South-East London-based EDM producer Wolf Cutt has spent 15 years honing their craft before finally stepping into the spotlight with their debut mixtape, FOR THE HELL OF IT. A maximalist collision of melodic EDM, hyperpop, and early SoundCloud-era Monstercat energy, the nine-track project has already earned praise from Wiwibloggs, BBC Radio 1 Introducing Dance’s Jaguar, and Anthony Fantano, and features collaborations with Mae Muller, vi0let, Nova May, and Muki.
Wolf Cutt is crafting an unapologetically loud, euphoric universe centred on EDM and grounded in queer rave culture. We sat down with the artist to unpack their creative process, toolkit, and sonic vision.
Listen to their mix on PLAYY. Music whilst reading the interview below:
How would you describe your musical style and the genres or subcultures that most influence your sound?
I love making electro and melodic EDM-influenced music. I grew up on the peak of early Monstercat SoundCloud and also artists like Porter Robinson and Skrillex. Recently, I’m big into Ninajirachi, Frost Children and Kim Petras. The new wave of EDM is super exciting.
Music Creation: Describe the primary setting or environment where your music is conceived. Is it a chaotic, overstimulating studio, a minimalist digital space, a rehearsal room, or a more isolated location?
I mostly write everything in my bedroom, which I like to keep fairly minimal. I just have my potted plant and a few posters. I’m not really a hardware person so I love to work in the box on my plugins like Serum 2.
When you create, what leads the way – a feeling, a story, or the sound itself?
I find myself always listening to the sounds and textures first – I think I’m hyper-obsessed by timbre. But for songwriting, I tend to let the feeling lead the way. Mostly I like future nostalgia, or retro futurism… or just the future as a whole. Extremes are good too, I’m not really a middle-of-the-ground kind of person.
What’s in your toolkit? Share the gear, gadgets, or software you can’t create without.
Ableton all the way. I basically just use Serum 2, a few Vengeance drums, OTT and StandardClip.
Are there any unexpected or dream collaborations hidden in your work?
I made this mashup recently of Ninajirachi – iPod Touch and Perfume – Polyrhythm, which I absolutely love. They work perfectly together. I feel like C minor is the perfect nostalgic key.
Maybe this isn’t answering the question directly, but I would love to spend a day in the studio with Yasutaka Nakata.
Any side projects you’re working on?
Nahhhh. But I produce a lot of the pop girlies in London.
Who’s an emerging artist you think deserves more recognition right now?
If I had to pick one, I think vi0let is going to blow up. She’s amazing to work with and has brilliant vocals, lyrics, choreo and looks! Kind of the whole package.
What role does ‘rebellion’ or ‘counterculture’ play in your music? Are you aiming to challenge commercial norms, sonic structures, or societal expectations?
I identify as genderqueer, and most of my friends are queer or trans, so I think literally everything I do could be considered counterculture? But in terms of challenging norms, the only person I’m trying to challenge is myself.
Who is one non-musical artist (e.g., fashion designer, visual artist, film director) whose work feels sonically synonymous with your sound?
Whoever directed The Substance.
What aspects of your artistry feel most important to you, for example your sound, visuals, storytelling, or live performance style?
I’ve always been strongest on the musical side of things! Making actually listenable music is for sure the most important thing for me.
The Future: What is the most exciting and the most terrifying technological development impacting the music industry right now (e.g., AI composition, NFTs, digital distribution models)?
AI sucks for sure. Honestly, I believe we need to return to physical media if we’re going to have a chance as musicians at all.
How would you describe the live music environments you feel most connected to? For example, are you drawn more to the energy of massive festival stages, the intimacy of underground warehouse parties or DIY venues, or a mix of both?
I’ve always imagined I make big festival stage music, so I wanna be able to play stages like that one day.
Famous last words?
For the hell of it
