HASKELL Gets Deeper: A Raw Take on Tech House Minimalism

About HASKELL

HASKELL's sound is defined by crisp percussion, deep basslines, and a focus on groove-led minimalism. With releases on labels like Toolroom, In Rotation, LoveJuice, and D4Dance, Haskell has garnered support from BBC Radio 1 and Kiss FM. His latest single, “Deeper,” released on the iconic Nervous Records, marks a bold evolution in his sound, stripping things back to a raw, hypnotic core. In this interview, Haskell discusses the track’s creative journey, his production approach, and the balance between DJing and studio work.

Deeper on Nervous sees you stripping things back to a thick-set groove and razor-sharp percussion. Was there a particular inspiration or moment that sparked this more minimal, low-slung direction?

Making 'Deepa' was interesting. I was chatting with Alex Jones from Dense & Pika, and I mentioned that I’d love to work on a track with him. I sent him an idea I was keen to develop. I started it, and then he took it away, made some tweaks, and came back with his take.

But we both realized it didn’t quite fit as a collaboration between the two of them and me. Still, I liked the track, so I asked if I could keep working on it myself.

I spent some time on it, and at one point, I was with Will Clarke, playing through some tracks. I showed it to him, and he loved it, said he thought he could add something to it. So we got stuck in, developed it together, and that’s how it turned into what you hear now. It’s a bit darker, a bit more intense, but still pretty minimal. It’s not like my Toolroom stuff. It’s stripped back but has a punch and loads of character, which I absolutely love.

The vocal loop in Deeper has a hypnotic quality that nods to classic Nervous records. How do you approach sampling and vocal selection in your tracks, and did you have any specific references in mind while producing this one?

Vocals are always tricky. I’m still figuring out what works best. Sometimes you find a vocal and build the track around it, and other times you build an instrumental and try to fit a vocal in. More often than not, I start with the instrumental because that’s my favourite part—drums, basslines, all of that.

Vocals can be the hardest part, but with this one, we found a vocal that just clicked. It felt like one of those rare moments where everything just worked. I usually have a reference track in mind, something to guide the direction. Without a strong reference, you’re basically setting off without a map.

Negative space plays a huge role in the atmosphere of Deeper, letting bass pressure and percussion take the spotlight. How do you balance keeping a track feeling spacious without losing its energy?

Creating space in a track is so important, letting things breathe, having those quiet breakdowns. It’s about taking someone on a journey. You can’t just hammer them with sound all the time. Sometimes, less is more. Taking elements away builds anticipation. Dance music is all about tension, that build-up and release, catching people off-guard and then bringing it back.

Nervous Records has a long legacy in house music. How did the connection with the label come about, and what does it mean to you to release Deeper with them?

When you’re building a groove-focused track like Deeper, where do you usually start? Do you tend to build from drums up, or do you begin with a bassline or vocal idea?  

When I’m producing, I always start with the drums. That’s my foundation. I’ll spend time finding the right references, build up the drums, and then start thinking about the melodies or basslines that will fit. My sound is usually a bit deeper, with skippy drums, a bassline with movement, and rhythmic, hypnotic synths. It’s all about capturing a groove. There has to be some swing in there.

Your progression as a producer seems to echo your growth as a DJ, focusing on crisp, groove-driven sounds. How do you balance these two roles—do you often test your own productions in sets before finalizing them?

I see myself as a DJ first and foremost. That’s what I love most, playing out. But getting gigs isn’t always easy, especially in the UK, which can feel pretty quiet. The US, Europe, and Ibiza are where it’s really happening right now.

So, production is my way of controlling my own destiny. By making tracks, getting them signed, and building momentum, I can stay in the spotlight as a DJ. That’s always been the journey.

Looking back at your journey into music production, what were some of the most important skills or techniques you learned early on that still influence your tracks today?