Boss Priester chats X-Kalay release

Boss Priester is a Dutch DJ and producer whose music journey has been shaped by the vibrant scenes of Rotterdam and beyond. After moving to Rotterdam at 19, he immersed himself in the city's techno culture, inspired by artists like Speedy J and Stranger. This gritty, industrial sound influenced his early explorations into electronic music, but it was the playful, groove-filled sets of DJs such as Stranger and experiences at events like Slapfunk that truly defined his artistic direction. Now based in The Hague, Boss Priester continues to channel his love for house and techno into dynamic productions and live performances that balance energy, depth, and a distinctly human touch.

Known for his hands-on approach to music creation, Priester values the imperfections and spontaneity that come with hardware experimentation. His growing catalogue, including releases like the forthcoming No Exceptions on X-Kalay, reflects a blend of his personal experiences and inspirations, from legendary clubs like Sisyphos to the understated elegance of festival sets. With plans for new releases and a passion for both live and studio work, he’s solidifying his place in the electronic music scene. We caught up with him recently to learn more...

‍I believe you recently moved to The Hague after living in Rotterdam. How has growing up in Rotterdam shaped your musical identity?

I moved to Rotterdam at the age of 19 and lived there for approximately six years. From what I can remember, the music scene was heavily focused on techno (and still is). Between 2014 and 2017, I attended many techno parties and saw DJs like Speedy J, Stranger, and Benny Rodrigues perform. I had never heard music like this before and was fascinated by how perfectly it matched the gritty vibe of the city.

It was a mystery to me how a scene like this could exist so naturally. I wondered where it came from and how it became a thing. I just wanted to know everything about it and get involved.

Rotterdam is a city known for its rich musical culture. Which local artists or scenes influenced you the most while growing up?

While I was still living with my parents in a small village near Rotterdam, it was Dutch hip-hop that first got me excited about music. I think I was around 14 years old and listening primarily to Dutch hip-hop. I had a computer in my room where I discovered a Dutch platform promoting underground rap music. I was really into it, but over time the sound evolved, and I eventually lost interest.

When I turned 19, I began to develop an interest in electronic music. After moving to Rotterdam, I started experiencing music within its proper context, which, for me, is essential to fully understand and appreciate it.

A great example of a DJ/producer whose sets I remember vividly is Stranger (also known as Tafkamp). A lot of the music I heard at the time was dark and serious, but his sets stood out—they were playful, housey, and ravey. This approach created a much better atmosphere on the dance floor, in my opinion.

That sense of playfulness and a less serious vibe around the music was exactly what I had been looking for. Up until then, the vibe around house music I’d encountered didn’t really resonate with me. However, after attending a Slapfunk hosting at a festival, I was sold. It offered the perfect blend of house grooves and techno abstraction for me.

Your setup has evolved significantly over the years. What role does experimentation with hardware and software play in your creative process?

Looking at a computer screen at home or in a studio feels very different from dancing to music in a club. When I work with hardware, it feels more engaging and hands-on. It sparks creativity much faster compared to generating ideas solely on a computer. With hardware, committing to ideas becomes a necessity rather than a choice if you want to move forward.

For me, making music is about making decisions. When you work with hardware, you often stick with the initial fresh idea and build on that. There’s no endless back-and-forth tweaking to make things perfect—you work with the material you have. Capturing those small, human imperfections along the way brings life to the compositions.

I often feel the urge to make everything perfect when creating music. But when you listen to older music, those little mistakes often add charm and character.

You studied Audio Design in Utrecht after initially training to work with cars. How did that transition happen, and how do you think your technical background has helped in music production?

When I was still living with my parents, I spent a lot of time modifying mopeds and cars. Academically, I wasn’t sure what direction to take. After dropping out of high school, I decided to study car diagnostics, thinking it was a good fit. I worked in a car shop for a year, but I quickly realised it didn’t make me happy.

