Nadia Struiwigh, the Berlin via Rotterdam-based DJ, live performer and producer, returns to James Ruskin’s Blueprint Records this April with her new EP X1 Shift. Known for her hybrid approach to techno and ambient electronics, Struiwigh continues to refine her sound through hardware-driven experimentation and improvisation.
Following previous releases on Blueprint (XTERNALIA, 2022), Dekmantel (Birds of Paradise, 2023), Nous’klaer Audio (Pax Aurora, 2021), and Central Processing Unit, X1 Shift marks a new chapter in her evolving discography. Technically centred around tools like the Korg Electribe, Yamaha DX200, NI Maschine+, Arturia Minifreak, and a selection of software plugins, the EP is both a personal and sonic statement.
In 2024, Struiwigh also launched her own label, Distorted Waves, focusing on hardware-based and experimental electronic music.
As a performer, she moves fluidly between ambient and peak-time techno, with live sets ranging from beatless soundscapes to high-energy improvisations. Her versatility has seen her perform at both concert venues and clubs, including her recent residency at Tresor in Berlin. She regularly features on respected platforms such as Resident Advisor, Red Light Radio, Bleep, and Phantasy.
Beyond the stage and studio, Struiwigh collaborates with leading music tech brands and offers coaching sessions and production courses, supporting emerging producers worldwide.
What’s the story behind your new EP X1 Shift?
This EP actually came together about two years ago, and I really feel music finds its own perfect moment to emerge into the world. I’ve worked with James Ruskin before—he’s such an inspiring human being, always radiating positivity and realness. That’s something I resonate with wholeheartedly.
Around that time, I was in the midst of a huge personal shift—redefining who I am, the company I keep, and the musical direction I wanted to explore. I’d lost my way for a bit, and on top of that, both of my parents fell quite ill. Everything in my life got shaken up. Yet amidst the chaos, my own vision and career began to blossom with a wonderful, supportive team around me.
I feel extremely grateful. This EP has a darker edge because I was releasing so much pent-up energy, but I still wanted it to be hypnotic—a reflection of this alternate reality I was living in.
You have a deep connection to hardware synths and live performance. What’s your go-to piece of gear, and why does it inspire you?
That’s so true! I’m a big nerd at heart. Growing up, I always felt I experienced and saw things differently. My dad worked in technology, which was super inspiring—I think it rubbed off on me because I connect so naturally with music equipment interfaces.
My go-to piece of gear is the Korg Electribe EMX. I never go on stage without it. If I do, I feel exposed and less confident. It’s an older unit (early 2000s), so I even carry a spare just in case.
Rather than it purely “inspiring” me, it’s like we speak the same language. It delivers the sounds and grooves I want to share with the world.
For those discovering your music for the first time, how would you describe your sound in just a few words?
I’d say it’s otherworldly. I often feel like I’m not entirely present on this planet, so I channel stories from both the past and the future. Sometimes it’s techno, IDM, ambient... whatever resonates at that moment. It does have a strong UK influence, funnily enough, even though I’m very Dutch. I love combining leads, trippy elements, and eclectic beats—but ambient music is my first love and the language that comes most naturally. Most of my albums carry that signature. 🌌
You’ve released music on Blueprint, Dekmantel, and Nous’klaer, and now run your own imprint. What advice would you give to artists trying to navigate the world of independent labels?
It’s been quite a ride, but a fulfilling one. Challenges are part of the journey and shape us into better artists. The music scene today can feel hectic and overwhelming compared to when I started out (around 16 years ago!).
My main tip is: keep pitching your music, but always have a plan B. A big, well-known label might sound amazing, but that doesn’t guarantee they’ll truly care for you or your art.
My best experience was releasing my first album with CPU—Chris was transparent, supportive, and set realistic expectations. That taught me the importance of working with people who align with your vision, because you’re entrusting them with something very personal and precious.
I started my own label because I felt there was a vibe missing—something reminiscent of that open, free 90s playground, where multiple genres can come together in a bigger story.
I also want to bring in different forms of art—painting, fashion, gaming—without the pressure of strict release schedules. My honest advice in today’s landscape: consider self-releasing if you can. Believe wholeheartedly in your art, and surround yourself with a team that believes in it just as much. That synergy counts for so much more than a fancy label name.
You work with leading music technology brands and offer coaching for producers. What’s the biggest mistake you see emerging artists make when trying to develop their sound?
It’s been such a humbling experience. I love sharing knowledge and seeing the amazement on new artists’ faces when they pick up something fresh.
Tech evolves so quickly, and I’m grateful to have a front-row seat so I can pass on insights. I don’t really like calling anything a mistake, because everything is a lesson. But if I had to point something out, I’d say a lot of emerging artists want instant results—things to blow up fast—without first grounding themselves in their identity and purpose.
That can lead to feeling lost later. Nowadays, it’s easy to focus on appearances, but I believe truly great artists shine from the inside. That’s what others see and value, be it fans, labels, or brands.
What’s your favorite/least favorite thing about making music?
I genuinely love the entire process—pouring my heart into it, dealing with frustration when something won’t click, discovering new workflows. It’s all part of birthing something that feels uniquely personal.
If I had to pick something annoying, it would be when tech issues randomly pop up—like loose cables or a synth that decides to go out of tune for no reason. But then again, technology is a lot like us humans: we all glitch out once in a while! 😅
Interview by @ninakeh
