SONOS CLUB : MI/EN
Malaysian-born and London-based MI/EN is a purveyor of big vibes and electric energy. She loves sounds that are hypnotic, otherworldly, quirky and boppy. Her background as a classical pianist influences how she blends techno (ranging from acid and raw to groove and hard), garage and breaks, and chuggy electro-house.
To connect community through music is MI/EN's primary aim as a DJ. She also wants to create spaces for minoritised groups to access the music scene, particularly for people in Southeast Asia where she grew up. Upcoming projects for MI/EN include digging for tunes that reflect her heritage, learning production and how to spin vinyl, curating community events and more. She produced her debut sold-out event Kosmic Kommune in December 2024 and hopes for it to be a platform of continued creativity and connection.
INTERVIEW
Can you tell us about your musical journey and how your cultural background has influenced your sound?
MI/EN: Many people know me for playing fast, upbeat, intense music but few know that my early journey into electronic music started with ambient and melodic sounds. This might have been shaped by a combination of things: local music styles in my home country Malaysia which often tend to be melodious and twangy and lyrical, the largely melodic pop my parents listened to on the radio while I was in the backseat of the car, my late grandpa’s karaoke tunes from the lovely 60s era in the South China Sea region, and perhaps Final Fantasy which always had calming tunes in the background.
To put it in more well-known genre terms for wider comprehension: melodic house forms the majority of my musical foundation, techno is something I fell hard in love with from going to raves in recent years and being part of rave communities, UKG I’ve properly discovered only last year (props to On The Rise DJ Academy for this) and it stole my heart.
What are some early memories of music from your upbringing that shaped your taste today?
MI/EN: My taste today has been shaped by an evolutionary journey - eight years ago I probably would’ve hated the techno and breaks which I happily play today!
I grew up learning classical piano and taking music classes, which I deeply resented back then but hugely appreciate now (thanks mum for not letting me quit). In school I remember being obsessed with Fall Out Boy, David Archuleta, Avril Lavigne and Ne-Yo. What a lifetime ago that was.
How do you integrate your heritage or identity into your DJ sets or productions?
MI/EN: My identity is in bringing the unexpected. I live for moments of connection - and this could be with friends or total strangers - when a tune hits someone so hard that they stop and marvel because it’s either nostalgic or resonates with them or both. I also like to keep things playful and fun, or reflective and uplifting, depending on what I play.
When you’re crafting a DJ set, do you have a particular story or vibe you aim to convey? How do you build it?
MI/EN: I start by thinking about the listeners and the audience, or the type of venue/event and what the rest of the lineup is playing if I’m being booked by a promoter. Based on this information I would craft my set and imagine what I’d want to experience if I were in the crowd.
For personal mixes outside of events and submissions, I create a journey based on how I’m feeling that week, alongside what I’ve been listening to and which fresh angles I want to explore at that particular moment in time.
What’s your process for discovering and selecting new music? Any go-to sources or methods?
MI/EN: Discovering new music is an ongoing process. The more people I talk to, the more genres I find out about - there is so much yet to be uncovered! Generally I find new music in several ways: by going to live events, exploring sources of inspiration for my favourite artists and labels, listening to stuff that my friends send me, talking to different people, and training the algorithm to show matches that I’m mostly likely to be interested in - whether it’s Bandcamp, Beatport, YouTube or SoundCloud.
When selecting music, it’s a balance between what I envision myself playing and which sounds resonate deeply with me. There are a few tunes that I haven’t quite figured out how to weave into a mix yet, but that’s the beauty of it. I know there will come a moment where I’ll find the perfect place to use each tune.
How do you balance between your roots and staying fresh with modern trends in your sets?
MI/EN: I haven’t felt the need to keep up with current trends for the sake of it, as my selection is often a mix of classic staples and newer tunes. There are occasionally some popular tunes that I include in my mixes - it’s always nice to have singalongs or big reactions to these.
Can you talk about a track or mix you’ve created that holds a special meaning to you? What’s the story behind it?
MI/EN: Last month I did a beautiful 4-hour b2b mix with my DJ friend Pableeto at a friend’s house party. You know that moment when you have musical chemistry that is beyond perfect, everybody is vibing and having the best time, it’s past midnight with a sick light and audio setup, and the world just stands still for a while? It’s special because it is a testament to the wholesome friendship circles I have and which I’m thankful for every day. This spirit was the foundation of our recent sold-out debut event Kosmic Kommune.
As a DJ from a BIPOC background, what are some challenges you’ve faced in the industry, and how have you overcome them?
