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Dee Dee’s Picks

Following last month’s Geneva dispatch with e-garbage, we’re staying in the same city to welcome Owelle for this month’s radio residency takeover on Echobox Radio.
For those unfamiliar, Owelle is the artist name of Valérie Siron, whose album “It’s Okay” was released on 23 November 2023 as the 9th edition of Dee Dee’s Picks. The moniker—borrowed and frenchified from the English expression “oh well”—speaks volumes about her ethos: serious, but without making a fuss.
As an audiovisual artist, Owelle blurs the boundaries between disciplines. Her music channels early 2000s breakbeat, braindance, and broken beat techno, yet feels uniquely hers—delicate in detail, rich in rhythm, and often tinged with a touch of psychedelia. At the core of her practice lies a desire to fuse the sonic with the visual—to create a language where both speak as one. In all her work, her finger and vocal prints are unmistakably present. Whether sculpting sound behind a mixing console or sketching new visual languages at her desk, she folds spatialisation, programming, and field recording into textured, immersive compositions that shift between the playful and the disorienting, the intimate and the abstract.
According to Owelle, the Echobox mix is a steady ascent—a Swiss selection that builds in energy and BPM, blending IDM, breaks, and unreleased gems into a slow-burning sonic climb. A distinct mood with her characteristic sense of motion and space.
Also looking ahead for her is a live show in Strasbourg with Elena Colombi, a May residency at SMEM for the Passage Festival, and the gradual unveiling of a new live set which she describes as more concert, more pop, but still stitched with the same experimental DNA. A new release is also quietly taking shape but details to surface in due course.
Let the signal ripple outward. Catch it as it cracks the air and strike like static on an antenna.

For those unfamiliar, e-garbage was behind LLM, which we released on 24 October 2023, marking the 11th edition of Dee Dee’s Picks. A relentless sonic experimenter, he has spent years sculpting his sound from the ground up—both literally and figuratively. Known as the Swiss Frankenstein of modular, his work bridges raw electronic composition with the physicality of DIY instrument-making. By repurposing discarded materials, he builds custom sonic devices that breathe life into his productions, capturing the mechanical entrails and pulsations of the machines themselves. His music collides techno, noise, and metal influences, mesmerizing in its oddity yet always anchored in the pulse of the club. With a background in architecture, programming, and sound engineering at Geneva’s legendary Motel Campo, his work is deeply interdisciplinary, merging sound design, performance, and conceptual exploration into an unfiltered, ever-evolving practice.
His upcoming album, System 32, is set for release on 15 March 2025 via Pulse Records, a Lausanne-based collective focused on electronic music, writing, design, and arts, which he co-runs alongside Lausanne artists mono-tone, Nathan Solo, and Colas Weber. A deeply personal record, System 32 reflects on his teenage years spent lost in the digital depths of Web 2.0—hacking, coding, cracking software, and making his first tracks on FruityLoops. It carries a distinct sense of nostalgia, but also an underlying dread: a fear of watching the internet’s once-open landscape shrink behind corporate and political barriers. Sonically, System 32 channels this tension through industrial rhythms, lo-fi textures, and hacked electronics, capturing both the thrill of discovery and the creeping loss of digital freedom.
For this Echobox radio takeover, e-garbage delivers his new live set made just for the occasion. He mentions that although it is still in development, it consists of him trying new techniques and rhythms that he was using during his production phases. There are also some passages where he uses a shortwave radio that allows to capture a lot of different signals ranging from military radars to Chinese radio stations.

#42 Unearthed tapes from the internet archives

From Zurich’s quiet streets, alive with stories begging to be told, emerges a creator of contrasts—a non-binary artist thriving in the delicate tension between opposites. Grounded yet boundless, their sound unfolds like a rhythm humming beneath the surface—a pulse you notice only when you lean in close. Or perhaps for others, from afar. 
Embedded in its vibrant DIY scene, Olan! flourishes within a close-knit queer community, building safer spaces, promoting visibility, and championing the experimental spirit of queer club culture. Their artistry extends beyond music, reflecting a deep commitment to authenticity &amp; connection. Bold yet playful, instinctive yet refined, their work is a living paradox, stitching precision &amp; repetition with hypnotic fluidity. 
Olan!’s musical evolution has been shaped by a lifetime of curiosity &amp; exploration. Early years spent experimenting with their brother’s synthesizers and immersing themselves in video game soundtracks laid the foundation for their fascination with aural worlds. Later, formal jazz training sharpened their sense of timing and harmony, while the immersive energy of club culture revealed new creative possibilities: mesmerising loops and the raw, unfiltered force of repetition. 
&#8220;Spikes &amp; Bubbles&#8221; encapsulates these contrasts; a creative ethos—balancing precision with whimsy, focus with freedom. The tracks span rediscovered melodies and fresh ideas born from bursts of inspiration, each a study in contradiction. Together, they form a cohesive soundscape designed to forge connection—whether on the dancefloor or in solitude. 
Listening to it feels like trespassing into a realm not meant to be seen, but always meant to be felt. This is music born of opposites, held together by Olan!’s singular vision of an auditory canvas as fleeting and vivid as a dream. It’s an invitation to embrace the unstable, the imperfect, and the playful, where contradictions collide to create something truly extraordinary.

