. Another upcoming track is a remix for Cosmic G. Additionally, I received an exciting request to work on a downtempo track. After several VA contributions, I want to focus on a new EP again. I’m also heading into the studio soon with a Dutch DJ known for playing old-school breaks—excited to see what comes out of that session.
As a DJ and producer from Utrecht, what challenges have you faced in the electronic music scene, and how have you overcome them?
Amsterdam is still the epicenter of the Dutch electronic music scene, but Utrecht is catching up with clubs like NAR, WAS., Kabul A GoGo, and Basis. It can be harder to get noticed here. What helped me was recording mixes for podcast series I appreciate, doing radio shows, and connecting with the local scene. Interestingly, some people didn’t even know I lived in the Netherlands because most of my releases are with international labels and I follow a lot of artists from abroad.
With the rapid advancement of music production tools, how do you incorporate new technologies into your work? Are there any specific tools or software you find indispensable?
All my tracks are fully produced in the box—my DAW is definitely indispensable. I prefer keeping things lean and mean, mastering a few synths rather than using too many. From time to time, I add a new synth to the setup. I actually prefer my tracks not to be too polished, giving them an analog and nostalgic feel.
You’ve been associated with labels like Gestalt Records, Duality Trax, Neptune Discs, and Haŵs. How have these collaborations shaped your career, and what do you value most in these partnerships?
I really appreciate that Steffan Todorović (Gestalt Records) and Holly Lester (Duality Trax) trusted my music early on. I’m still in touch with them and have met them in person a few times. Tywi (Haŵs) and I have shared line-ups, and I value the shared passion for music within this sound. It’s great to see how interconnected these labels are, with Steffan and Holly launching the Terrazzo label.
What advice would you offer to emerging DJs and producers looking to establish themselves in today’s music landscape?
Start by recording mixes and radio shows. Connect with your local scene. And don’t overthink sending out demos—you might receive valuable feedback if the tracks aren’t quite there yet.
