Eversines has spent more than a decade quietly shaping the contours of his country’s electronic underground. Emerging from the Netherlands’ bustling network of producers and labels, his catalogue has steadily grown through releases on imprints such as Kalahari Oyster Cult, Slow Life, 20:20 Vision and Nous’klaer Audio, the latter being where he’s released the most of his music. Across those records runs a thread of emotional clarity, with a catalogue that balances peak-time drive with a distinctly emotive undercurrent, something he traces back to childhood piano lessons and an early fascination with the hypnotic weight of hardcore and hardstyle breakdowns.
Alongside his eight years co-running the collaborative De Lichting imprint with a close circle of friends, Eversines recently launched his own label Jamming Is Life, a no-compromise vehicle that gives him the space to curate music exactly as he imagines it: uncompromised and personal. Two records in, the label opened with his own Rocket Science EP before handing the reins to RDS for Chronicles, a partnership rooted in nearly a decade of friendship. On the horizon is a full-length album for the label, eight tracks he describes as having saved for something special.
For his Truancy Volume contribution, Eversines digs into a different corner of his record collection. The mix is built entirely from breakbeat selections, tracks he deeply loves but rarely gets the chance to play in club settings where four-to-the-floor rhythms often dominate. Looser and more playful as a result, it moves through unexpected turns while still carrying the emotive thread that runs through much of his work.
Hey there! So how have you been recently? What’s the year been like for you so far? Any particular highlights you care to tell us about? “Hiya thanks for having me on :) By your time of writing it was still 2025, of which some highlights were going to play in Rome with the Breakfast Club crew, connecting with my new Belgian friends and joining their agency at Heads Up, and of course most of all: getting engaged with my lovely partner in crime.”
So as this is your first interview on site, I thought we’d just go back a bit. Could you tell us a little bit about some of your earliest musical memories, not necessarily in dance music? “Oof, what stands out would be listening to French chansons in my dad’s car. Something he still listens a lot and would always accompany us on long trips to camping in France for example.”
Could you tell us how you first got into electronic music and DJing following that? What were the initial influences, people, music that set you down this passion? Was there any o ne party too where everything clicked for you too? “I always did find sound interesting, and got my first 32 mb MP3 player at 11 years old. I vividly remember listening to this song by Orphidian on full volume. A friend had gotten me into Korn and there was also a big hardcore / hardstyle community in the area where I grew up, so my first experience with electronic music was on the more heavy side. Listening back now, I can appreciate the hypnotic melancholic chords & pianos in the break, something that still leaves its mark throughout my music nowadays, which is funny to think of.”
You’ve been producing and releasing music for more than a decade now, but 2024 seemed like one of your most prolific years in terms of output. Are there any factors that contribute to you having more prolific years than others? Or is it more just a case of having 500+ of Eversines tracks in your iTunes at the moment. “That year was definitely the one where I put out the most music in a short period, so it would depend on how to define prolific? But releases sometimes take years before being finished, so coincidence can end up so that four releases are chucked out in one year haha. So I think timing is the biggest factor in that! Of course taste always changes over the years and sometimes I feel like I’m more in tune with what I really want to produce, and sometimes less or I don’t make music for months. I guess that’ll all influence on how much of my music is being released into the world though my average is usually 2-3 tracks a month, but the tracks that feel real special pop up a bit more rarely of course.”
I guess this is why you’ve started putting out those self-released Archive Bandcamp releases too right? What can you tell us about some of those tracks? Three this year, is there a possibility of a fourth? You did the artwork too on all three as well correct? “There is a lot of music that would never really see the light of day were it not for those Bandcamp releases. It’s low cost to send into the world, and it also doesn’t have to go through this intense curating process of judging whether it’s ‘timeless enough for vinyl’. There is value in being super high standard about music obviously, but if I still do enjoy those tracks to a certain degree and people can also have fun playing them out or just listening to them, I’m happy to have a more approachable way to my songs.”
I feel like there’s often a strong emotive layer to your music. Has there been a driving force behind that over the years? Or more recently what’s been inspiring you musically or otherwise? Anything in particular bringing joy or excitement to your creative process? “When I was eight years old my mom put me to study piano lessons. Something that I’m still grateful for to this day, as it’s always helped me translate the feelings I’ve had into sound waves. But more importantly, without making too much of a self-pity story out of it, I’ve known some quite intense mental challenges over the years, and knowing that music will always be there to rely on is just an enormous help, and it’s always been either an escape or a vehicle for dealing with stuff, by making a song about it.”
