Alix Perez Presents: Sabotage Mini LP.
You could say Alix's introduction to music was rather unconventional compared to most. “My first proper electronic music experience was probably 1998... My mother took me along to Dance Valley festival. It was my first real festival experience, along with big sound-systems. It was a hell of an introduction.”
Credit: Dance Valley Festival 1998 (Archive)
That day reads like a formative roll call of late-90s dance music royalty - DJ Rap, Kevin Saunderson, Peshay, Carl Cox - but it was Fabio’s set that quietly changed everything.
“I remember standing in the tent during the set and thinking, this is what I want to do… I felt like I found a true connection and from then on, it just became an obsession.”
This obsession became a career defined by patience, depth, and a firm relationship with bass culture. His new record, Sabotage, sits firmly in the dubstep realm, moving in and around its tempo while shifting in mood, texture and intent.
London looms large in Alix's story. Arriving during dubstep’s formative years, he found himself immersed in a scene that felt radically different from today’s hyper-documented music ecosystem. “A time that existed pre social media which to me was much more community based and also human,” he says. Central to that was FWD>> at Plastic People. “It was like a ritual, every week. This place created so many memorable connections… It felt like we were part of something special.”
Credit: Montgomery Brimley
Alix cites influence and inspiration from records that spark nostalgia and pin point important moments in time. The Bug - Skeng (Autechre Remix) he defines as "certified classic material. Hard to beat but I feel this remix really did it justice". Pinch - Chamber Dub for it's minimal and dubby sounds. A personal favourite of Alix's on the deeper end of the scale. Loefah - Disco Rekah, an obvious choice for Alix and undeniably heavy. RSD - Pretty Bright Light another solid source of influence "What a label, what a tune... This tune to me is a Sub Dub (Leeds) and Outlook Festival classic." Lastly, Zomby - Spliff Dub simple but powerful. A smoker's anthem.
Yet inspiration doesn’t come solely through sound. Much of his creative spark comes from outside music altogether. “I find a lot of inspiration in art, graphic design and film,” he explains. This blend - particularly the relationship between audio and visual - has become central to both his production and broader curatorial work.
“Certain moods and settings inspire me… Experimental works that tap into unknown territories or at least spark new emotion gives me the urge to create.”
In the studio, that philosophy translates into a tactile, hardware-driven workflow. “I’m a big fan of hardware and have a lot of it in my setup at home,” he says, citing essentials like the WesAudio Ng bus compressor and SSL Fusion alongside trusted software tools such as FabFilter Pro-Q 3. While each session evolves differently, rhythm often leads the way. “I usually like setting the tempo but starting with drums. The step, pattern and speed usually dictates where I’m going.”
Credit: Montgomery Brimley
Writing Sabotage as an eight-track project allowed for more breathing room than previous EPs and singles. “This 8 track project gave me a little more scope for experimentation... I wanted to reach a little further and deliver something rounded, aimed at the dance floor whilst keeping things fun.” It’s an LP that feels deliberate without being overthought - refined, but still playful.
That balance extends to the record’s visual identity. "Sabotage relates to the nature of a lot of artists,” he says. “The doubt, the imposter syndrome and the constant questioning of your integrity as an artist.” The artwork, sourced from Russian conceptual artist Ruslan Amurskiy, captures that internal tension perfectly. “I instantly knew that it visually expressed the concept of the mini LP.”
Credit: Ruslan Amurskiy
Looking ahead, his ambitions remain grounded in integrity rather than scale. “Continue to write music as long as it satisfies,” he says. Alongside his own output, he speaks passionately about curating and nurturing others through the 1985 imprint.
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“I’m obsessive with music and it’s my mission to curate what (to my ears) is the truest form out there.”
Ultimately, Sabotage is less about reinvention than continuation - deepening the internal conversation he’s been having since that festival tent in 1998. “I hope that people feel the nod to the past and future in this... It’s bringing influences together within my own interpretation.” In doing so, the record stands as both a personal statement and a reminder: some sounds don’t age - they evolve.
The 'Sabotage' mini LP is out now in full on all platforms digitally. We have pressed a limited run of vinyl as well as the 'Sabotage SS T' to compliment the release. Both are available online now, limited quantities remain.