Images: Loes de Boer
Netherlands-based artist Jasmin Hoek is one of those rare DJ finds. Originally from Enschede, Jasmín has been an active participant in the Amsterdam music scene since the 2010’s, becoming a regular contributor at beloved (now sadly extinct) institutions such as De School and Red Light Radio.
As a DJ, it’s hard to find things not to like about her. She has a refreshing mindset towards track selection. For her, it’s about finding and connecting the threads between records, as she eavesdrops on the hidden conversations that link one record to another. The result is the memorable moments you don’t forget on a dancefloor that lean into balanced, eclectic mixes filled with obscure gems and unexpected pop touchstones.
As a producer, her techno-leaning productions have graced labels such as Martyn’s 3024, Dekmantel, and Woozy; however, she has only released EPs on two labels to date – Hessle Audio and fabric officials. It’s a serious discography considering how selective these two institutions are about who they platform. Most of this is how she arrived. She is a DJ first and foremost and has cut her teeth in one of the most forward-thinking cities on Earth. Instead of using releases to boost her DJ career, she has done things the other way around, and it shows vividly throughout her work.
Her latest release on fabric, It’s Girls Night / Long Hair, is a 2-track sonic barrage forged by her formative experiences on the dancefloor. It’s a percussion-oriented techno cut with heavy themes that puts you in the heart of the maelstrom of Jasmín’s experiences on the dancefloor.
In our interview, Jasmín shares insights into the record, her production style, thoughts on mix curation, and more.
Hey Jasmín, thanks for speaking with us. I hope the last few months have been fun for you.
Hey! Thanks for having me. They have! I’ve had some fun gigs, and went to London to work with the fabric team on releasing my latest EP.
Tell us about the new record. What was the inspiration behind it, and how did the link-up with fabric happen?
Hiroki from fabric reached out after hearing my Hessle Audio record. We met up, and I got to thinking and deep-diving into fabric. Of course, I was familiar with the club and the legacy. I always have deep respect for institutions like fabric. I think these legacy clubs and labels are really important for our scene.
I ended up really getting into their consistent link with a specific, I guess, more old-school techno sound and then fabric Originals has worked with artists I’ve loved hearing since my early days of clubbing, like DJ Nobu and Helena Hauff. So, I decided to tap into that darker, more techno-leaning sound a bit more with what I wanted to make for them and let that flow freely through the sketches I already had, as well as taking it into new tracks. When I first made the sketches for these tracks, I was actually listening to a lot of ’60s and ’70s rock, which inspired the more guitar-like bass lines and textural elements, like saturation, vocal effects, and analogue-sounding drums. So, in my head, it’s the combination of a lot of different kinds of techno played in dark, smoke-filled clubs in spaces like basements and warehouses, in combination with these rock-influenced elements. Which to me fit into a similar atmosphere and colour palette. However, these associations might be really different to anyone who hears the tracks.
Has your production approach for this record changed since the Hessle Audio release?
Not necessarily, but I think for Hessle Audio, going through the process of finishing an EP with the guidance of an amazing producer like Pearson Sound really taught me more about how to finish music and how to listen for what can be improved. I’m not the fastest when working on music, still, I unfortunately like to sulk on things, including tracks, hehe. But I think it’s getting a bit faster and more to the point than before, because I learned so much from the process of finishing my first EP.
Sound-wise, I’d say the music is quite different, more distorted, a bit darker and more raw, but still very drum-driven.
When you’re not playing or making music, what do you like to do to relax and recharge?
I really love to go clubbing with friends when I’m off. It gives me the most energy, inspiration, and excitement for getting back to working on music or preparing for DJ sets.
I also love a good day of not leaving the house and diving into other kinds of music, usually non-electronic and going down an internet wormhole on other things that inspire me. Other than that, I like walking through the city, especially when travelling or just meeting up with friends.
Your sets are interesting because you flirt with a lot of different genres. What influences would you say are responsible for such a wide sonic palette?
I’ve always liked a lot of different kinds of music, and I like to listen and explore things I don’t know. So, probably the main thing is curiosity. In my head, I match tracks based on elements that associate with each other, or if I feel like they have a similar colour, rather than considering the genre. One of the fun things about DJing is that you get to play so many different places, settings, line-ups and timeslots – day, night, morning. So I like adapting to that. I don’t really like to limit myself in what I do in general; there’s a lot I like or find interesting. So why do that with DJing if there are so many different tracks I like?
Besides, I think doing different things just keeps it more fun for me, and with trust, it’s seen as versatility, rather than it being confusing when you don’t play exactly what people have seen you do in a 30-second Instagram story. Many of my favourite DJs play quite eclectic sets and blend old and new music, and I love that about them; those are the DJs I want to see over and over again.
There are some tracks I play over and over again in different sets, so there’s definitely a similar skeleton to all of my sets; I just build around that.
You’ve played a lot of different roles in the Amsterdam scene. What does an average day-to-day look like for Jasmín Hoek?
Right now, I’m mainly working on tracks, preparing a set or digging for music, my favourite. Sometimes I still do some freelance writing or work on other creative projects.
I often also hang out with friends who also work during the weekend during the week. Living in Amsterdam, I like that the city is a bit quieter during the weekdays. Right now, I often take a hot yoga class at the end of the day, too. I take my time to go grocery shopping and cooking. And I really do try to go outside (more)!
Where are some of your favourite spots in the city? (music-related or otherwise)
I love the red light district, the vibrancy, the neon, Asian food, getting groceries or ramen at Dun Yong, and nice bars. I like going to San Francisco in the evenings. And there are some nice record shops around there as well. I like Atheneum for their large collection of magazines. For clubs in Amsterdam right now, it often depends on who’s playing for me, and there are some other fun (day) parties happening every now and then as well.
What’s next for Jasmín?
I’m working on more new music. I’m off to China and Korea for the first time for a holiday and a couple of gigs in June, which I’m very excited about. And, after that festival, summer kicks off for me. With some sets at Dutch festivals I’m looking forward to, and I’m playing my first UK festivals as well!