Benny S mixes Nightclubber 216

From early inspiration on the dancefloors of London to international recognition through labels like Inermu, Miscreant and Yuzu Music, Benny S has carved out a sound rooted in deep grooves, subtle textures and timeless house influences. Known for blending garage swing with warm, melodic depth, his productions and sets reflect a careful balance of emotion and restraint. With support from names like Paolo Rocco and releases that continue to reach new corners of the scene, Benny’s journey is one of steady evolution — grounded in passion, driven by connection, and always tuned to the finer details. Benny recently provided an awesome mix for us, so we caught up with him recently to learn more…

You’ve released on respected labels like Inermu, Yuzu Music, Miscreant and Farmat — how did those opportunities come about and what have they meant for your journey? 

Each of these labels has been great to work with. What really stands out to me is not just the quality of the music they put out, but also the fact that they're all based in different parts of the world. That international element has allowed my music to reach a broader and more diverse audience. 

All of these labels are quite specific in terms of the sound they’re looking for, which I really respect. It pushes you as a producer to deliver something that fits their identity while still staying true to your own style. Each release has helped shape different parts of my journey, opening new doors and connecting me with listeners I might not have reached otherwise.  

Your music has been supported by DJs like Paolo Rocco — how does it feel knowing your work resonates with artists of that calibre? 

It was an amazing feeling to see someone I’ve been following and looking up to for years support my music. I’m a huge fan of Paolo Rocco and his label, Raw Moments, so it really meant a lot. The track that Paolo supported was actually a collaboration with Mike Sharon — something we’d been working on together. 

This all came about through my good friend Mahar, who’s friends with Paolo. Mahar passed the track on to him, and I’m super grateful for that connection and the support.  

Your early influences include house legends like David Morales and Masters at Work — how do their sounds still influence your productions today? These artists are the true sound of house music. 

Some of their tracks are over 20 years old and still get played regularly — and I never get bored of them. The vibe they created back then was on a whole different level. I try to take inspiration from the way they used harmonies and translate that into my own deeper approach. That sound they had — I don’t think it can ever really be replicated in the same way. It was timeless.

The mix you recorded for us has a distinct mood. How did you approach track selection and the overall flow? 

For this mix, I had recently picked up quite a few new tracks, so a big part of the process was figuring out how to blend them in a way that created a proper journey. I think the overall vibe leans more on the housey side, but it gradually moves into more minimal territory as it progresses. It starts off quite mellow, slowly building into a more rolling, groove-driven energy towards the end. 

Track selection was really about creating a flow that felt natural but still emotionally engaging. I wanted the transitions to breathe a bit, letting the tracks speak for themselves. I included music from some incredible artists like iO Mulen, Eva Lansberg, The Mountain People, Tuccillo, Horsemen, and many more. Their sounds helped shape the mood and added a lot of texture throughout the mix. 

What’s your usual process for planning a mix — do you go in with a clear idea or let it evolve as you go?

I don’t usually go in with a rigid blueprint — instead, I let the context guide the direction. If the mix is for a label or a platform that leans toward a certain sound (like something more dubby or more house-oriented), I’ll adapt to that vibe while still keeping my own identity in the selection. 

I’m not into boxing myself into one specific style. I enjoy blending elements from different genres and eras — mixing older tracks with newer ones to create something that feels fresh but still emotionally resonant. The goal is always to curate a journey that connects with the audience on a deeper level. I spend a lot of time selecting tracks that complement each other and build a mood, not just in terms of BPM or key, but in energy and feeling. 

You remixed Julian (AR)’s track recently — what’s your mindset when approaching a remix versus an original production? 

For my remix of Julian (AR)’s track, I wanted to keep a deeper vibe while adding a slightly funkier house bassline to give it a different feel. Julian provided some great sounds to work with, which really helped shape the direction. I layered in some classy pads and used a couple of chords from my friend Érratic’s sample pack, which added a nice touch. I also brought in a few elements from my Novation Peak — they helped create this deep, atmospheric feel with a bit of bounce. When I approach a remix, I try to use as many of the original sounds as possible, but always with the aim of giving it my own twist. 

When did you first come across nightclubber.ro and what’s your take on its impact in the minimal/deep scene? 

I first came across Nightclubber.ro quite a few years ago — I remember noticing their mixes and features consistently showcasing quality underground artists. It was one of those platforms that always felt really tapped into the deeper and more minimal side of electronic music. What I really respect about Nightclubber is how they've stayed true to a certain sound while still keeping things diverse and forward-thinking. It’s become a trusted space for both established names and emerging talent, and I think its impact on the scene has been massive — especially for artists who might not have the biggest spotlight but are making really great, thoughtful music. Being invited to do a mix for them was a real honour, especially knowing how many artists I respect have featured there over the years. 

You’ve mentioned minimal music being a major influence — what is it about minimal that clicks with you so deeply? 

Minimal music has always resonated with me on a deeper level. There’s something about the subtlety and restraint that really pulls me in — it’s not about big drops or obvious moments, it’s more about the groove, the space between the sounds, and how everything is carefully placed.What clicks with me most is how minimal can be both hypnotic and emotional at the same time. Even with fewer elements, there’s still so much depth and movement. It really teaches you to listen closely and appreciate the small details — the textures, the swing, the atmosphere.That approach has definitely influenced how I think about both DJing and production. It’s not just about what you add, but what you leave out — and how that creates room for the music to breathe and connect. 

You played with Subb-an in Hackney Wick — what was that night like and what’s it like sharing the booth with someone of his standing? 

