HASKELL Interview: Funk, Groove, and the Creative Evolution Behind ‘Ice’

HASKELL goes into 2026 with momentum built with consistency rather than hype. A run of releases across labels including Toolroom, Nervous Records, Myth Of NYX and IN/Rotation has established him as a front runner in the house music scene, reinforced by a standout collaboration with Mark Knight and Gene Farris and a busy schedule across the UK and Europe. That focus carries into ‘Ice’, his first release on Strangelove, and a track that neatly captures where his sound is heading. Funkier in tone but rooted in groove and restraint, it arrives as a confident step forward, aligning naturally with the label’s evolving direction while keeping HASKELL firmly in control of his own. We had the pleasure of speaking with HASKELL about this single, his mind creatively, and more. After the releases and shows you’ve had recently, what’s been on your mind creatively? For me, it’s always about making more music and continually refining the sound I want to be known for. Of course, I keep one eye on what’s happening in the wider scene and what’s resonating globally, but I’m very conscious of staying firm in my own lane. I think that balance is crucial — being aware without being reactive. Ultimately, the goal is to cultivate a sound that feels authentic and consistent, rather than chasing trends that don’t quite fit. When you’re starting a new track now, what usually sets the direction early before you’ve built much around it? Everything begins with the drums. I’m very groove-led, and building a solid drum foundation is the most important part of getting the process moving for me. Once that’s locked, the vocal hook becomes absolutely vital — where it sits, how it evolves, and how it drives the energy of the track. Referencing is a big part of that stage too; understanding how similar ideas work in other records really helps shape where your own track is heading. After releasing on labels like Toolroom and Nervous, what do you listen for to make sure a track still reflects your own decisions and not outside expectations? One of the trickiest parts of releasing music is the moment where personal taste meets label opinion. You can absolutely love a track, and an A&R might not — and then you’re faced with the challenge of whether to adapt it or stand your ground. That’s a constant internal battle: do you believe in the track more than you believe in getting it signed? For me, I always come back to the same principle — I make music I genuinely like and want to play. If I’m excited to play it out, that’s the most important measure. Working closely with Mark Knight and Gene Farris puts you in a very direct creative space, so how did these collaborative sessions influence the decisions you make when you work alone? Collaboration really is the spice of life. Working with people like Mark Knight and Gene Farris has been hugely valuable, but the same applies to any collaborative process. You have to listen, take feedback, and remain open-minded — while also being clear that the song is in the right place before you even begin. Bouncing ideas off more experienced producers has made the whole process far more enjoyable, but even when you’re working solo, you’re constantly sharpening your skills. With Ice as your first release on Strangelove, what made this track feel like the right way to introduce your sound via this label? I think Strangelove is really having a moment, and Ice felt like the perfect fit. It’s probably a funkier record than I’d released before, but that’s exactly what excited me about it. I’d been watching what the label was doing, liked the direction they were heading in, and wanted to be part of that journey. Thankfully, they loved the track too, so it all aligned very naturally. While finishing Ice, which part of the track took the longest to work on before you felt that it was finally ready to be released? With Ice, using the vocal properly was absolutely key. We went back and tweaked it multiple times, really focusing on when it should drop in, when it should pull out, and how to maintain interest throughout the arrangement. At the same time, it was important to let the funky bassline and the drums have their own moments — not everything needs to shout at once. Before focusing fully on music, you spent years competing at international level in rugby, so how does that background still influence how you structure your time and focus now? I try to be ruthlessly organised. I’m always seeking feedback from people I genuinely respect, and I’m very analytical about both success and failure. If something doesn’t work, I compartmentalise it, break it down, and learn from it rather than dwelling emotionally. That mindset has been essential. As you move further into 2026 with more releases already lined up, which parts of your sound still feel open and in progress for you? My sound is something I’m constantly working on. I’ve collaborated with different engineers over time, and each partnership brings slightly different results