So you started your own label Jamming Is Life last year with the Rocket Science release from yourself to start it off, then followed it up with a record from RDS. Can you tell us a little bit about what made you want to start the label and the friendship with RDS? You’ve known each for around a decade right? Does that make it easier when releasing someone else’s music? “I have to say I’m so content with the Jamming Is Life label as it’s very much a no compromise affair where I get to curate exactly the sound I envision. Oftentimes with sending tracks to labels, I’m just waiting for four tracks to be ‘accepted’ and they don’t necessarily always make sense together on one record for me. I also don’t mind that, as club music mustn’t always be “story-telling” and it can also be just unpretentious and fun. But I do enjoy to have this little corner of music with my label that is all my own without any concessions.
Rein and myself have been best friends since 2016 so it’s almost been a decade now! Not sure a solid friendship is mandatory for releasing other people’s music, though our collaboration has been among the easiest I’ve encountered for sure. Mostly I think it’s about giving each other the space for ideas, for things to change and for finding common ground on decision that need to be made.”
I imagine the experience will be a lot different from how De Lichting is run. Can you run us through the history of that label and crew for us a bit? What are some of the greatest memories? “De Lichting was founded around 8 years back, and a lot of us know each other way back from the electronic music production academy that we studied at, and we kind of launched it as a collaborative 2xLP project, joining together several labels we had at the time. However we continued putting out those VA double albums and later also solo EPs, putting a single artist in the spotlight, so it became more of a solid base for us. Some of the most fun we’ve had is doing liveshows with 6+ people completely improvised, which can go from chaotic moments to magical harmony and back within 15 minutes, and our 7 man b2b at Wildeburg Festival was definitely one of the highlights, were everyone could play a track every half an hour and wait for their turn again.”
Going back to your own Jamming Is Life ‘Rocket Science’ record for a minute some readers like a production breakdown, so was wondering if you could maybe break down what went into making a track like ‘M’? That one in particular with the vocal must have been fun to make. “That one was produced up in the attic in Amsterdam when I still lived with one of my homies Pieter Jansen. The studio was quite a mess and acoustically sounded quite shit, but there was somehow a magic vibe there. I always jam tracks once or twice in a bit longer manner, let’s say 8-12 minutes and then cut it back to something playable like 6-7 minutes. It’s mostly just a bunch of gear being sequenced and muted and unmuted, with the vocal being something randomly grabbed from YouTube. (: But I’m glad of the peak time vibe it turned out, while still having some deepness to it.”
How was the four-hour improvised live set at Paradiso this year? How much prior practice went into that if any at all? “It was fun! We usually try to rehearse once in the days leading up to such an event, so everyone has a sense of the elements others are bringing into the set. When improvising with 6 people you need to use your own elements very sparsely, since the web of sounds get full quickly. But it’s also so interesting because everyone brings their own different textures and it becomes this very complex layer of sound in no time. Often we agree on one scale not to make things to dissonant (“Everyone, play all white keys!”)”
How have your own solo live sets been at the moment too? You had a debut at Sub Club with it last month, how was that? You seem to have good live set experience at this point, both on your own and with other artists such as Marie K. “Sure, live sets are a bit more natural now that a workflow has crystallised around it, however it still takes a lot of preparation time and sometimes I find it a bit less fun since I know all my music so well already. So my sweet spot is to play like 3-4 live sets a year, so I can keep evolving them and they feel like something special. Sub Club was very lovely actually, it had been a while since I played at a larger scale dark club and the sound was very enjoyable. People really connected with it too and I played a few new sketches that landed well.”
What can you tell us about becoming a Breakfast Club resident too? I think you first played for them on the brink of the pandemic back in 2020. Has it been smooth sailing since then? Do you approach them differently to maybe one-off places you get to play at on your travels? “I suppose nobody that is in the event industry could ever call it smooth sailing, but playing at Breakfast Club is definitely one of the more rewarding things for me. Though it’s a cliche, it’s like playing at home; I can think about it very well beforehand since I know most of the rooms that BFC organises their parties in, so my sets are usually prepared a bit more specifically on those occasions. Pieter also really challenges their artists to shine on their best, one of my highlights being the ADE Garage Noord afterparty upstairs back in ’23. Of course while travelling I try to research a little bit what sort of club it is, who is the promoter and what sound do they usually book, what age is their crowd, etc. My record collection is quite broad at this point so it’s nice to make sure that records don’t stay on the shelves and get played at in different situations. And sometimes I get surprised and have the complete wrong records with me, of course that can happen too :)”
In terms of local communities in music, how do you feel you’ve stayed grounded in your scene and the people that form it in your circles? “Well after moving from Amsterdam to Rotterdam, of course it’s not as easy as before to visit every party that my friends play at anymore. Also I’m 32 now and don’t feel the need to be everywhere and join everything. Scene pretty much equals being seen, either at the cool parties or online, and I’ve gotten pretty tired of both haha. I’ve gigged full time for a bit over three years, and it was always my big dream of living without any side job and getting the gold stamp of the ‘fulltime musician’. But I found out it’s kind of a trap because I felt anxious whether next month would have enough gigs, whether I wasn’t slacking on my online presence, etc. Since a few months I have a little side job again, and apart from it being a bit busy together with touring sometimes, it has been a big relief to be able to say no certain gigs, instead of needing them for my basic income. And to let go a bit of this idea of the social media artist, trusting that people will find my music and book performances if they are really passionate about it.”
