A chat with DJ BOWLCUT aka Prince of Bowl-Air

Emerging from the depths of Seoul’s underground electronic music scene, DJ BOWLCUT aka Prince of Bowl-Air is more than just a DJ and producer—he’s the self-proclaimed ruler of the conceptual microstate Bowl-Air, where music reigns supreme. Inspired by a playful twist on The Fresh Prince of Bel-Air, the alias evolved into a deeper philosophy—one that blends humour, imagination, and an uncompromising dedication to sound.

A relentless crate digger, Prince of Bowl-Air’s journey into minimal music began with a lucky windfall—hundreds of vinyl records from an old-school Detroit DJ. Since then, he has meticulously crafted a sound that fuses microhouse, deep, glitchy textures, and leftfield house and techno influences. From vinyl turntablism to digital explorations, his sets challenge convention, refusing to follow predictable algorithmic recommendations.

As the founder of Principauté de Bowl-Air, his independent label, he’s pushing the boundaries of minimal and glitchy house, creating a space for sonic innovation that reflects both his deep-rooted influences and the ever-evolving Seoul music scene. We caught up with him recently to learn more…

Can you share the story behind your alias, 'Prince of Bowl-Air'? What is ‘Bowl-Air’ exactly?

‘Bowl-Air’ is a conceptual microstate that I believe exists somewhere in Seoul. The idea originally started as a parody of the 90s TV show The Fresh Prince of Bel-Air. I made a joke about changing ‘Bel-Air’ to ‘Bowl-Air’ and imagined myself as the head of this microstate. Coincidentally, I later discovered the legendary ‘Republic of Kazantip’ festival, which had a similar microstate concept. However, Bowl-Air remains a monarchy, and its governing system is still unclear to the public. The main export of the ‘Principality of Bowl-Air’ is music created by DJ Bowlcut (under the revision of Prince of Bowl-Air).

How did you first become interested in minimal music?

I first heard about this type of music when I was young through articles, but I didn’t really understand it back then. However, about 15 years ago, I had the chance to acquire hundreds of minimal and microhouse vinyl records from my American friend (shoutout to Ingram Jones). He had received them from a DJ friend in Detroit. My friend kept the soul, funk, and hip-hop vinyl, while I got the techno and house records. Among them were many early releases from Perlon, Sushitech, Lo-Fi Stereo, and Rawax. At that time, I was already playing a lot of leftfield house and techno, such as music from Basic Channel and L.I.E.S. I started incorporating these minimal sounds into my sets, and the journey continues to this day.

What are your thoughts on the current electronic music scene in South Korea?

It’s expanding, but many dance music fans are still part of niche groups—small communities that operate within their own rules while often excluding others. This kind of exclusivity happens in many subcultures worldwide. These groups either collaborate or compete, which has led to increasing “politics” within the scene. I can’t say for sure whether this is a good or bad thing in 2025.

How has the internet influenced your music discovery and production process?

Without Discogs and Bandcamp, discovering new music through my own research would be much more difficult. AI algorithms and big data recommendations from platforms like Spotify and YouTube Music can be surprisingly effective, but I also try to balance this by going back to traditional digging methods—buying vinyl records, old CDs, and cassette tapes from secondhand markets. While online algorithms are useful, I’ve noticed that people’s music choices are becoming increasingly homogenized. As a DJ, I see it as my role to disrupt these recommendation patterns by introducing new and unpredictable elements into the system.

Can you tell us about the digging scene in South Korea and how it has impacted your work?

In the past, getting vinyl was very difficult—I had to either fly to Japan or order records from Europe one by one. Nowadays, there are a few excellent record stores in Seoul (such as Junction, Mosaic, and Clique Records), making it much easier to access vinyl. However, I’ve recently felt that the sound of “vinyl DJs” has become somewhat monolithic. To explore new sonic territories, I’ve started digging into digital formats, CDs, and cassette tapes as well.

What inspired you to establish your label, Principauté de Bowl-Air?

I sent demos to European labels many times, hoping to release my own vinyl EP, but I often got rejected or had to wait three to four years for a release due to poor communication. Eventually, I realized that I needed to take matters into my own hands. Conversations with friends—especially Slow Mouth from Morsecode Records in South Korea and Clement (aka K.O.P 32)—gave me the courage to launch my own label. Special thanks to Baldo for helping me press and distribute my first vinyl EP.

Can you discuss the influences behind the label's unique sound and aesthetic?

I envision a sound that blends microhouse and deep, glitchy house, reminiscent of the late 90s and early 2000s—artists like Ricardo Villalobos, Luciano, and Raresh. However, my sound is also shaped by the feedback I receive from Korean audiences and the sonic environment of cosmopolitan Seoul. My background as a turntablist has greatly influenced my approach to DJing, live performances, and production. I frequently use scratching, beat juggling, and live sampling, even though these techniques are often considered “heretical” in vinyl purist circles. However, I see it as a form of creative destruction, similar to granular synthesis. My live performances incorporate the Polyend Tracker, modular synthesis, syntablism, and turntablism, offering a distinct approach compared to those who simply produce in a DAW and play back tracks.

What are your future plans for the label and your personal music career?

I don’t focus too much on the future, but I plan to release as much music as possible in 2025—both digitally and on vinyl. I want to keep expanding my musical boundaries and hope to release at least eight or nine EPs this year, including a various artists compilation with friends. My digital releases will take a deeper, more minimalistic approach (similar to the old Textone label), while my vinyl releases will be more uptempo and dancefloor-focused, with notable remixers to help boost vinyl sales.

How do you balance your roles as a DJ, producer, and label owner?

For me, DJing and producing are essentially the same. DJing is like gathering ingredients for a dish—sampling, referencing, and experimenting. Producing follows, and then I return to DJing to test my tracks in a live setting. As a label owner, I decide when, where, and how to release my music in a structured timeline.

How do you stay inspired and continue to innovate in your music?

I’ve been incorporating more acapellas and other stems into my DJ, hybrid, and live sets, which has expanded my digging scope beyond electronic music. Lately, I’ve been exploring Korean jazz, rock, and rap, as well as deepening my knowledge of early 2000s German glitch house. Expanding my music collection, playing gigs in unfamiliar places, and engaging with new audiences keep me inspired. And, of course, getting good sleep, rest, and attending friends’ parties also good to refresh myself.

What message do you hope listeners take away from your music and the releases on your label?

For DJs and music lovers—whether you find my music now or 10–20 years later—I hope it provides you with a unique element to add to your sets. I encourage you to dig deeper, find the motifs behind the sounds, and weave them into your own musical journey. Most importantly, have fun!

Keep up with Prince of Bowl-Air on Instagram, Soundcloud, RA and Bandcamp

Listen to our premiere of Prince of Bowl-Air's 'Dreams Come True (S.E.S Bowlarized Mix)' below