Mr. Sosa continues his ascent as one of the UK’s most promising electronic artists with Undetected Plagiarism, his just-released, highly anticipated debut album. Following a string of genre-blending releases, including the emotional double single Sometimez/Soak and May’s S3ll Your Own D3mons / Daywalker, the Bournemouth-based producer presents a body of work that traverses ambient, garage, acid, and breaks with a uniquely nostalgic and textural approach. Known for releases on respected labels like Anjunadeep and Last Night on Earth, Mr. Sosa has built a loyal following drawn to his emotional club music and atmospheric sound design.
In this interview, he reflects on the creative process behind Undetected Plagiarism, a title inspired by the idea that true originality often hides in plain sight. From the raw energy of tracks like Soak –a grungy, down-pitched phonk-inspired cut– to the shimmering, broken rhythms of Sometimez, his music captures both dance floor momentum and introspective depth. Drawing from influences as diverse as reggaeton, nu-metal, and visual art, and shaped by synesthesia, Mr. Sosa is carving out a singular voice in the global club scene. As he shares insights on his evolution, early influences, and what's to come, it’s clear he’s only just getting started.
What's the first thing you did when you woke up today?
I did the first thing I do every day: grabbed a cold white Monster out of the fridge and caught up on emails and socials (laughs). Today was a little different, though, as I just arrived in Spain at 5am.
How do you experience release days? Do you get nervous?
Always a few nerves around release days, you never know how it will be received. But on the whole, it’s more excitement that I feel knowing something I’ve been working on or sitting on for so long will finally be out in the world for everyone to enjoy.
You’ve just presented your debut album. What would you like people to feel when they listen to your latest project?
A journey, a vibe, and nostalgia. Hopefully, they can lock in and be distracted by the music. As long as they feel something from it, then it’s job done.
You've said that in this record is the first time you've seen your sound come together as a collective piece of work. What was the development process like for Undetected Plagiarism?
Some of the tracks were made independently from the idea of doing an album and became the anchor points for me to build around after the idea of the album developed. Then it was more like I’d make a track, knowing how it would kinda fit in the track listing, like Island Symphony being an interlude and the Oxia Dulcimer outro. These tracks are so fun to me because there’s so much creative freedom to make more of an art piece and mess around with the flow between songs.
And what have you learned throughout the process? Are there any anecdotes you'd like to share with us?
When writing Do U Believe U Still, the processing chain was so mad and long on the chords, I couldn’t ever match the demo version when trying to export a cleaner mix and master. I tried loads, but it just wasn’t the same, so I ended up going with the demo version. Sometimes raw is just better. There was also supposed to be another track on the album that didn’t make it for unfortunate reasons, but maybe it will see the light of day in the future!
I'm very interested in the album's title. You opted for the term ‘plagiarism,’ which is so controversial within the music industry. Could you tell us more about it?
It’s definitely a controversial title, and my team and I were a bit sceptical, but there’s a deeper meaning to it which just made sense. I was reading something called The Art of Sampling or something like that and it featured a quote from William Ralph Inge that said there’s no such thing as originality. “Originality is just undetected plagiarism” because every creative decision we make is consciously or subconsciously influenced by something that has already been done before. And it’s pretty much true when you look deep enough. This stuck with me, and I was speaking to my manager at the time the album was in its infancy, and we were like: That’s it, that’s the name for the album!
“There’s definitely room for serious originality once you get going down a rabbit hole. Originality, to me, is just anything that sounds fresh.” 
Do you think everything has already been invented? And what does originality mean to you?
No, definitely not everything. But more often than not, the catalysts that start the creative process journeys are usually influenced by something already created. There’s definitely room for serious originality once you get going down a rabbit hole. Originality, to me, is just anything that sounds fresh. Basically, if someone asks what other tracks they can listen to that are similar to this one, the answer should be that there aren’t any that are that similar.
A few weeks ago, you released your double single, Sometimez/Soak, presenting a dual perspective. What emotions inspired this single, and what has the public's feedback been since its release?
So these two are very different, but for some reason, they worked quite well together. Soak is a product of my love for grunge and punk. Originally it was a higher BPM sort of house track, but I exported it and pitched it down loads, which sounded sick, really dark and stretched almost. It made it more of a phonk track.
Whereas Sometimez is a bit of lighter-hearted reggaeton/UKG fusion, which I absolutely loved writing and listening to. Surprisingly, I had tons of praise on Soak, people telling me that’s the exact sort of music they’ve been looking for, which really blew me away. And the same for Sometimez, so I can’t complain with that.
You were raised in Bournemouth and grew up in Spain. How have your roots influenced your vision of music?
I’ve definitely had a different musical journey than others, being a kid in Spain in the early 2000s all you’d hear would be reggaeton blasting out people’s stereos. So I picked up a feel for different rhythms early on. When I moved back to England, I discovered house and electronic music along with rock and other genres. So I’d like to think all these genres come out in my music.
What do you enjoy most about your work?
I love the adrenaline rush when I’ve started an idea that I know is good, when you get a little shiver down the spine and can’t stop listening to the loop I’m working on. As I know, that’s hopefully how the final audience will experience it for the first time. Also, the rush of playing something new out in a set for the first time to gauge the crowd's reaction is a close second.
And what can you tell us about your upcoming projects?
I’ve got so much I can’t wait to get out! The last year or so I’ve produced some of my best work, and whether that will be another album or lots of singles, I can’t say just yet, but the music is there, and I’m looking forward to what’s next.
What's your biggest dream?
To keep doing what I’m doing, but better and bigger. If I can live comfortably, travel more of the world, keep making music, and be remembered for something great, that’s the dream.