Some collaborations are emails and stems. Others are shared sunsets, late-night studio stares, and morning walks to the beach with loops still humming in your head. Wilba and Elijah Something’s debut dual EP, “Clovelly Concoctions“, belongs firmly to the latter. Dreamed up and distilled along the Clovelly coastline at the tail end of 2024, the four-track release arrives on Fraise Records – the wax-first imprint helmed by Wilba and his brother Max – as a celebration of transcontinental friendship, studio chemistry, and that ineffable summertime spark only real connection can conjure.
With one foot in the UK’s bubbling underground and the other in the laidback heat of Australia’s east coast, the pair mix sun-licked deep house textures, techy basslines, and rolling grooves with a touch of tongue-in-cheek flair. From festival-facing openers to the kind of early morning selections that keep dancers guessing, “Clovelly Concoctions” isn’t just a record – it’s a memory in motion. Think sunrise sets, beachside burners, and grooves that feel as good as they function.
At the heart of the EP is “The Diamond Heist”, the first track the duo completed and a bold statement of intent: cheeky, cinematic, and undeniably clubby. Laced with vocal snippets lifted from heist films and powered by hardware grooves, it’s the kind of cut that turns heads without raising its voice – and we’re proud to premiere it exclusively here on Torture the Artist.
We caught up with Wilba as the EP lands to talk about the Clovelly sessions, coastal rituals, club chaos, and how a lost shoe at a Chase & Status gig might’ve started it all.
Torture the Artist: Hey Wilba, tell us something about your day – bonus points if it involves digging, dodgy weather, or a surprise banger in Tesco.
Wilba: Currently packing the bag for the first festival gig of the year at Gottwood! First time going b2b with Baby Rollén, so very excited to see how this one goes. <smiles>
Torture the Artist: Your new EP “Clovelly Concoctions” just landed as the 13th release on Fraise. Is that number unlucky for some, or the perfect time to drop a track called “The Diamond Heist“?
Wilba: <laughs> I guess we shall find out.
Torture the Artist: Let’s talk about “The Diamond Heist” – is it a club tool, a mood setter, or a musical getaway vehicle? What’s the story behind the title?
Wilba: This was actually the first track we made for the EP. One afternoon after a few beers, we pulled this one together in a matter of hours. The title came from using a few movie scenes all to do with diamonds as vocal samples! Definitely a big room club tool.
Torture the Artist: This release is a co-production with Elijah Something. How did that collab come about? And were there any studio moments (or remote sessions) where one of you said, “Right, that’s it — we’ve cracked it”?
Wilba: After instantly hitting it off with Eli over the summer last year and hanging together at Dimensions & ADE, I was lucky enough to head to Australia at the end of 2024 for some gigs. Eli was kind enough to let me crash at his for most of the trip! Some very special memories were made during those two weeks – including boxing off this EP. Eli has an outrageous studio setup, so it was great to test out some hardware for this one, as I don’t usually get to when making music.
Torture the Artist: The whole “Clovelly Concoctions EP” has that after-hours sparkle – was it made with a particular setting in mind? A dim basement? A Devon beach rave? A confused house party in Leeds?
Wilba: As it was made right on the Clovelly coastline, it definitely had the summer season in mind. Tunes for beachside moments and early morning sunrises.
Torture the Artist: You co-run Fraise Records. How did the label start – out of creative hunger, frustration, or just a need to press bumpy tunes onto pretty wax?
Wilba: Myself and my brother Max used to play loads of local parties and events when we first started out DJing, and like many, we felt some artists didn’t get the recognition they deserved. Fraise was formed with the idea of showcasing undiscovered artists, friends, and likeminded heads.
Torture the Artist: You also produce and DJ as one half of Duowe with Max Owen. How do you balance that with your solo Wilba output, and do the two personas ever argue over a bassline?
Wilba: More recently, the Duowe alias has taken a backseat, as we both wanted to explore some new styles with our solo projects.
Many mosh pits, Red Bulls, and even a lost shoe later, that kickstarted my journey into discovering and wanting to be involved in the electronic music scene.