When I moved to Rotterdam, I no longer had the space to continue my hobby of working on cars. That’s when I discovered music production as a new way to stay creative and engaged. I feel there’s a lot of overlap with the technical aspects of working on vehicles. Electronic music made sense to me right from the start—its technical side felt very logical and intuitive.

Can you walk us through a typical day in your creative process? How do you keep your ideas fresh and engaging?

A typical day starts with waking up early and heading straight to work. I make sure everything is set up and functioning properly beforehand to avoid disruptions or distractions. My goal is to translate my initial ideas as quickly as possible, avoiding getting bogged down by technical issues or over-processing sounds. Over the years, I’ve found that my best tracks are often created within just a few hours.

When I’m not creating new music, I spend time collecting and sampling sounds to build my personal library. Having a customised sample library makes it much easier to shape my own sound and stay creative, even during periods when I feel less inspired.

Let’s talk about your latest release on the X-Kalay label. What was the creative journey behind the project?

I don’t think I consciously created these tracks with the intention of releasing them on X-Kalay, which made the process feel really natural and enjoyable.

In 2023, I attended Dimensions Festival and saw Gene on Earth and Dyed Soundorom playing a back-to-back set. I loved how understated and classy it was—filled with cool, original tracks. A few months later, I revisited that set on YouTube, and it instantly inspired me again. I started experimenting in the studio, aiming to capture a similar overall vibe. The tracks All My Life (A2) and Red Dot (B1) were directly inspired by that set.

No Exceptions (A1), on the other hand, came about differently. It was one of many tracks I worked on in the studio, but this one just clicked. I probably finished it in a short amount of time. It’s straightforward and leans more toward garage, delivering energy in a different way than the other, more subtle tracks.

I like the contrast, and I’m happy that this EP combines both styles. I think it adds depth and variety to the overall release.

Harry Willis recently remixed one of your tracks. What do you think of his reinterpretation, and how do you feel about collaborations or remixes in general?

Harry is one of my favourite producers—I’ve been a fan ever since his remix on Rubisco. He’s created incredible music both under his own name and as Phonetraxxx. He’s also been closely involved with Ba Dum Tish, a label I’ve always felt a strong connection with. Plus, he’s just a really nice guy! For this kind of track, I thought Harry was the perfect fit, and I think he did an amazing job on the remix.

To be honest, I find it challenging to collaborate in the studio. There are only a few people I feel it really works with. Making music involves constant decision-making and, for me, is a reflection of my personal perspective on music. I can be quite a perfectionist, which might make me a bit difficult to work with at times. Continuing a project that someone else started is also tricky for me.

That said, collaboration is something I keep striving to improve. I love trying new approaches, learning new techniques, and having meaningful conversations about music. I’m hopeful that I’ll release some of these collaborations this year!

Your track ‘NRG’ seems to hold a special place for you. What did you do differently while creating it, and what inspired the track’s unique vibe?

Creating that track was a bit of a happy accident. I was experimenting with some hardware I wasn’t very familiar with yet. I had a lot of inspiration and was in a great flow after a weekend at Slapfunk in Bret. I knew exactly what I wanted to create and had a clear vision of the vibe I was aiming for. Everything just clicked, and that release ended up being the one that grabbed a lot of attention.

Through Instagram, I saw my music being played all over the world—something I had only dreamed of in the years before. It gave me such a rush and a huge boost of motivation to keep making music.

How do your experiences at clubs like BRET and Sisyphos feed into your production process?

I think BRET is a fantastic venue that has had a really positive impact on Dutch house culture. Events like VBX and Slapfunk have been hosting parties there for years, and they’ve influenced me a lot. I don’t party as much these days since I’ve been performing more often and want to stay focused in the studio during the week. However, I still visit once in a while to experience the music in context.

I’ve had the pleasure of playing at Sisyphos twice, and each time has been a joy—it was a full house on both occasions. The last time, I played a set on Sunday morning from 9 to 12. I got up early at the Airbnb, expecting to deliver a soothing sunrise set, but it turned into one of my favourite, most energetic sets ever. The difference in vibe in Berlin amazes me every time, and experiencing that energy provides me with tons of inspiration to bring back to the studio.

