With mmotd, her new five-track EP released via CDR this October, South London-based artist and producer NIIX redefines what it means to turn emotion into movement. A love letter to the dance floor and to all those late-night moments suspended between reflection and release, the record fuses vulnerability and euphoria with effortless ease. “Play this loud, play this in the club, play this on your own at 5 am smoking out the window,” she wrote on release day, framing mmotd as both a personal ritual and a collective experience.
Made entirely on Ableton after years of loyalty to Logic, the project closes the first season of CDR’s Pathways programme, marking a confident step into a more club-focused direction. As NIIX prepares for her EP launch party on November 1 at Planet Wax, where she’ll debut her first live set, the artist already has her eyes on the future: new collaborations, a forthcoming remix, and what she calls “the next wave of sounds falling out of my brain.” Between love, lust, and loss, mmotd feels like the start of something wider.
Hello NIIX, welcome. How are you doing and where are you speaking from today?
Hi! Thanks so much for having me. I’m good, currently sitting in my kitchen in South East London. It’s officially broth season, so I’ve got some noodles on the go, and my cat Wilson is sleeping next to me on a blanket.
Your new EP, has been out for a few weeks now. How has the response been so far, and what moments have stood out to you since the release?
I try not to put too much expectation on a release (to save any crushing disappointment), so anything that comes from it is always a nice surprise. I’m really grateful to say that it's been really well received so far. I’ve had radioplay on BBC Introducing, Rinse FM and Reprezent, and recorded a one hundred per cent original music productions mix for BBC Introducing London. Also had some pickups from DJs I really admire, including Anz, Madam X, and Horse Meat Disco. A particularly special moment though was playing out my track La cantina at a festival recently, and seeing my friends go crazy and scream every word!
You mentioned this was your first project made fully on Ableton after using Logic for years. How did that transition affect the way you produce and write?
For the past few years, Ableton has been a temptress sat in a dark corner waiting for me to touch her. We’ve dabbled on-and-off throughout the years until finally, we clicked. I knew I wanted my next EP to be club-focused, so I became determined. I still write in Arrangement View, so it’s kinda similar to Logic, but things that were taking me ages to do in Logic can be done with literally one button in Ableton. So I’d say my workflow has become much faster, and tools like Simpler have allowed me to make my own synth sounds easily and create more of my own bespoke sonic palette to work off.
The title mmotd stands for “meet me on the dance floor.” How did this concept come about, and what does it represent for you?
meet me on the dance floor is about knowing your crush is gonna be at the rave. I wanted this EP to be more playful and cute, and that giddy feeling you get when you catch eyes through the club smoke is part of that. And of course, it ties in with releasing my first ‘club-ready’ record, in comparison to my previous releases, which have been more pop-leaning and introspective. Also, I’ve really fallen in love with dance floors again after spending more intentional time on them (and not just going out for the sake of it), so it pays homage to that too.
The record explores love, lust, and loss. How did you translate those emotions into sound and rhythm across the five tracks?
I find conveying emotion through music way easier than using words, so it feels like a natural form of communication, a way for me to process my feelings. Ghosted, literally about being ghosted, channels frustration through slamming breakbeat and moody synths. La cantina is fun and playful, conveyed through a bouncy beat and sassy lyrics. I wrote like a fool late spring about falling for someone who’s not good for you. It was my awakening and represents the realisation that it was time to get rid, so although the song sounds sad, it was actually a very cathartic process. The whole tune came to fruition in about an hour, one late Monday eve in my bedroom, and I think you can hear that in the earnest vocals and yearning keys. And then you end with the soft but euphoric meet me on the dance floor. Although it’s about lust, there’s also something quite pure and innocent about it.
La cantina has a fun backstory connected to a camping trip with friends. Can you tell us more about how that track was created and how it fits within the EP?
La cantina was actually the first song from the EP that I wrote, but I wasn’t really thinking of it within the context of an EP. It was a fun, tongue-in-cheek track that at first I just wanted to be able to play out in clubs. Because of that, I started with the drums (I usually start with a vocal melody and work around that), before adding the bassline and synths. Without vocals, though, it sounded like something was missing, particularly as singing is something I’ve done for a long time and love doing the most. I created a space where I wanted vocals to go, but it took me a while to actually write them.