Torture the Artist: When did you first get pulled into electronic music? Was there a specific track, night, or very questionable haircut that marked the beginning?
Wilba: When I was 15, I went to a Chase & Status concert in my hometown of Southend-on-Sea. Many mosh pits, Red Bulls, and even a lost shoe later, that kickstarted my journey into discovering and wanting to be involved in the electronic music scene.
Torture the Artist: What’s your preferred kind of set – warm-up with loads of weird records, peak-time energy, or closing with emotional weirdness?
Wilba: Sunset or sunrise. Both times give you a chance to play an eclectic bag – whether that’s peak-time pumpers or deep emotional numbers. I recently played the morning slot at Sisyphos, which really proved that the sunrise set is one of the best.
Torture the Artist: You’re stuck in a record shop with only five minutes and one crate. What are you instinctively flipping for: deep tech, dusty House, ambient weirdness, or the “misc” section?
Wilba: Straight to the bargain bin.
Torture the Artist: Has a UK dancefloor moment ever directly inspired a Wilba track?
Wilba: I pull most of my inspiration from festival season. Seeing artists play across beach or forest settings really gives you insight into what sounds work in different moments. Also, a lot of artists at festivals push the envelope more, testing tracks they wouldn’t usually pack – and I love that.
I usually find that late-night sessions are when the best – and weirdest – ideas come out.
Torture the Artist: Any studio rituals? Scented candles, bizarre snacks, or a sacred pair of socks when programming hi-hats?
Wilba: No real rituals, but I usually find that late-night sessions are when the best – and weirdest – ideas come out. Sleep deprivation has its perks.
Torture the Artist: What’s your DAW of choice, and which plug-in would you recommend even to your worst enemy?
Wilba: I used to heavily sample drums from ‘90s/‘00s records because I wanted the tracks to sound older and more analog. Recently, I’ve been using the Korg Electribe plug-in for drums – it still gives that hardware feel. For leads and basslines, the Arturia collection is my go-to. Plus loads of vocal samples, always.
Torture the Artist: You’ve released on Magic Carpet, Slump, and of course Fraise. How do you decide what track belongs where?
Wilba: Anything fun, stripped, and techy with a big bassline – that’s Fraise territory.
Torture the Artist: What’s a label you’d love to release on, and why?
Wilba: Has to be Ryan Elliott’s label, Faith Beat. So much classy House and Techno – it’d be a real bucket-list moment. He’s been one of my favourite DJs for years.
Torture the Artist: Imagine “The Diamond Heist” is getting a music video. What’s the plot: actual burglary, surreal dream sequence, or just four minutes of someone dancing in a field with a traffic cone?
Wilba: <laughs> – most likely a Fear & Loathing-style getaway scene with myself and Elijah as Raoul & Dr. Gonzo.
For a while, it was tough to find quality music we wanted to release.
Torture the Artist: The UK underground has a vibe of its own. What makes it so unique right now, and where do you think your sound fits in?
Wilba: It’s great to see so many new producers emerging across the different UK scenes. For a while, it was tough to find quality music we wanted to release, but now it’s everywhere. The UK underground is thriving again.
Torture the Artist: As someone juggling artist life, label duties, and collabs – what’s something you’ve learned recently that you wish you’d known earlier?
Wilba: I’ve learned that you need to be okay with give and take. Between producing, gigging, the day job, and trying to stay healthy, something’s always going to fall behind. It’s easy to stress about not doing enough, but the key is reminding yourself it’s okay to take a break.
Torture the Artist: If you could go back and give “early Wilba” one piece of advice – musical, personal, or otherwise – what would it be?
Wilba: Be patient and enjoy the ride.
Torture the Artist: Finally – what’s next for Wilba? More concoctions, more collaborations, or just a well-earned pint and a long dig through Discogs?
Wilba: I’ve got my first solo EP coming out at the end of the year on Fraise, which I’m really excited about. I won’t give too much away, but I’ve spent a lot of time slightly shifting my style – so I’m buzzing to get this one out into the world.
Words by Holger Breuer
Torture the Artist 