MI/EN: I am fairly new to the industry and only started learning to DJ in April 2024, so this isn’t something I can fully comment on just yet. I’ve been fortunate to interact with friendly and welcoming communities, particularly in certain DJ groups and queer/FLINTA spaces.
What I’ve definitely observed however is a lack of diversity in electro-house music spaces. Most events in this genre tend to have all-male, non-POC lineups which is quite strange to see.
How important is representation and visibility for you in the electronic music scene?
MI/EN: It’s PARAMOUNT. I have realised more of its importance recently from observing that in Malaysia where I grew up - or generally the Southeast Asian region where I’ve been based for most of my life - there aren’t many electronic music artists who are globally known.
Representation matters because it makes you feel a sense of possibility, and with that comes the ability to dream and act on goals that you previously thought were out of your reach. There is power in believing that things are attainable.
What are some emerging trends in electronic or experimental music that excite you right now?
MI/EN: I’ve been seeing videos of people playing instruments - flute, saxophone, violin, etc - while being on the decks, all in one performance. That’s a format I would love to try out as it gives me a chance to expand my sound and connect more with other musicians. I would also like to combine piano playing with DJing, which is one more thing I’ve added to my long list of projects.
How do you envision your music evolving in the next few years? Are there new sounds or ideas you want to explore?
MI/EN: I would like to learn music production, and to use my background in classical piano and music theory to make new sounds. Melody is central to many of my favourite tracks and will probably be a major element in the very first track I create. This is something I’m thinking a lot about and which may evolve, so watch this space.
If you could curate a dream lineup for an event, which artists would you include and why?
MI/EN: My dream lineup would include:
(1) Dr Rubinstein, an acid techno vinyl queen who brings the most amazing boppy energy to her sets. My step count at her show is the highest out of any music event I’ve attended so far. I like how she has openly spoken about her neurodivergence and uses it as a strength in her craft;
(2) Nakadia, an excellent self-taught techno producer and DJ from Thailand. I was extremely thrilled to discover her because you don’t often see electronic music DJs or producers from Southeast Asia on international stages. She’s definitely a big inspiration for me as a new DJ, as an aspiring producer, and as a Southeast Asian woman;
(3) DJ EZ, who needs no introduction in the UK garage scene, I just want to stand by the decks and watch his mixing tricks - yes, I am that person at the club who closely watches what the DJ is doing because observation is part of the learning process;
(4) Ben Böhmer, one of my all-time favourite artists and a key gateway to my initial discovery of electronic music. His sound always touches my soul and his track Home was the most played on my Spotify for two years in a row after its release.
They would all probably be in different rooms at the venue, but it will be a quality night out.
What advice would you give to up-and-coming DJs and producers from underrepresented communities?
MI/EN: You deserve to be inside as much as anyone else. Be confident of your potential and celebrate the rich tapestry of your heritage. Keep experimenting and sharing your sound, because you will strike a chord with the people that matter. Find community - this helps SO MUCH - I know I’ve found wonderful communities and it’s incredibly fulfilling to have creative, ambitious, compassionate, like-minded people alongside you on your journey.
Don’t be afraid to initiate and ask. Possibilities abound: just because something has always been done a certain way, doesn’t mean it always has to be that way.
Above all, stay curious.
How do you stay motivated and keep your creativity flowing, especially during challenging times?
MI/EN: We tend to be constantly switched on and set to go-go-go mode in this modern world, especially in a busy and competitive city such as London. During the times where I feel particularly overwhelmed or uninspired, I find that it does wonders to take a conscious break, be idle, and let the mind wander.
I say “conscious” because what I’m describing is a mindful break, so that means no phone scrolling or trying to tick something else off your productivity list. As the brilliant Gabor Maté says - and we all need to be reminded of this every so often - we must have recreation to recreate.
As artists, the pressure to create and to be interesting is immense. This pressure could often come from within, based on what we imagine society expects of us and as a result of unhealthy comparison with the achievements of others.
Rest is essential. For me, this takes the form of going on long walks in nature, painting, reading, writing, spending time with dogs, doing something active. This is always refreshing and helps me return to my craft with greater clarity and purpose.
What’s one message you hope people take away when they listen to your sets or mixes?
MI/EN: II would love for my listeners to feel the same feelings I have when creating a set. While I play distinctly different sounds that can range widely in energy and intensity, I ultimately want people to awaken the light inside them and to bring more life to living - whether that’s in their personal outlook on the world, reflections on their experiences, or aligning what’s going on in their head and their heart.
SONOS CLUB is an initiative from Sounds of Craft Records, designed to highlight the eclectic electronic music scene through the perspectives of the BIPOC diaspora and marginalized communities, while being open to all.