I’d recently come back from said camping trip, where my friends and I created a makeshift club in the middle of a field with linked Bluetooth speakers, fairylights (and a load of tequila). Given the already playful nature of the song, I chose to write about that experience, and I suppose now it’s become a bit of an anthem for my friends and I, lol. Eventually, the vocal melody came to me in the shower, so I ran back into my room and recorded it on my towel.
I’d recently come back from said camping trip, where my friends and I created a makeshift club in the middle of a field with linked Bluetooth speakers, fairylights (and a load of tequila). Given the already playful nature of the song, I chose to write about that experience, and I suppose now it’s become a bit of an anthem for my friends and I, lol. Eventually, the vocal melody came to me in the shower, so I ran back into my room and recorded it on my towel.
Ghosted has quickly become one of the most popular songs of the record. What was the inspiration behind it, and did you expect it to resonate this much?
Honestly, no! To be completely transparent, it’s probably my least favourite track off the EP lol. But that’s why I love getting feedback, it can really surprise you and challenge your own perceptions of your music. Musically, I took a lot of inspiration from that 2010s deconstructed club sound (Sinjin Hawke, Murlo, etc.), making my own grime-esque synths and chopping up some dusty breakbeats. I think maybe that’s why it resonates, because there’s something quite nostalgic-sounding about it.
he main thing I enjoy is connection. There really is no feeling like dropping a song and seeing a crowd react OR catching eyes with someone going crazy on the dance floor.”
Florentino did a remix of ghosted. How did this collaboration happen, and what did you think when you first heard his version?
I’ve been a Florentino fan since his 2015 EP Tu y yo, so it’s still a bit mad to me that this collab has happened to be honest. I was always front left at his Club Romantico parties back when I lived in Manchester, and then we’ve crossed paths in London a few times. When I first heard his ghosted remix, I think I let out a giddy squeal and danced around my room. It was everything I love about a Florentino tune, and more: sexy reggaeton with gritty, growling basslines and warped vocals. Only they’re my vocals? Madness!
You have a background as a pianist and songwriter. How do those skills influence your approach to producing club music today?
I think it definitely helps with writing melody and harmony. Having grown up playing classical piano, that’s something that comes quite easily and naturally to me, and I feel very grateful for. It’s drums where I struggle, which isn’t exactly ideal for producing club music. But DJing has really helped me with that! Knowing where something should build, rise, hold tension, and then drop.
There’s a clear balance in your work between accessibility and experimentation. Is finding that middle ground something intentional or more instinctive?
Finding that balance can be hard; I’m honestly such a sucker for a cheesy pop vocal, but I’m also fascinated by weird soundscapes, irregular drum patterns, wonky chords and the like. So I’d say it’s more instinctive for sure, although naturally when releasing music it’s hard not to be conscious of the consumer or who your audience is and what they might want to hear. I try not to let that affect my process too much and stay true to myself.
You’re a resident at Keep Hush, Sister Midnight, and Subtle Radio. How have these platforms helped you grow as both a producer and a DJ?
They’ve all helped massively. Through running regular club nights across the globe with Keep Hush, I’ve learnt so much about underground scenes in such a diverse range of cities: Tbilisi, Cairo, Guangzhou, to name a few. It’s honestly amazing, and it’s hard not to support and take influence from the producers and labels pushing musical boundaries around the world.
Sister Midnight is my local radio station; it’s a really lovely team doing loads for the South East London community. Through my monthly residency, I’m given the freedom to play pretty much anything I like. Having a radio show to work towards each month means I’m consciously listening to music and, as a result, broadening my music taste and discovering much more.
Subtle is also a sick team up in East London. They’ve given me a platform to explore the harder side of my sounds (dubstep, industrial techno, 150+), and this experimentation is something I’ve since brought into my DJ sets and production.
Sister Midnight is my local radio station; it’s a really lovely team doing loads for the South East London community. Through my monthly residency, I’m given the freedom to play pretty much anything I like. Having a radio show to work towards each month means I’m consciously listening to music and, as a result, broadening my music taste and discovering much more.
Subtle is also a sick team up in East London. They’ve given me a platform to explore the harder side of my sounds (dubstep, industrial techno, 150+), and this experimentation is something I’ve since brought into my DJ sets and production.