You’ve said that you prefer live performances when showcasing your own music. What excites you most about playing live, and what challenges do you face?

I think performing live is the best way to showcase my perspective on music. It feels less safe compared to DJing because I’m pushed to rely solely on my own music. When I DJ, I sometimes steer away from that, but performing live allows me to fully express what I mean with my music while showcasing all my skills at once—music production, live performing, and understanding and adapting to the crowd. It’s like bringing a small version of my studio to the stage. I absolutely love it!

How do you approach creating a fully self-produced mix like your Ba Dum Tish set? What are the key differences between building a mix and performing live?

The difference between a mix and a live performance is context. Where and when do people listen to these two formats? A live performance is specially curated on the spot, or partly prepared, for the venue or party I’m booked at. A mix, on the other hand, is a true showcase of my work, where I don’t have to make any compromises. If the listener doesn’t like a track, they can simply skip it or not listen at all. At a venue, I try to keep as many people engaged as possible, and my main goal is for them to have a good time. It’s not so much about me in that moment.

You mentioned drawing inspiration from visual snapshots and specific events. How do these influences translate into the music you create?

Experiencing music on the dancefloor is probably the most inspirational experience of all. It’s hard to explain how it works, but often, after attending a great party and having a good time, I just know how to create something that would work in that environment. The more experience you have, the easier it is to recall that feeling in the studio and use it to create exciting music.

What’s your proudest experience in music so far, and why does it stand out?

I played at Awakenings Festival last summer. I was booked just two days in advance for a secret stage. Awakenings always felt like the ultimate place to play when I was younger, but I never really thought it would happen. Then, all of a sudden, I found myself sitting in the back of a golf cart on my way to the stage. It was quite surreal.

You describe yourself as someone who works in a linear fashion and finishes tracks quickly. How does this approach help you stay authentic to your initial ideas?

As I explained earlier, it has to do with workflow. Translating initial ideas as quickly as possible tends to give me the best results. If I start changing a lot of things afterward, 99% of the time it doesn’t improve. At the same time, switching up workflows and trying new approaches was a big part of my growth last year. There is no formula, I think. I try to keep challenging myself, and new ideas pop up along the way.

Many of your tracks remain unreleased, yet they’re central to your sets. How do you decide which tracks to share and which to keep for yourself?

There are a lot of tracks reserved for a few releases I’m working on with established labels. I’d love to share all my music instantly, but if I want to release them through these labels, they prefer to keep them quiet until the release.

I also create more abstract and glitchy productions, like “dowhatulove,” “Game Over,” and “890,” which are available on my Bandcamp. These weren’t released on big or well-known labels but were still played by some big names. This made me realise that I’m not always in need of external parties and can release music on my own as well.

This is why I started my label, BPDUBS, where I cut limited dubplates myself and release music on vinyl. I love working on great releases for big labels, but at the same time, I want to have control over my own output. The first BPDUBS01 release sold out in an hour and gave me a lot of confidence to continue with future releases.

You’ve been exploring live performances more. What are your plans for your next live set, and how do you want it to differ from your previous ones?

At the moment, I don’t have any live sets planned. I’d like to work on one for the coming year, but I’m still a bit busy finishing some other releases.

What’s next for you in terms of releases, performances, or experimentation? Any new projects or collaborations you’re particularly excited about?

I’m currently creating a lot of music and have received many requests from labels I’d love to release on, but making the A1 tracks can be quite challenging.

I have releases planned on Velvet Velour’s Silky Beats and Retrospect’s Swung Selections, and I did a remix of Leon’s Futura that’s coming out next year. I’m also working on an EP for a UK label that has influenced me a lot over the years, but I can’t share much about that yet!

Keep up with Boss Priester via Instagram, SoundCloud, and Meanwhile

Boss Priester’s No Exceptions is out soon via X-Kalay. Buy/listen to the release here

Listen to our premiere of Red Dot below

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