Name: 7XINS
Nationality: British
Occupation: Producer, performer
Recent release: 7XINS's new live album One Knob Per Function is out via Severn Electronics.
Recommendation for Wales: Definitely the Brecon Beacons if you like nature. Mountains, rivers and lakes. Lots of beautiful hikes and untouched nature.
Topic that I am passionate about but rarely get to talk about: I’m really into geopolitical history, especially the impact of Western foreign policy on the Middle East. I’ve read a lot around that books like Iraq Confidential by Scott Ritter and Overthrow by Stephen Kinzer. It’s heavy stuff, but it’s shaped a lot of my recent work.
These themes aren’t always easy to bring up in casual conversation, especially in music circles, but they feed into the emotion and intent behind the tracks I make. For me, music isn’t just about sound, it’s also about what we carry into it.

If you enjoyed this 7XINS interview and would like to stay up to date with his music, visit him on Instagram, Soundcloud, and bandcamp.



There can be many different kinds of energy in art – soft, harsh, healing, aggressive, uplifting and many more. Which do you tend to feel drawn to most?

Mostly the darker, atmospheric and more tense side of things. I'm not really drawn to polished or uplifting sounds unless there’s a purpose.

I like music that feels a bit unstable or raw stuff that sits in discomfort or tension. That's what I connect to and what I try to reflect in my own work.

I have had a hard time explaining that listening to death metal calms me down. When you listen to a song with a particular energy, does it tend to fill you with the same energy – or are there “paradoxical” effects?

Yes I think these things are quite profound. There have been some studies on this, apparently drum n bass has been proven to be more relaxing or aids focus more than classical music. But when we are talking energy and feelings it is more subjective for sure.

For me a lot of the music that I listen to makes me feel very retrospective. There seems to usually be a sense of space and mystery in the form of mood. Its very calming, makes me think and wonder a lot.

Reflective is also a way I would describe how it makes me feel.

When it comes to experiencing the sensation of “energy” as as a creator, how would you describe the physical sensation of experiencing this energy? [Where do you feel it, do you have a visual sensation/representation, is there a sense of release or a build-up of tension etc …]

Imagery is very important to me. A lot of books and sources of information I read come with a lot of powerful imagery. I definitely have these in mind when I am writing music, sometimes not at the start but can come half way through even.

I start thinking of track names that connects with that imagery even whilst I am still writing. It's multi-sensory for me.

How much of the energy of your own music, would you say, is already part of the composition, how much of it is the result of the recording process?

I would actually say that nearly all of it is a result of the recording process! Being mainly a electronic musician the tools and processes of writing and recording are where the energy is born.

I have ideas and inspirations obviously but essentially without the tools I use I could never capture that energy.

How do you capture the energy you want in the studio?

I usually, nine times out of ten, start with some kind of atmosphere or a sample that lays the basis for an atmosphere or a mood. Mood is everything to me and is usually the foundation for everything else.

So yes, depending on my feelings at the time and what energy I am feeling I will reach for atmospheric sounds that help me shape and continue on with that mood for the rest of the track.

What role do factors like volume, effects like distortion, amplification, and production in general for in terms of creating the energy you want?

They play a big role.

Volume and saturation are essential to how I shape energy. I often push signals into the preamps quite hard to get grit and pressure. Distortion and amplification aren’t just about making things louder, they’re about adding weight and urgency to the sound.

At the same time, space is just as important. Reverb is a huge part of my sound. I use it not just as a background effect, but as a core part of the atmosphere. It reaches for an immersive experience.

I also avoid over-processing. No heavy bus compression or limiting in the live chain. That leaves the set more dynamic and unpredictable, which adds to the energy in a different way. It’s not about making everything sound perfect. It’s about impact, space, and texture.

In terms of energy, what changes when you're performing live on stage, with an audience present, compared to the recording studio?

A lot  of  the  music  I  produce  isn’t  made  purely  for  the  dance  floor.  Some  tracks  are  more introspective or experimental. So when I prepare for a live show, I don’t just play full tracks as they are. A straight run-through of my productions wouldn’t bring the kind of energy or intensity I want in a club setting.

Instead, I break everything apart. I sample from my own catalogue and repurpose those sounds into something that hits harder live. I also write new material specifically for the live set, with the goal of creating something more immediate and physical. The result is rougher, more raw, but with a lot more weight and drive.

There’s no bus compression or heavy processing in the live chain. Modular leads go straight into the mixer, and the Eurorack levels are loud and often harsh, which cuts through in a really direct way. Kick and bass are pushed hard into the preamps, which introduces a bit of chaos and distortion in a good way. That lack of polish makes the whole thing feel more human and alive.

For me, that rawness is key to keeping the energy high and the experience real. It’s not about control or perfection as it is in the studio. It’s more about impact and connection in the moment.

How does the presence of the audience and your interaction with it change the energy of the music and how would you describe the creative interaction with listeners during a gig?

That’s a tricky one. For me, it’s all about mindset going into the set.

If I’m feeling anxious before stepping on, it can really mess with how I perceive things once I’m up there. In those moments, it’s easy to spiral, you start second-guessing everything. You wonder if the crowd’s feeling it, if the transitions are landing, or if you’re overworking a groove. Even if the energy in the room is great, it doesn’t always translate when you're stuck in your head.

But when that anxiety settles and I lock into the flow, everything changes. The crowd's reaction becomes fuel, and it gives me the confidence to take more creative risks maybe stretch out a breakdown longer than usual, experiment with broken rhythms, or play with a sequence more. Those are the moments that feel very magical.

There are a few recordings from past shows that capture this. One from Tresor stands out.

It was a loose, atmospheric piece I never properly finished, but the crowd was so responsive I let it evolve for four or five minutes, just riding sub textures and tension. The floor stayed locked in. That kind of trust from the audience encourages you to push further and test ideas live.

What kind of feedback have you received from listeners or concert audiences in terms of the experience that your music and/or performances have had on them?

I have had quite a number of people tell me that they cried during my sets, weirdly during my live sets that are quite heavy and dance floor orientated and also DJ sets where I have played a lot of ambient stuff from my upcoming releases.

Would you say that you prefer to stay in control to be able to shape the energy or do you surrender to it and allow the music to take over? Who, ultimately has control during a live performance?

I like to have a structure but leave room to let go a bit. I control the system, but I try to let the set breathe. Sometimes the machines do weird things or I get carried in a different direction and that’s fine.

The best sets are the ones where I stop thinking and just go with it.

The energy that music is able to generate can be extremely powerful. How, do you think, can artists make use of this energy to bring about change in the world?

Music can make people feel something strongly, and that can open up space for reflection or action. I’m not saying music alone changes systems, but it can help shift perspective, create connection, and support resistance. That’s what I try to do offer something real that people might relate to or find strength in.

I think artists can make their intentions more obvious, especially if political. That can allow a wider audience to relate to the works in my opinion, that's where change starts right? With People.