For over twenty years, UKG and its offshoots (Grime and Dubstep) have influenced artists and clubbers worldwide. A permutation of US Garage, which was named due to its affinity to the legendary NY club Paradise Garage, UKG’s influence went from top of the charts, glitzy clubs and champagne, to London’s inner-city estates as early grime pioneers flipped the sound into something darker and grittier that reflected their lives.
Fast-forward to 2025 however things seemed to have flipped. In the land of The Red Dragon, it grime scene has introduced Chinese DJs to UKG, and though still small, a new generation of artists are keeping things alive and well. The mid-2010s saw the first real steps towards UKG establishing itself in the country. British expats Naaah and Alta started their grime-focused event Push&Pull around 2015 laying the foundations for the scene. In 2016, Shanghai producer Swimful perfectly blended Eastern and Western sounds in his pivotal remix of Wiley’s Shanghai alongside Beijing producer Howie Lee, who also incorporated Sinogrime elements into his work.
Whilst there were artists already operating in China, such as Bar Rouge resident DJ Doggy whose Boiler Room became a significant moment in China’s emergence in the electronic music scene, younger talent (like everywhere else in the world) rely on the internet for inspiration. Global starts like the UK’s Sammy Virji are becoming an introductory point for Chinese contemporary artists, energising the next generation.
Now, after nearly a decade, the message has been received, and the gaze of Chinese music enthusiasts is being returned. Earlier in the year, Southampton-based label Garage Shared released its first VA release with entirely Chinese artists. The VA, titled Slithered Grooves, features records from Kanetaker, LiMiT, CLV, Cury, Atonity, and A$UKA and is set to be fully released on May 14th.
In the latest edition of Get to Know, A$UKA & Atonity share their knowledge on China’s UKG scene.
How did you first encounter this music?
A$UKA: I ‘ve been aware of UKG for many years because I’ve been a DJ for over a decade, and I often discover music styles earlier than most people. However, I first started producing UKG in 2022. I came across a producer on YouTube who was teaching how to make UKG, and I found it really interesting. So, I followed his steps and created a demo of my own. I also recorded a short video of how I made UKG and posted it online. Surprisingly, it received a big response.
I know many street dancers and house dancers, and I often recommend UKG and 2-step to them, saying that this type of music is excellent for dancing.
Atonity: In early 2019, I stumbled upon Sammy Virji’s track Find My Way Home. That was when I fell in love with this style and began to study its history and the key figures from different periods.
Who are your inspirations?
A$UKA: MPH, Sammy Virji ,Oppidan
Atonity: ‘Right Here’, my track on the Slithered EP from Garage Shared, draws a lot of inspiration from artists like Higgo and Disclosure. Their music really sparked a lot of ideas for me and shaped the direction of my work.
Were there any artists in your city already producing/playing this style?
A$UKA: I’m living in Guangzhou. I don’t hear of anyone making UKG, but sometimes there’re DJs playing pop-UK garage in clubs.
Atonity: Actually, there are quite a few artists in Shanghai playing UK Garage & Garage House. My favourite is DJ Doggy. I’ve seen him live many times, and the UK Garage & Garage House tracks he plays have been a huge source of inspiration for me.
What places are you going to find more of this music?
A$UKA: I use Spotify or YouTube. I never use any platforms from China to find or discover music. But sometimes, when a great song becomes popular on TikTok overseas, it can also be recommended to me on TikTok in China.
Atonity: I occasionally visit record stores to pick up UK Garage records from the 00s to 10s. I often listen to them in-store, and over time, I’ve subconsciously started associating records marked Made in London with high quality. As for a shout-out, I have to thank DJ Doggy. His sets and the way he’s kept this style alive have given me so much guidance and inspiration for my work.
I usually dig for second-hand records at 222 Yunyang Road, Changning District, Shanghai. The shop carries a mix of different genres, including some electronic music labels. When I buy records, I first check the cover art, then the listed genre, and finally give it a listen. If the track sounds good to me, I’ll grab it.
You previously lived in Shanghai, is there much of a scene there for UKG or electronic music?
A$UKA: Ten years ago in Shanghai, there were many niche underground events featuring mainly British electronic music artists. I knew a very famous British Bass producer, Corank, who lived in Shanghai for a period of time. There was also a Hong Kong DJ, Siesta, who frequently played Drum and Bass (D&B) and Jungle, having returned from the UK. Nowadays, there are fewer such parties. A more notable event was last year’s tour of Hamdi in China, which included stops in Shanghai and Guangzhou. Additionally, MPH has been to Shanghai twice.
You now live in Guangzhou, is there much of a difference between the scene in Shanghai and Guangzhou?
A$UKA: I’ve always felt that Shanghai and Guangzhou are the cities with the largest electronic music communities in China. However, the audience for more avant-garde electronic dance music is still relatively small. A decade ago, Shanghai had a vibrant music culture with numerous events that were almost synchronized with international trends. Nowadays, this community hasn’t expanded significantly. Although Guangzhou has a bit of the old Shanghai vibe, the development of electronic music culture in Guangzhou still doesn’t compare to that of Shanghai.
Are there any promoters or parties/events in China that you enjoy?
A$UKA: Before the pandemic, there were many event organisers in China that I liked, such as SHFT in Shanghai, which invited many high-quality international artists to perform in the country. However, the electronic music scene has been severely impacted, even to the point of being almost fatal, since the pandemic. It still hasn’t recovered to pre-pandemic levels, so I don’t often attend parties or events in China. If I want to see artists, I prefer to go abroad for music festivals, as they offer a better experience and lineup compared to what’s currently available in China.
Atonity: I think Bouncy Bouncy in Shanghai is doing great things. They regularly host UK-influenced music events, which I really appreciate.
What do you feel the future holds for Chinese music?
A$UKA: I believe that the Chinese market is still largely untapped, and the development of music culture has a long way to go. Historically, from the 1920s to the 1970s, we experienced many difficult times, and China has only been a country for a little over 70 years. Our economic development has been rapid, but our spiritual and cultural education is relatively underdeveloped. Music culture, in particular, relies heavily on this foundation.
As a musician from China, I take great pride in being seen, heard, and recognized internationally. However, this doesn’t practically help me live well or develop my career within the country, and it’s difficult to have a stable income. While I enjoy the process of creating music and the joy of producing work, I can’t sustain a constant output. I need to take breaks to do other work that allows me to maintain a good living standard. The inability to focus solely on music is a pain point for me and many other musicians in China.
It’s hard to predict the future of music in China, but I do intend to continue creating music. I graduated from ICON Collective in LA, and I truly envy musicians in countries like the US and the UK, where they have a more mature and healthier music environment. I will look for the right environment to develop my career, as music should be borderless.
Atonity: The current state of China’s electronic music scene is quite complex. There’s a clear disconnect between club music and what’s trending on streaming platforms. A lot of electronic tracks that blow up online don’t necessarily work in a club setting.
Right now, most clubs are dominated by high-speed 4×4 beats, like Hard Techno, Speed Garage, and even some Baile Funk. Unfortunately, that leaves little space for genres like House and UK Garage, which I personally love. These styles struggle to thrive because they don’t cater to the high-energy, bounce-heavy vibe that most clubgoers expect.
That said, the scene has evolved massively compared to a few years ago. I believe we’re at a turning point. Despite the growing pains, I’m optimistic that Chinese electronic music will continue to develop in exciting new ways.
Are there any Chinese artists or labels that inspire you?
Atonity: I’m really inspired by Chace and 陶乐然 DOLLARZOO. Their approach to electronic music has influenced my own production style a lot.
Check out Slithered Grooves here