That was a great night — big shout out to my friends at Into Sound for giving me the opportunity to play. It was amazing to share the booth with someone like Subb-an, whose music I’ve respected for a long time. He was playing some really solid tracks all night, and the energy in Hackney Wick was just on point. Definitely one to remember. 

Let’s talk Lacuna — how did your release on the 024 edition come together, and how does it feel to return now with a guest mix? 

The release on Lacuna’s 024 edition came about pretty organically. I’d been following the label for a while — always loved their aesthetic and the consistency of the music they put out. I sent over some tracks, and thankfully they really connected with them. Being part of that release felt special, especially knowing the level of quality they curate. 

Coming back now with a guest mix feels like a full circle moment. It’s great to return to a platform that supported my music early on, but this time with a different perspective. A mix gives you space to tell a longer story and showcase a broader range of influences — so it’s been really enjoyable putting it together.It’s always nice to build ongoing relationships with labels and platforms that genuinely care about the music and the culture behind it. 

You’ve said discovering Pacha London was a turning point — what made that moment so pivotal for you? 

When I was younger, I used to go to local nightclubs — I enjoyed them, but deep down I felt like there was something more out there, something a bit more special. I’d always hear people talking about places like Pacha and Egg Club, and I really wanted to experience it for myself, but for a while, I just didn’t have the opportunity. Eventually, I went with some friends one night. Electro house was big at the time, and we ended up at events like Plush Da Funk and Kinky Malinki — it was a totally different energy. That experience really changed everything for me. I loved it. From that moment on, I knew I could never look back. It opened my eyes to a whole new world of house music and club culture. 

From that point forward, I was hooked — going to raves and parties all over London and eventually across Europe for a solid ten years. That night at Pacha was the start of it all. 

From playing Egg, Pacha and Lightbox in 2013 to producing your own tracks from 2015 — what shifted in your mindset around that time? 

Playing at venues like Egg, Pacha, and Lightbox in 2013 was a huge turning point for me. Those early gigs gave me a real sense that this was more than just a hobby — it was something I genuinely wanted to dedicate my life to. But I quickly realised that to take things further and really carve out my own space in the scene, I had to start producing. DJing alone wasn’t enough anymore — I needed to create my own sound. So I started with a short two-day Logic course, but not long after that I made the switch to Ableton. I've been learning and evolving with it ever since. That period really marked a shift in mindset for me — from just playing music to wanting to make it, and use it as a way to express myself on a deeper level.

Your first release came out on Music Related Records in 2016 — what do you remember about that moment? 

That release was such a turning point for me. I’ve got to give a big shout out to Ben Murphy and Luke Hazell — they really gave me a chance to enter the scene, and I’m super grateful for that. The track actually hit number one on Beatport, which was surreal at the time. I still go back and listen to those early tunes now and then, just to see how far I’ve come. It’s a reminder of the journey and how much I’ve grown, both technically and creatively. 

Your sound often blends garage grooves with deep house warmth — how did that fusion become your signature? 

From a young age, I was massively into garage — artists like MJ Cole, Todd Edwards, and Grant Nelson really shaped my early taste. The emotion and groove they brought to their tracks had a huge impact on me. Deep house, on the other hand, brings that feeling of relaxation and emotional depth, but still keeps that party energy alive. Blending the two just felt natural to me — it’s always been about capturing a vibe that hits both the heart and the dancefloor. That fusion has become a core part of my sound. 

What keeps inspiring you to evolve your sound while staying true to your roots? 

Right now, I feel that the music I make will always lean towards the underground — that’s where my heart is. The deeper, more minimal sounds have always resonated with me, and I don’t see that changing anytime soon. 

As for the tech house scene, I’m not too keen on the direction it’s taken lately. It’s strayed so far from its original vibe, and at this point, I’m not even sure what to call it anymore. I feel like a lot of it has become more commercialized, losing that raw energy that initially drew me in. 

For me, it’s about staying true to what feels right — I don’t want to chase trends or go in a direction just because it’s popular. The underground scene gives me the freedom to express myself authentically, and that’s what keeps me inspired to keep evolving while staying connected to my roots. 

Lately, I’ve also been really drawn to exploring dub techno. It’s something I’m eager to dive into more, as I think it has so much space for expression and atmosphere. I love how it blends deep, rhythmic elements with a sense of space and movement — there’s a lot of room for experimentation in that sound. 

Any artists or labels currently catching your ear that you’d love to work with?  There are so many artists and labels out there that inspire me — the list could honestly go on forever. Some of the obvious ones for me would be Janeret, DJ Steaw, Gunnter, Havantepe, Brawther, Paolo Rocco, Roger Gerressen, and Malin Génie. Their sound and consistency have always stood out. But just as important are the up-and-coming artists around me who are pushing boundaries in their own way — people like Mahar, Érratic, Sarge Malone, Sonidy, Oreason, Max Casebolt, and many more. I’ve got a lot of respect for what they’re doing — I feel lucky to be surrounded by such a talented and motivated group. 

As for labels, I’d love to work with Berg Audio, Gettraum, Rutilance, Yoyaku , Cabinet Records— and definitely some of the deeper, dub-influenced techno imprints out there. 

Finally, what can we expect from you in the near future — more releases, gigs, collaborations? 

In the near future, I’ve got a few exciting shows lined up. I’ll be playing alongside my good friends Ant Linney, Paul Linney, and Leroy Roberts, which I’m really looking forward to. I’ll also be playing atDIY (Deep Inside You) towards the end of May, so that’s definitely something I’m excited about. 

On the release front, I’ve been working on a few collaborations with Érratic and Sonidy and Mahar — I’m hoping those will be out soon. It’s been great to work with these guys and explore some fresh sounds, so keep an eye out for those.  

Keep up with Benny S on Instagram‍