11/06/2025
Coming in hot in our exclusive Rebel Union artist interview series: we’re cranking up the heat for FOLD’s iconic Steam Room this Friday, 13th June! Brace yourself as Rebeltek commander Sterling Moss takes the reins and turns the pressure all the way up.
1. The Stay Up Forever collective marked its 30th anniversary with an exhibition at FOLD in 2023. What was the vision behind curating that event and how did you go about bringing three decades of acid techno history to life over a week?
The exhibition had been over 13 years in the making—from the very first conversations with the SUF crew to the full realisation at FOLD. I'd hoped to launch it for the 20th or 25th anniversaries, but back then I lacked the time, funding, team, and infrastructure. Once all those elements came together, I could finally do the idea justice. My aim was to create an authentic tribute to three decades of musical substance-over-commercialism. SUF was always rooted in D.I.Y. defiance and anti-establishment energy—a punk ethos expressed through acid techno. The exhibition hopefully told the story of how that sonic rebellion echoed through the generations.
2. Can you share any emotional highlights from putting together the exhibition that really stood out to you?
As we got closer to the launch, time became a serious pressure—I was surviving on just two hours of sleep a night during the final month, trying to get everything finished. Without the dedication of my Art Director Joe Giacomet, Project Manager Tracy Dormer, Staff Manager Hannah Bartick, an incredible team of volunteers, and the fantastic crew at FOLD, it simply wouldn’t have been possible. Their energy and passion helped make it all happen, so was an amazing testament to the power of our community, alongside all of the fantastic Kickstarter donations.
3. There was talk of a documentary following the Stay Up Forever 30th anniversary. What stage is that project at and what kind of story are you hoping to tell through it—about the collective, the scene, or your own journey?
We began by creating talking head segments that played during the exhibition. But what became clear early on was the depth of human connection between everyone in the scene—it wasn’t just about the music. With producer Liz Madely and editor Theo Goble, we created short-form pieces tied to specific areas of the exhibition. Now, we’re developing that into a broader narrative that tells the story of the SUF collective as a family, its cultural impact, and its place within the wider music world. There’s still work to be done, but the foundation is there to develop it into a feature length piece.
4. You’ve developed a distinct acid techno production style over the years. What are some of the core elements that define your sound, and how do you think it sets you apart from others in the genre?
My sound has always focused on impact—particularly making sure the drums cut through with clarity and weight. That, along with a solid dose of analogue synthesis and tight, concise production, forms the core. But there’s always that rebellious edge that runs through everything I make.
5. Working with Chris Liberator has always yielded iconic results. Can you give us a glimpse into the new album you’re working on together? What’s the creative dynamic like and how is this project pushing you both into new territory?
Chris and I had talked about doing an album for years, but the timing never worked out—until recently. Over the past year, we blocked out time in the studio and finally started piecing it all together. When we’re in the zone, it’s like muscle memory—we work fast. This time, we allowed ourselves to experiment a bit more, producing tracks we’d normally DJ with, but hadn’t recorded before. The result is an eclectic but dancefloor-focused album of bangers. Our track with Doghouse, “We Are The Freaks,” is already becoming something of an anthem at gigs we’ve tested it at, and will feature on the album. We're currently finishing the mixdowns, and the record will drop later this year as a double vinyl release on Stay Up Forever.
6. You’ve also been collaborating with Jake Wherry from The Herbaliser on another album. That’s an intriguing crossover—how did that partnership come about, and what kind of sonic fusion are you exploring together?
Jake and I had spoken about working together for years, but between his Herbaliser commitments and my own schedule, it never quite clicked—until lockdown. Once we were able to meet up, we immediately hit a creative flow. Our new act is called The Brilliant, and from day one it was clear the chemistry was there. With Jake’s background in live instrumentation and mine in synthesis and electronics, the fusion was explosive. The album blends electronic production with live instruments and vocals—it’s bold, danceable and full of personality. We're just polishing it off now, and I think it sounds incredible.
7. Across both collaborations—with Chris and with Jake—how do you adapt your approach when working with artists from such different musical backgrounds?
At the end of the day, good music is good music. If the vibe is right in the studio, the creative process flows naturally. With Chris, we write with the dancefloor in mind—home listening comes secondary but is still a consideration. With Jake, some of the music was created for the listening experience, but still grooves hard and will smash up dancefloors. Ultimately, both collaborations offer different energies, and that contrast keeps things exciting for me.
8. With a packed schedule that includes DJ’ing, producing and promoting events, how do you manage to stay creatively inspired without burning out?
I make a point of absorbing creative content outside of my own world—art galleries, books, films—anything that sparks the imagination. Recently, I set up a vinyl listening station at home and started building a collection of classic albums. It’s been brilliant to return to long players on wax. There’s just something about the warmth and depth of vinyl—it reignites the love for music in a really visceral way.
9. Promoting events in today’s clubbing landscape comes with its own unique challenges. What have you learned from organizing shows that’s influenced the way you approach music or performance?
I approach running events in much the same way I approach DJ sets—start things early by warming up the crowd, earn their trust, build momentum and then take them on a journey toward a peak. Diversity is key—both in music and in people. That variety adds flavour and keeps things unpredictable, which I think is crucial to a memorable night.
10. Looking ahead, what’s keeping you most excited—whether it's future releases, live gigs, or new ways of engaging with the acid techno community?
I’m incredibly excited about the albums with Chris Liberator and Jake Wherry—they’ve both been labours of love. We’ve got more Rebel Union events coming up at FOLD, which are always rocking. And then there’s the documentary, which will be a real celebration of everything this movement has meant over the years. I guess it’s a bit compulsive, but I feel the need to keep feeding my creative energy back into the scene—it’s what fuels me, and always has.
🚨 Tier 4 is flying — over half already gone! Lock in your spot now via Resident Advisor and become part of the next electrifying chapter in the Rebel Union adventure. Get ready to feel the heat. 🔥
LINEUP:
PERC
SAYTEK (LIVE)
A/Z
KIM COSMIK
MISS MONUMENT
STERLING MOSS
TECHSIA
TASSID
No phones. Just music. See you in the sweat.
