SONOS CLUB : SAZZLE
Sazzle is a London-based DJ and producer of Middle Eastern descent whose genre-defying sets draw on her background in architecture, music, and art.
Her signature sound blends groove, tribal textures, and the percussive drive of Latin rhythms, creating an infectious flow that gets the whole floor moving. Focused on building and releasing energy, Sazzle centers her mixing around percussive elements that keep the dancefloor in constant motion. Infused with the weight and swing of bass-driven club sounds, her sets explore the intersections of Latin bass, tribal techno, and punchy percussive club sounds.
With a self-release that drew support from Verraco, Doctor Jeep, and Peder Mannerfelt to name a few and a recent track featured on Tratratrax’s new compilation - she has gone on to appear at Boiler Room, Arcadia, and underground parties across the UK, sharing the bill with industry favourites such as Mark Broom and X Club while continuously pushing her sound forward
INTERVIEW
What first drew you to DJing, and how has your sound evolved over time?
SAZZLE: What first drew me to DJing was listening to Octo Octa’s set at Lost Village back in 2022 - it was honestly mind-boggling, like one continuous evolution rather than separate tracks. From that point onwards, I bought myself some cheap decks and started practicing daily while maintaining a full-time job.
My sound has evolved naturally over time as your palette expands. I started off playing more 4x4, hard dance and hardgroove-focused sounds, and now I feel like I’m leaning more towards percussive, Latin bass, and tribal textures. I’m quite genre-fluid in my approach, and I think that allows me to curate much more diverse sets and really showcase my influences.
How would you describe the emotions or energy you try to bring to your sets?
SAZZLE: Euphoric, hands-in-the-air moments — but also plenty of booty bass shakers.
Are there any particular artists, cultures, or experiences that have shaped your musical identity?
SAZZLE: For me, it’s always been about artists who blur the lines and refuse to stay in one lane - that unpredictability is what really shaped how I DJ and curate sets. Artists like Objekt, Verraco, CEM, JASSS - being on the other side of their sets has been mind-blowing. You never know what’s coming next, and I love that. It’s like being in the passenger seat, just trusting them to take you wherever they want, and I think that’s something really commendable.
What’s your approach to curating a mix — do you follow a structure, or is it more instinctive?
SAZZLE: For me, it’s always been about artists who blur the lines and refuse to stay in one lane - that unpredictability is what really shaped how I DJ and curate sets. Artists like Objekt, Verraco, CEM, JASSS - being on the other side of their sets has been mind-blowing. You never know what’s coming next, and I love that. It’s like being in the passenger seat, just trusting them to take you wherever they want, and I think that’s something really commendable.
How do you balance playing what you love versus what the crowd expects?
SAZZLE: It’s always a bit of both. You’ve got to have some crowd-pleasers, but overall I really play for myself. I don’t shy away from experimenting with a diverse palette - I think the crowd needs to hear something new. Introducing people to sounds they didn’t even know they liked is very much my mindset.
Is there a particular genre or sound you’re currently exploring or excited about?
SAZZLE: I’m currently working on my debut EP, so expect an intersection between techno, percussive textures, and Latin bass influences spread across it.
The music industry can be intense. How do you take care of your mental and emotional well-being?
SAZZLE:It’s about knowing my limits and understanding what my body needs. Breaks are essential, and I’m quite happy to step back every so often and have days where I literally do nothing - just to reset my entire equilibrium.
What keeps you inspired and motivated when you hit creative or personal challenges
SAZZLE: I think it’s about getting out of my own head and diving into something different. If I hit a creative block with DJing, I’ll go out to a night where I don’t know anyone, or go to something like Unfold solo and immerse myself in new sounds.
I think the best way to bring back creativity is by immersing yourself in the work of others and noticing what stands out in their creations.
Beyond music, how do you see yourself in the world—what drives you and your purpose?
SAZZLE: I’m very creative by nature, and my full-time job is being an architect, so I’m constantly surrounded by and inspired by creative thinking. That naturally drives me - being around people who approach things differently and push boundaries.
Have you faced any challenges in the industry that shaped the way you approach your craft?
SAZZLE: Numerous, almost never-ending challenges. On one end, there’s the awareness that a lot of success can come from nepotism, which can make you feel excluded from opportunities. On the other, it’s about being different from the status quo.
When I started playing in the North East, a lot of people suggested I change genres and told me I’d never get booked because I played techno - it just wasn’t really celebrated there at the time.
But I think you overcome these challenges by surrounding yourself with the right people and constantly asking yourself: why am I doing this, and what am I getting out of it? Being part of collectives, going to events, and connecting with like-minded people really helps ground me in moments where I might feel like I’m not enough.
Do you think electronic music is becoming more inclusive? What progress do you hope to see
SAZZLE: Not necessarily. I think it’s become more accessible, but not inclusive.
For me, I don’t think we’ve reached where we could be yet. We’re not even close to 50/50 male-female representation on lineups, and there’s still a long way to go.
I’d really like to see a break away from these “family trees” when it comes to curating nights. I think a lot of people are hesitant to take a chance on someone new, and when that continues over time, you end up the same select pool playing everywhere. The only way to shift that is by looking beyond those smaller, connected circles and being willing to take risks on the new and unfamiliar.
How do you navigate spaces where you might feel underrepresented or overlooked
SAZZLE: Honestly, by embracing the difference in me. I don’t let underrepresentation get to me. To me, that’s a fundamental issue with the curator and should be addressed as such, its also sad to see that a lot of SWANA artists are overlooked, even in the wake of recent political events. I’ve yet to see a Middle Eastern fundraiser with more than one or two SWANA artists on the lineup, which is disappointing considering there’s such an abundance of talent within the community, it just doesn’t seem to be reflected in bookings as a whole.
If you could create your dream lineup for an event, who would be on it?
SAZZLE: This is a fun one. Of course, the tratratrax familia would be there - JP (Verraco), Dani (1OO1O), who’s a dear friend of mine. I’d also bring in Alirio, NVST, Objekt and Bored Lord.
I’d want a lineup that’s really different but also one that celebrates my influences. I think with this roster you are in the best of hands.
What’s a festival, venue, or city you dream of performing at and why?
SAZZLE: Fold is definitely up there, but also Selectors, Waking Life, Horst, and similar spaces. I feel like these venues really prioritise sound quality and attract open-minded crowds, which makes it so fulfilling to play.
They also tend to create environments where you’re taken care of - places to lounge, space to breathe, not just intense dancefloor energy the whole time.
What’s a festival, venue, or city you dream of performing at and why?
SAZZLE: I’m really passionate about building sound systems. I was lucky enough to help my dear friend Itamar (Somme Farris) design the initial phases of his newest system for Alef Sound, and that brought me a lot of joy - being able to contribute creatively to something like that felt really special.
SONOS CLUB is an initiative from Sounds of Craft Records, designed to highlight the eclectic electronic music scene through the perspectives of the BIPOC diaspora and marginalized communities, while being open to all.