&#8220;Continuing the full-circle theme we’ve explored with Dee Dee’s Picks this past year, here’s another person we’ve met through the Breakfast Club series. Zion performed on the same night as us last June, closing the evening with a mesmerising set—meticulously curated and full of intent, weaving sounds together in a way that has stayed with us ever since.
Zion is a Swiss DJ and community builder known for blending sonic textures with themes of identity, visibility, and cultural influence. Through their work with 4311 Kollective &amp; their residency at Half Moon with the show Mèsi Tapes, they create spaces for underrepresented artists while advocating for inclusivity &amp; representation in the industry.
Catching up with Zion stemmed from a recent Instagram post that struck a chord with us. It was relevant not only to the Swiss scene but also to the Western world at large. In their post, Zion challenged the superficial treatment of racialised DJs in the club scene, addressing the tendency for clubs to pigeonhole these artists into narrow genres or book them merely for “diversity,” without genuinely valuing their creative potential. They highlighted how these oversights reflect deep-seated inequities that marginalise racialised and queer artists. Zion’s vision extends far beyond representation; they advocate for a fundamental change in how local artists are credited, supported, and protected.
In our chat titled “From Valleys to Peaks: Unpacking Diversity in the Swiss Club Scene and Beyond,” we discussed the need for clubs to engage thoughtfully by recognising artists’ diversity &amp; ensuring safe, respectful working conditions; the importance of community support for racialised &amp; queer DJs, which provides essential resources &amp; connections; and the industry’s responsibility to promote local talent, emphasising equal visibility for all musicians to foster a more inclusive scene.&#8221;

<a href="https://www.deedeespicks.com/chats/caf" target="_blank" rel="noopener">CAF? </a>In French, a coffee is a “café”, though commonly referred to as ¨caf’¨ in slang form. It also happens to share the name with Romandy based label CAF?. Between two of the coastal cities of Lake Léman, Vevey and Lausanne, is where CAF? situated their headquarters. A Swiss music collective without blinkers, CAF? has been carefully curating a selection of independent electronic music since 2017. After nearly a dozen releases and many events organised around Switzerland, CAF? relies on the eclectic musical taste of its team in order to stay open to wide horizons. Listening to their multifarious roster, the adjectives that come to mind that can describe their releases are: Loud and funky. Soft and gentle. Impish and whimsical.The genesis of the collective came from a group of friends organising parties separately, but always inviting each other as guest performers. They soon began to join forces and work together in a more structured manner, allowing them to contribute more efficiently to help their local scene thrive. Still needing a name to define their identity, the word CAF? was soon adopted as it became a synonym of sorts for all of their meetings, a reference to the beverage they drank whilst discussing the topic of the day. Over time, it came to symbolise the premise of discussion for an artistic project. “On en discute devant un p’tit caf’?” (We talk about it in front of a little coffee?). Once only six, they have since doubled in size. I get to catch up with two of the original members, Hector and Pablo, alongside their latest collaborator, Sergey. In this chat titled “In my city, you are enough.”, we talk about the origins and activities of CAF?,  the intricacies of the Romandy scene and the benefits of living in a multicultural and thus multi linguistic country.

Lukas Stocklin, aka GANJ, showcases through EXPTYII his signature raw energy and eclectic sound that he has been honing over the years. It serves as a rich continuation of his past work, while introducing something fresh and unmistakably his. The industrial grit remains, but the sound design has become more refined, seamlessly blending elements of rave, dubstep, and breakbeat.

In the quiet waters of a pond, tiny green spheres float each with a cluster of cells working together in perfect harmony. This is Volvox, a simple multicellular algae organism, nurturing new colonies in its heart, waiting to grow and flourish. Similarly, in the vibrant skateboarding and music scene of French-speaking Switzerland, a young producer named Dimosoundz emerged from within a tight-knit community. Like the Volvox, he absorbed the influences around him, growing his own creative voice from the heart of this dynamic environment. Dimosoundz is the creative force behind Dimitri Roulin, embodying his musical ethos by fusing personal influences into a rhythmic experience grounded in his passion for bass-heavy music. Although his background as a breakdancer served a subconscious basis towards his current signature style, his journey as a producer began with a unique academic project that merged skateboarding, electronic and sampled sounds. From being deeply rooted in the Romandy skate scene is where he discovered 90s jungle and related sister genres, drawing inspiration from the community’s emphasis on autonomy, support, and authenticity which cemented the release before you. Much like his lifelong fascination with water and its mysterious underworld, Dimosoundz explores vast, unknown realms in his music through obscure samples and non-musical elements whilst infusing his work with a playful, exploratory spirit. For him, music, skateboarding and underwater exploration are paths of creativity and discovery—parallel journeys of digging beneath the surface to find something new. Though seemingly fresh out of the water but already making waves within the Helvetian scene, Dimosoundz brings an original perspective, blending his unique experiences into a sound distinctly his own.

Dee Dee&#8217;s Picks presents French musician and composer residing in Basel, she creates hybrid projects influenced by several musical cultures such as ancient, contemporary, and experimental music.

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#20 w Bella Hall