EDMTunes Exclusive With Weska On His New EP NEVRSOMWHER

Toronto producer Cody Hull, aka Weska, releases his new EP NEVRSOMWHER today on his imprint HYPERWAX. To mark the release, we sat down with Weska to talk about his journey, new music, and what’s ahead. Many listeners know him from standout releases on Drumcode, collaborations with Bart Skils, and music on labels like Experts Only and Bedrock, helping him build a strong global reputation. After spending time in Berlin before returning to Toronto, that influence continues to shape his sound. Weska moves fluidly between melodic techno, progressive house, and indie-leaning textures, creating music that feels both energetic and emotionally driven without fitting into one box. His approach focuses on groove, atmosphere, and evolution, whether in the studio or behind the decks. Take a listen to his new EP while reading, as the interview highlights both his talent and personality. This Toronto artist has big dreams, and we’re excited to watch them take shape. The EP was originally set for a January release but was delayed due to sample clearance. That track is now a collaboration, and as Weska says, “the universe came together on that one.” Weska also hosted a pop-up in Toronto yesterday at the W Hotel, where fans got an exclusive first listen along his radio live recording, making it a fun and memorable experience. For now, sit back, get comfortable, and enjoy this read. The Interview (Please note, the bolded text represents a question, while the paragraph(s) are Weska’s responses to them) Hi Cody, excited to chat today, congratulations on your EP and Imprint! Your EP NEVRSOMWHER feels like a concept just from the title alone—what does that name represent to you, and how does it tie the tracks together? Hi, so happy to be here and thanks! That’s basically the title, just like you said. I love so many different types of music, and that’s the idea behind it and HYPERWAX, which is my own space we can talk about later. The EP NEVRSOMWHER describes my sound as being never in one place and always everywhere. It also reflects how I play. I love progressive house, and I also enjoy certain types of techno today. Techno has evolved, but I just love dance music overall. I don’t want to be pigeonholed as either a techno DJ, a tech house DJ, or a progressive artist. I enjoy all of it. The EP includes five different genres. It has a tech house track, a melodic techno track, a peak-time techno track, a breakbeat track, and a progressive track. That variety really represents my sound right now and my overall mentality toward my music. Your sound often sits somewhere between heavier, melodic, and tech house influences—how did you decide where to land sonically on NEVRSOMWHER, and did you lean more into one direction across the EP? Tying into what I was saying I think it can also describe DJs in general, always moving and never staying in one place. These tracks came together at different times and in different places. I wrote the melody for ‘Burnout’ a few years ago and rediscovered it later on my hard drive. The rest of the track wasn’t working, but I knew the melody was strong and worth building on. ‘Move With The Lights’ came together last year, and ‘House It Up’ was finished in November. ‘Alpha Nova’ is also a few years older, so each track comes from a different moment. All of them were created in different places around the world, which ties into the overall theme. It reflects that sense of always moving and never staying in one place.I think it also connects to how my mind works, always active and moving in different directions. That idea of being “never somewhere” fits both the music and my head space. HAHA. Have any of the NEVRSOMWHER tracks already been road-tested in your sets, or picked up by other DJs? If so, what kind of reactions have you been seeing? One of the first times I played ‘Move With The Lights’ was in Miami last year at M2, right after I wrote it. I hadn’t tested it yet and wasn’t sure how it would land, but I knew if it worked, it would really connect. It did, and hearing that snare hit on the first drop felt incredible. I’ve opened a lot of sets with ‘Solstice’ and included it in several podcasts. It always gets a great reaction because it feels unexpected. It starts very progressive and melodic, then quickly shifts into a more club-driven groove. The drop feels more like an implosion than an explosion, with a simple structure and plenty of space. It transitions the energy in a unique way, and it has been working really well. ‘House It Up’ has already received strong support. I’ve played it often, including in Amsterdam, and several friends have been playing it worldwide. Bart Skils has been playing it in many of his sets, and Martin Garrix also played it early on, which was exciting. It’s getting the crossover support I hoped for because it sits between styles. It’s a very danceable track with high energy, leaning toward tech house but pushing beyond it into something more club-focused. I’ve also been