This month’s show is brought to you by Berlin-based producer, DJ, and label founder Darwin. Originally from Edmonton, Canada, Darwin moved to Europe in 2007 to pursue her love of music, first landing in London, before settling in Berlin, where she has been for the past 15 years.

Darwin cut her teeth in Berlin’s nightclubs, first a regular on Panorama Bar’s dance floor, before stepping behind the decks at the now-defunct club Griessmühle, where she hosted her bass-heavy, techno residency REEF – which lives on today at Berghain. In 2015, Darwin launched her label SPE:C, dedicated to platforming UK bass and hybrid club sounds by new, up-and-coming artists.

To celebrate ten years of SPE:C, Darwin has put together a mix for this month’s show, highlighting some of the label’s most formative releases – past, present, and unreleased. Accompanying the mix is an interview with Darwin, who discusses her love of sounds that feel alive, Berlin’s influence on the trajectory of her label, and knowing when to close one chapter to begin another.

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Your label SPE:C emerged in 2015 in Berlin as a platform for bass-heavy music with UK influences. Looking back, what is the core identity or feel that has continually defined the label?

Darwin: SPE:C has always been about platforming new and lesser-known artists. For me, it’s more exciting to discover people who might not otherwise have the opportunity and help push their work-out into the world. Before becoming a full-time artist, I worked in many different roles across the music industry, so I have those tools to help others navigate and amplify their vision. The other defining thread of SPE:C has always been its sci-fi, low-end aesthetic.

Over the last decade, how has SPE:C’s sonic direction – especially in terms of UK bass and techno – evolved or deepened? For example, early releases from artists like Decka or Edeka, compared to recent remix compilations.

Darwin: My taste is always evolving as I dig for new sounds, and I think SPE:C has been a direct reflection of whatever was inspiring me at the time. Back in 2015, when I launched the label, I was a resident at Griessmühle in Berlin and was playing a lot of techno while weaving in bass. The early Decka releases really mirrored that hybrid sound I was exploring as a DJ. The way I’ve always signed music is simple: people send me dubs, I keep coming back to them and playing them in my sets, I put them out. At its core, SPE:C has always been about club gear, there’s no denying that.

Are there recurring themes, aesthetics, or moods you find yourself drawn to when curating SPE:C releases?

Darwin: Of course, I think my sonic palette is quite distinct regardless of genre. I’m drawn to moody, swampy, visceral bass music. Sounds that feel psychedelic, alive, and even celebratory. I’m especially attracted to sci-fi textures, alien atmospheres, traces of nature, and eerie vocal elements. I also love hearing hybrid ideas that push traditional genres forward, bringing fresh perspectives to familiar styles.

I’m drawn to moody, swampy, visceral bass music. Sounds that feel psychedelic, alive, and even celebratory.

Which three releases – past or present – do you feel best encapsulate the essence of SPE:C, and why?

Darwin:
Decka – Begyndelsen [SPE:C 015 01] - the record that pushed me to start the label. The whole vision for SPE:C came after I heard this demo.

Carré – Tilted [SPE:C 015 14] - Carré and I meeting felt serendipitous. She inspires me so much and has also become a good friend. Her take on dubstep is lush and dreamy, adding a feminine touch to a sound that has traditionally been so ‘bro-y’. It’s been amazing to watch both her and Decka evolve as artists over the years, getting the flowers they deserve. I honestly feel like a proud mom sometimes!

SIM – Sulum [SPE:C 015 15] - You want to talk about alien sounds. When I listen to SIM’s music I feel like I’m in a dystopian city stumbling into a party run by people from another planet. It’s like if dembow had existed in a parallel universe and this is what it became. You can’t get more SPE:C than this.

Have certain artists become core to the SPE:C identity? Are there newcomers who have surprised you or that you're especially excited to spotlight?

Darwin: Every single artist who has contributed to the label has helped shape the SPE:C universe. I don’t play favourites!

Looking at the SPE:C Remixed compilations, what inspired the concept of reinterpreting previous releases?

Darwin: I never did remixes on the label because I didn’t want to take away from the artist I was pushing. But I thought it would be a cool way to bring fresh takes on older tracks to a newer audience who may not have discovered them for the anniversary. Honestly, it’s been so much work, I will never in my life do remixes again.

What are some special releases, vinyl editions, or collaborations that you planned around the label’s anniversary?

Darwin: We just released a limited edition engraved USB dubstick on September 25, containing 11 dubs (only 100 copies) and paired with a glow-in-the-dark resin SPE:C keychain designed by Reza Hasni.

Turning ten is a major milestone. How does it feel to reflect on a decade of running an independent label in the underground music sphere?

Darwin: I have so many anniversaries coming up at the moment. This year marks 10 years of SPE:C, and next year will be 10 years of REEF. It feels beautiful to have kept them going for so long. Of course, there have been lows where I wanted to quit completely—I even paused the label for two years around 2020. But I’m always evolving, and this year I really ramped things up again. Looking ahead, I think I’ll scale SPE:C back in 2026 to focus more on my new label, Biofield Records, which launches this November. My vision has shifted a lot, and I’ve realized I like to close chapters and start new ones.

How has Berlin itself – its club culture, artistic network, and environment – influenced SPE:C’s trajectory?

Darwin: I just celebrated my 15-year anniversary of living in Berlin this week. Crazy how time flies! This city has given me everything when it comes to music. I moved here without ever having visited before, simply because I felt so strongly called to be here. Over the years I have immersed myself in so many different scenes, all of which have shaped me as an artist and influenced the projects I do. I am endlessly inspired by the spirit of niche experimentation in this city. Festivals like Atonal truly give me life. I feel so grateful to be part of such a huge community here that feels deeply symbiotic. There are so many inspiring people around me that I love collaborating with and exchanging ideas. There is no way any of my projects could have been born anywhere else.