The mmotd project was released as part of CDR’s Pathways programme. What kind of support or guidance did you receive through this initiative?
I’ve been involved with CDR for the past few years, attending their production workshops and even hosting one of my own in Manchester. I was honoured that they approached me for their Pathways programme, a year of mentorship and funding from an incredible team and network. Their support has given me access to parts of the industry I wouldn’t have been able to before. Having just moved to London from Manchester, I felt pretty new to the scene down here and would have definitely struggled to make my music ‘heard’.
The financial support is obviously incredible and hard to come by in the UK, which meant I could produce everything at a way higher quality than if it was self-funded. Also, just having a soundboard through my mentors (big up Tom from Local Action and Elle from Clasico Records) to offer their feedback, give me direction, and generally stop me from spiralling at times was invaluable. I’m genuinely sad that the programme has come to an end, but this is only the beginning.
The financial support is obviously incredible and hard to come by in the UK, which meant I could produce everything at a way higher quality than if it was self-funded. Also, just having a soundboard through my mentors (big up Tom from Local Action and Elle from Clasico Records) to offer their feedback, give me direction, and generally stop me from spiralling at times was invaluable. I’m genuinely sad that the programme has come to an end, but this is only the beginning.
You’ve performed at events like Gottwood, Boomtown, and We Out Here. What do you enjoy most about performing live, and how does it influence what you create in the studio?
I think the main thing I enjoy is connection. There really is no feeling like dropping a song and seeing a crowd react, catching eyes with someone going crazy on the dance floor, and simply sharing tunes you love through amazing sound systems. The whole point of being a DJ is to share music, right? Otherwise, why are we doing it?
As for performing live, seeing people react to your own tunes is fulfilling in a different way. It feels more personal, something you’ve written about/felt/experienced is resonating with another. Again, it fulfills that need for human connection, particularly when writing is a super solitary and introspective practice (for me). So, when I’m in the studio, my main aim is to express things in a sincere and authentic way, which always translates. Also, to enjoy what you’re making. Because if you can’t vibe to it on stage, who else will?
As for performing live, seeing people react to your own tunes is fulfilling in a different way. It feels more personal, something you’ve written about/felt/experienced is resonating with another. Again, it fulfills that need for human connection, particularly when writing is a super solitary and introspective practice (for me). So, when I’m in the studio, my main aim is to express things in a sincere and authentic way, which always translates. Also, to enjoy what you’re making. Because if you can’t vibe to it on stage, who else will?
You often talk about community and collaboration in your work. What role do they play in your creative process today?
Honestly, where would we be without community? Particularly in this ever-growing capitalist state we find ourselves existing in, it feels more important now more than ever to support and lift each other up. Help your community grow by going to each other’s events, supporting each other’s label releases, and sharing opportunities with each other. Find your people who genuinely love what you do so you can keep on doing it. Because the state isn’t going to do that for any of us.
A small example is an electronic music production group I used to run called Dubs Club. We threw events specifically for women and gender diverse people where we shared our works-in-progress and exchanged feedback, as well as invited industry panelists to workshop their own processes. Having something like that was so inspiring and gave me the confidence, as well as constructive feedback, to finish my tunes. In such a male-dominated industry, having that space to express myself freely and also to help others with their own work was such a blessing.
A small example is an electronic music production group I used to run called Dubs Club. We threw events specifically for women and gender diverse people where we shared our works-in-progress and exchanged feedback, as well as invited industry panelists to workshop their own processes. Having something like that was so inspiring and gave me the confidence, as well as constructive feedback, to finish my tunes. In such a male-dominated industry, having that space to express myself freely and also to help others with their own work was such a blessing.
And finally, what’s next for you after mmotd? Are there new projects or directions you’re already exploring?
Next up is my EP launch party with CDR on November 1st at Planet Wax, London. I’m debuting a live set, so I’ve been busy working on that, and I want to continue pushing my live set over the next few months. I’ve got another mmotd remix due for release (TBA for now), and I’ve been back in the studio working on the next project with some exciting collaborations in the works. I’m excited to keep the creative juices flowing and see what sounds fall out of my brain next.