With his emotive, percussion-driven sound, Vancouver-based DJ and producer LËPTIC has steadily carved out a space in the global Afro House scene. Influenced by the likes of Arodes, Andrea Oliva, and Shimza, his music fuses lush textures with deep grooves, balancing melodic introspection and club-ready energy in equal measure. In 2024, he opened for Meduza at UBC’s Blockparty and has released music via respected imprints including SOM, Harmor Records, and now eViVE Recordings. His latest single ‘Ngiyajola’, which landed on November 28, 2025 as part of the Textures of Sound VA compilation via the acclaimed VIVa MUSiC Group, is a hypnotic cut designed to resonate across sunset drives and late-night sets alike. “Ngiyajola is a track that captures the energy of Afro House while keeping it deeply emotional and atmospheric,” says LËPTIC. “I wanted to create something that feels like a journey that’s chill enough for sunset listening, but powerful enough to move a club.”
Listen to the track and read our exclusive interview with LËPTIC below.
Hello LËPTIC, thanks for chatting with us here at PLAYY.!
The title of your forthcoming single ‘Ngiyajola’ comes from the South African isiZulu language. How important is cultural influence and storytelling in your creative process?
I’m definitely not from South Africa, but that’s actually why I think cultural appreciation is so important. Afro House comes from a rich history, and I want to approach it with respect and curiosity rather than just borrowing sounds. Using isiZulu for ‘Ngiyajola’ was my way of shining a light on where a lot of this music comes from. I love exploring different languages and rhythms because they add depth and meaning, and I try to make sure every track tells a story rather than just being a loop or a drop.
‘Ngiyajola’ blends deep tribal rhythms with soulful isiZulu vocals — can you take us inside the journey you took to bring this track to life?
My creative process is all about keeping things simple and not overcomplicating the production. With ‘Ngiyajola’, I started with a groove that felt natural and built everything around it. The warm piano and synth layers are really what tie it together and they add this emotional depth without overcrowding the track. I like creating rhythms that stick with people, and then letting those warm melodic elements bring out the soul of the song.
Your sound often walks the line between chill, sunset listening and peak-time club energy. How do you balance those two worlds when producing a track like ‘Ngiyajola’?
Honestly, I’m always thinking about both worlds when I produce. I want a track to sound beautiful on headphones but also hit hard on a sound system. Thus, I try to keep the groove punchy and club-ready, but I leave space for melodies and textures that make it feel emotional. I really love music that can make you relax on a nice walk and also make you move at 2 AM, that’s the sweet spot for me.
You recently opened for Meduza at UBC’s Blockparty — what was it like stepping onto that stage, and what did you learn from sharing the bill with such a massive act?
It wasn’t about playing to a massive crowd as much as it was about the experience itself. Being on that lineup really pushed me to put my sound out there in a bigger way and really own what I’m doing. Watching Meduza’s set was super inspiring and seeing how they structure energy and connect with people gave me a lot to think about for my own shows. It was a huge confidence boost to know my music could hold its own in that kind of environment.
You’ve released music on respected labels like SOM, Harmor, and now eViVE. How has working with different labels shaped the way you approach your sound?
Every label has its own vibe, and that keeps me on my toes. SOM pushed me into deeper, more melodic stuff, Harmor let me experiment, and eViVE has really leaned into the Afro-inspired rhythms I love. It’s cool because each one challenges me, but at the same time it’s taught me to trust my own sound more than ever.
When it comes to your studio setup, are you more of a gearhead with lots of hardware or do you keep it minimal and in-the-box?
I definitely keep things simple. My whole setup is pretty minimal: a pair of KRK Rokit 7s, a KRK S10.4 sub, a Scarlett 4i4 interface, a Akai MPK Mini MK3, and my handy laptop. That’s all I really need to get ideas out quickly. I’m not a big gear collector and I’d much rather know my setup inside out and focus on the music.
What’s one piece of equipment, plug-in, or production trick you consider essential to capturing your atmospheric Afro House sound?
For plug-ins, the Native Instruments’ pianos are my absolute go-to. They have this warmth and realism that just adds so much emotion to my tracks. Whether I’m writing a melody or just adding subtle chords, those sounds always help me create that open, atmospheric vibe.
As a Vancouver-based artist, what role does the city’s scene play in shaping your sound? Do you feel Afro House has a unique space there compared to Europe or South Africa?
I think Vancouver has a small but passionate scene, and I think that’s why Afro House feels so special here. It’s not everywhere, so when people hear it, they’re curious. In Europe or South Africa, this sound is a massive part of their culture. Here, it feels like I get to bring something new to the table. It motivates me to keep things fresh and global in my approach.
Outside of music, do you have any unusual or unexpected hobbies that people might be surprised to learn about?
I’m actually really into sports as I grew up playing soccer and still love getting out on the field whenever I can. I’m also big on hiking, especially with how beautiful Vancouver is. We’ve got so many amazing trails and mountains right at our doorstep, and being out in nature is a huge reset for me. I think spending time outdoors really influences the open, atmospheric vibe in my music.
What environment would you want ‘Ngiyajola’ to be heard in for the first time, and why? Rooftop party? Sunset car ride? A festival sunrise?
Sunset car ride, 100%. That’s actually what I pictured when I made it, that golden-hour drive where everything feels like it’s moving in slow motion. The track’s a journey, and I love the idea of someone discovering it while they’re watching the world change colors.
Follow LËPTIC:
Spotify – Soundcloud – Instagram
