In a house music landscape driven by consistency as much as momentum, HASKELL has spent the past few years quietly building both. The UK-based DJ and producer has developed a steady run of club-focused releases across labels including Toolroom, Nervous Records, Myth Of NYX, IN/Rotation, and Strangelove, earning a reputation for precision, groove, and a clearly defined sonic lane.
Balancing stripped-back house pressure with functional dancefloor energy, HASKELL’s sound prioritizes pacing and control. That approach reflects his background in elite-level rugby, where discipline and repetition shaped his working mindset long before music became the focus. The same attention to detail has carried into the studio, resulting in a growing catalogue of records designed to move rooms without overstatement.
He opens 2026 with “Ice,” a new release on Strangelove that continues his pattern of focused output while setting the tone for a busy year ahead, including a string of releases already locked through the summer and an increased push into the American market.
In this interview, HASKELL speaks with House Nest about the making of “Ice,” his approach to groove and low-end balance, navigating label relationships, the realities of transitioning from professional sport to music, and what fans can expect as he steps into one of his most active years to date.
How has 2026 started for you, and what’s coming up this year?
2026 has started really well. I’ve signed records right through until August, which I’m hugely excited about, so it’s shaping up to be a big year musically. I’m also really keen to push further into the American market, which is something I’ve wanted to do for a while now.
Alongside the music, from a personal perspective, I’m filming a couple of TV shows at the moment, which are really exciting too. Everything feels like it’s moving in the right direction.
Can you tell us how your latest track, “Ice,” came together?
“Ice” came to life when someone sent me a vocal they’d been playing around with, and I loved it straight away. I took it away, built an instrumental around it, and then really started refining and perfecting the track.
After that, I sat down with D Ramirez, and we worked on it together, tightening everything up, and “Ice” was born. It’s turned into an absolute banger, and I’m really proud of it.
The groove in “Ice” really stands out. How did you achieve that sound?
The groove is next level. Getting the balance between the kick drum and the bass is always tricky, but it starts with choosing the right samples that naturally work together.
From there, it’s about processing and tweaking, but if the foundation isn’t right, you’re fighting a losing battle. We landed on a kick and bass combination that just worked, and once that locked in, everything else fell into place.
How does it feel when big names in the industry play your music?
It’s massive. When industry giants play your music, it’s a real pinch-me moment. None of it escapes my attention. I absolutely love it. I always reach out and thank people for supporting me. Honestly, I’m like a kid in a sweet shop when I see it happening.
How do you approach finding the right label for your music?
Finding the right label is hard. Very few labels have a completely consistent sound these days, and most move with the zeitgeist, which can make things tricky.
I think if a track is good and broadly in the right lane, I’ll send it to people I think will genuinely like it and take it from there. Trying to build tracks purely to match what a label has released before doesn’t really work. It has to feel authentic, sonically in the right ballpark, but still very much you.
How have you found the transition from professional rugby to music?
I’ve found the music industry very difficult, if I’m honest. The transition from rugby to DJing and producing has been really hard. People often assume there are advantages, but I think it sometimes works the other way. There can be a perception that you’re just playing at it.
“Ice” is actually my 32nd release across different labels, which is pretty good going for five years of production. But there are plenty of moments where you think, financially, this isn’t paying me back, and I’m not getting the DJ gigs I want. That said, it’s a passion. I love it. I can’t get enough of it, and that’s what keeps me going.
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Are there parallels between elite sport and being a DJ/producer?
Massively. It’s about hard work, dedication, focus, and resilience. Wanting feedback, reaching out to people who are doing what you want better than you, and picking yourself up after setbacks, it’s all the same.
You still have the adrenaline of performing, the nerves, and the crowd reaction when it goes well. You’re just not being creative with your body anymore, but with your mind. All the lessons I learned in sport are what have kept me in the music industry to this day.
Who would you love to collaborate with in the future?
I’d love to work with Carl Cox. He’s incredible and someone I’ve admired for a long time. I’d also love to do something with Tony Romera. He’s brilliant and makes fantastic music.
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What can fans expect from HASKELL Music in 2026?
You can expect some absolutely banging music and some huge DJ sets. I’ll be playing around the world on a number of dates, and I’m really excited to connect more with HASKELL fans. We’re also working on a label launch, which is going to be really cool. There’s a lot coming, and I’m genuinely excited about what’s ahead.
Support the artist and buy “Ice” on Beatport
Follow HASKELL on Social Media:
SoundCloud l Spotify l Instagram