Can you tell us about three albums that a) define you getting into electronic music in general, b) maybe a midway album when you were fully invested in DJing and c) a more recent one.
a) I didn’t really listen to whole albums that much back then, but in 2009 I was still a bit more into commercial EDM, and when downloading music illegally via ‘beatjunks’, a platform with a lot of that type of stuff, I stumbled on this track by Marek Hemmann.
One of the first pieces to really catch my ear with a bit more refined and deep minimal techno mood. I remember listening to it over and over and being quite enchanted by it.
b) One of my favourite ambient techno albums, I still love Acronym productions to this day and his DJ set for XLR8R is probably the set I listened to most on Soundcloud.
c) A very varied album by Midnight Funk Association, with as much tracks for the dance floor as the home floor.
When digging for records, to what extent is your search predetermined? Do you set out with specific styles or artists in mind? Can you easily recall artists or labels while sifting through a stack? What attracts you to a record initially, and how quickly can you discern whether it resonates with you? “Lately I’ve dug more in my own shelves than elsewhere, since taste is always changing and some new interesting pieces emerge out of the depths of my digging history (:
But when digging online for example I like to set certain parameters, I like to choose one seller on Discogs for example and look only in one release year, or only in minimal tech or something. I always know within the first second whether something is worth checking out for a longer time, but sometimes there can be tough calls to be made. With digging, it feels very much like the more you do it, the more you automatically find all the interesting things. Like there is some intuitive force acting subconsciously, deciding which things to listen to and which not… It’s kind of weird. That also means that not digging for a while makes it a bit clumsy at first to get back in, but well when you do the wallet empties quickly. So sometimes it’s good also to take a step back and appreciate what you already have.”
What sort of other hobbies or interests do you have outside of electronic music? Are there any books, films, shows or other things you’ve seen or been reading/watching that you might want to share? “My most recent hobsession has been the vast world of loose leaf teas. I’ve always enjoyed cooking and discerning different tastes, but with tea it’s not only that, it’s kind of a ritual that helps you to slow down and appreciate very mundane and small things. Meditating while sitting still eyes closed isn’t always the easiest for an ADHD head like me, but in this new hobby I haven’t only found joy in tasting interesting things, but also doing something healthy that feels like a little self care as well. I’m also working on organising some listening sessions implementing the attentive drinking of tea combined, as they can be very synergistic together.”
What was your approach to crafting your Truancy Volume mix, and are there any particular tracks that hold special significance for you? “This mix consists of mostly tracks that I really dearly love, but tend to not play out that much. It’s a breakbeat only mix, and in managing a dance floor, in the genre I’m active in, it can often be a risky move to start playing breakbeat for more than two tracks consecutively, as the four to the floor is more easy to grasp and dance to for some. So I had a bit of an idea in mind but there was also room for a little improvisation, and I think it turned out playful and varied with some cool twists! The track at 1:01:00 I played at that magic ADE night in Garage Noord ’23 as well, so that hold a special memory in my heart :) I think it’s a Swayzak remix if I remember correctly.”
Looking ahead, what territories, musical or otherwise, are you eager to explore in your upcoming work? What are you looking forward to most in the coming months? “I do have an album taking shape for Jamming Is Life, with 8 of my own tracks that I’ve been really saving for something special. Not sure if I’ll be able to finance it this year, and some finetuning needs to be made in the tracklist, but I’m looking forward to that! Also I have releases upcoming with Moopie’s Troubadour label, and Fonte’s Iceman. A new Nous’Klaer is in the works as well, with a bit more euphoric melodic works, so should be fun.”
Last, usual question from us, what was the last thing to put a big smile on your face and when was the last time you had a proper dance? “Well the last thing literally would be my cat Coco, she’s incredibly funny and had just installed herself on a blanket like she’s the queen of England. My last proper dance was at Breakfast Club, New Years Day, dancing to Mathew Jonson’s live set :)”
Eversines: Soundcloud, Instagram, Bandcamp, Resident Advisor
Jamming Is Life: Soundcloud, Bandcamp
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