I hold many reasons close for this land— but here’s a quiet one: Ducks in the streets. Not lost, not out of place, but gliding calm through canals and streams, unstartled by the human pace. They swim like the city belongs to them too. And perhaps it does. Kralingen’s swans nest in still corners as children wander close, no rush, no fear—just a soft balance between feathers and footsteps, roots and routines. There is something sacred in a city that lets life be. Cleaner reality, and people who’ve learned to move with the rhythm of skyscrapers. In Kralingen’s hush, I see intelligence in ivy, ethics in botanic, a culture not only of words but of care. And in Zuiderpark, summer breathes through grills and laughter, a community of coexistence forming over shared bread and sun, beneath leaves that catch every language and send it back as joy. At Essenburgpark, the city bows before a quiet grove— not out of guilt, but respect. And above it all—Erasmusbrug, that swan of steel spanning the river’s grace. Its cables hum like harp strings in the wind, connecting not just land to land but idea to ideal. Skyscrapers rise like glass reeds against the Dutch sky, not to block nature— but to coexist with it. Reflection, not domination. Even in stone and steel, there is room for the soul. This is development not just of roads, but of rhythm. Of harmony between the naturalism and the made. There is no wall between person and pond. No border between culture and root. There is a peace here that doesn’t need to shout. A cultivated silence. Aesthetic. The Beauty of steel and the heritage.
2026-02-12
Azure-tinged
2026-02-11
Concept
I’m not sure who still remembers it. It’s been ten years now, maybe even longer, since modern liquid drum and bass was still in its early beginnings.
Nevertheless, in my view once Chilloutbear was already questioning the very concept of mixing through his approach back then. Indirectly, he was also questioning the normality of mainstream DNB and its rave culture as such. Through his approach, he was setting different values from those represented by the mainstream drum and bass at the time.
There was a certain distance in it—an intentional separation from mainstream DNB, whose music is built on entirely different principles and values. That is also why the tracks uploaded by Chilloutbear were not commonly mixed into traditional DJ sets. A conventional, “formed whole,” as we know it from DJ sets, did not emerge there.
I don’t know whether he was consciously aware of this distance, but that is how I perceived it.
Something similar happened when, in 2017, someone said about me that I was doing liquid only because I was a beginner, and that once I “woke up,” I would start doing neurofunk. It was exactly the opposite. I had already known drum and bass for sixteen years. I started creating liquid DNB mixes precisely because I did not identify with the mainstream— not only the Czech one those two were talking about.
Their rave culture, on the contrary, “woke me up” to the point that I reject it for years. And when modern liquid appeared, it was something that influenced my person. They did not understand (my) liquid drum and bass. It is not the same thing as neurofunk. Liquid tends to be more thought-out, more conscious as a genre—this is also why it was once referred to as intelligent jungle. It is not music for mindless rave intoxication, which is often associated precisely with harder strands such as neurofunk.
My first mix, Memories of The Future (2016), was—based on the logic described above—conceived in a similar way to Chilloutbear’s work. Nevertheless, in 2017 I decided that liquid DNB could be mixed in a way that preserves its inner logic. I therefore added SN and began, in my own way, to mix tracks, singles that truly resonate with me.
2026-02-04
Happs
“Words belong to those who have experienced it.”
G’day!
Sidney SN 2026 is here with a brand-new drum & bass mix.
Sidney wasn’t exactly keen to mix something new after Discotheque, a mix he enjoyed. But then again, he could say the same about Orangery or plenty of his other mixes.
The Netherlands — especially its coastline — is something Sidney SN associates with Australian coastlines.
Recently, the Netherlands a survey (Numbeo Quality of Life Index) ranked as number one in the world for quality of life. Another survey (Berkshire Hathaway Travel Protection) named Australia the second safest country on the planet.
Both the Netherlands and Australia inspire me, and that happs runs right through Sidney SN’s music.
Happs
is a new Sidney SN mix to kick off 2026. In a way, this year marks an anniversary — ten years ago, back when he was still just Sidney (without the SN), Sidney mixed his very first liquid drum & bass set.
The mix is almost entirely liquid drum and bass, but there are rare exceptions that might not sound like drum and bass, even though they were released by the best drum and bass labels. In the end of the mix is also mixed a hip hop track. I also like hip hop.
Sometimes people say that Amsterdam slightly distorts how the Netherlands is seen. But ordinary people aren’t like these Red Lights mixed with Dreamcatcher in the end of the Sidney SN mix.
All words belong to those who have experienced it...
Tracklist:
Overgrown by Pola & Bryson (Shogun Audio)
Want U Bad by Solah (Hospital Records)
Keeping Pace by Pola & Bryson (Shogun Audio)
Waiting For Me by Bob x Subwave (Hospital Records)
Caliban by Etherwood (Hospital Records)
Moonwater by Aftertones (Ledge Sounds)
Bell Tune by LSB (Footnotes)
Talk To Me by Koherent feat. Riya (Shogun Audio)
Liberated (by Kraedt) Kolosu Remix (Ledge Sounds)
Want U by Anaïs (Hospital Records)
Dreamcatcher by Wagz (Metalheadz)
Red Lights by Brandom Strife

