Although Magnetik Source are a relatively new name, Andrew Byrne and Claire Marshall bring decades of underground electronic music experience to the project.
As their atmospheric remix of Paul Loraine and DCLVIII OFC’s Halo on Cubism drops, the duo talk to The Night Bazaar about how their partnership came together, the values that shape their music, and why community, curiosity and creative freedom continue to inspire everything they do.
Magnetik Source feels like the meeting point of two very different musical journeys, how did the partnership naturally evolve into a studio project?
Firstly, thanks so much for inviting us to talk about the project. We’re truly grateful for the warmth and opportunities that have come our way recently. The partnership just grew out of a community whose events have been running for over 15 years. A mutual friend connected us when the idea of collaborating came up, and from the very first track we tried working on together to test the waters, the creative chemistry just felt completely right. It was a very natural, organic evolution.
You both bring decades of experience from different corners of music culture. What surprised you most about each other creatively?
It is more about how lucky we feel to have found a shared rhythm where we can just dive straight into the music without any ego. When you share the same musical DNA, there is an immediate trust. What keeps the sessions alive, especially when things get tricky or a track hits a wall is a shared sense of humour and curiosity. Keeping things light and laughing together is just as important to the creative process as the music itself. It allows us to draw on our older influences with a bit of wit and keeps the whole process enjoyable.
Was there a defining moment at that underground party in the Northwest where you realised this collaboration had real potential?
It wasn’t so much a single defining moment during the night itself, but rather the general energy of the room and realising we shared the exact same values and outlook on music culture. Spending time together in those underground spaces reminds you why you fell in love with this scene in the first place. That shared energy, mixed with a very down-to-earth connection, made us realize we were completely on the same page.
How do your individual backgrounds balance each other when writing music?
Because there is so much mutual respect, we’ve developed a natural intuition for when to step back and let an idea breathe. It’s a balance that has grown from spending hours in the studio learning from one another.
The project brings together two different worlds; one side rooted in technical precision, rhythm programming, and clean mix-downs, and the other leaning toward musical theory, instrumentation, and atmospheric, freeform world-building. It’s a classic case of different elements balancing each other out perfectly; it keeps the process fresh because we are constantly bouncing contrasting ideas off one another until everything clicks.
Can you tell us a little about your new remix of Paul Loraine and DCL VIII’s Halo track which is forthcoming on Cubism. How did you approach the remix and how did the opportunity to remix the track come about?
We have the team behind the release to thank for believing in a project that is fairly new. They’ve been incredibly supportive, offering mentorship and genuinely backing what we’re doing, which means the world to us.
With this remix, we wanted to focus on the deep, atmospheric studio sound we’ve been nurturing. We deliberately tried to shift the pace from the original, pulling the energy inwards a bit to create something that feels like a solid, atmospheric ‘pivot’ track for a dancefloor. We always love thinking about how tracks function within the flow of a wider DJ set and how they contribute to the energy of a room.
Claire, how has your background in archaeo-musicology and heritage sound design shaped the emotional texture of the project?
Having that background in history and sound research feels like a real privilege, and it naturally seeps into the studio process. You can’t really separate yourself from the weight and legacy of those cultural roots. When we are producing, the focus is always on space, texture, and storytelling; thinking about how people will actually feel and experience the music. Historically and emotionally, the pioneering sounds of Chicago and Detroit are the biggest touchstones for this project. The origin stories of those communities and how they created something out of very little will always resonate deeply.
Andrew, after over 30 years in electronic music, what still excites you creatively about making records today?
The way the workflow has opened up over the years is amazing. It takes away some of the friction and makes it so much easier to just try out alternative ideas on the fly. That fluidity keeps things genuinely interesting, especially when you have a collaborative partnership where you can bounce those spontaneous ideas off each other in real time. The excitement still comes from those moments of pure, unfiltered experimentation.
Detroit and Chicago influences are deeply embedded in electronic music history, how do you reinterpret those sounds without falling into nostalgia?
That’s a vital point for us. It comes down to respecting the entire ethos and community spirit of those original scenes, rather than just copying a specific sonic aesthetic. If you only look at the surface without understanding the culture and the history behind it, the music can easily feel like a caricature. For us, it’s about honouring those foundational roots while letting our own modern lives and experiences shape the final output naturally. It’s a hybrid approach with deep respect for the past, then played out in the present.
You’re working heavily with analogue and modular synths alongside organic sound design, what role does unpredictability play in your workflow?
We absolutely love those beautiful moments of studio serendipity where the unexpected just clicks. Recently, we were playing around with some hardware loops and stumbled into a sound that instantly gave our upcoming material its core identity. We just captured it in the moment and built the rest of the project around that feeling.
When a session starts, it helps to strip away any rigid expectations. We are big believers in the simple power of play. It’s all about capturing honest, resonant moments as they happen,and then sitting down together to see where they lead.
Do you approach tracks from a dancefloor perspective first, or from an emotional and cinematic angle?
The project is really about balancing functionality with real personality. For us, deep emotion and dancefloor dynamics aren’t separate things at all; you need both to create a moment that genuinely stays with people after the night ends. We try to blend that classic, hypnotic club energy with atmospheric storytelling, so the music works just as well in a room full of people as it does in a pair of headphones.
Has ghost writing and working with other artists influenced how you approach Magnetik Source differently?
Not particularly, other than making us appreciate how special it is to have a project where we are both fully hands-on. Sometimes collaborative work can be quite detached, focusing just on a macro sound or a brief. With this project, we are entirely in it together, exploring ideas side-by-side and constantly learning how to evolve our sound as a collective unit.
Claire Marshall – Magnetik Source
The live concept sounds incredibly immersive, especially with the visuals aspect. What kind of experience are you trying to create for audiences?
We are in a really exciting phase of learning right now. Because we care deeply about the culture, we are taking our time to get every single detail right. Ultimately, the goal is simply to create an atmosphere where the music and visuals blur together, offering the audience a shared space where they can disconnect from the outside world and have their own personal journey along with the rest of the crowd.
How much improvisation are you planning to bring into the live sets?
While we will keep a structured foundation to respect the flow and timing of the night, we definitely want plenty of room to let things breathe and improvise live. We’re approaching this with a DJ’s mindset and reading the room, feeding off the crowd’s energy, and drawing on years of collective experience behind the decks to guide the vibe naturally.
Do you see the live show as more of a club experience, an art installation or something in between?
It feels like a bit of both. We really want to make the live experience as accessible as possible. It is incredibly important to us that this project can live in different types of spaces and bring people together, whether that’s in a traditional club setting or a more community-focused art space.
Having both spent years involved in underground parties and electronic music communities, how do you view the current state of underground culture?
The roots of the scene still rest entirely on the incredible goodwill of people who pour their time, energy, and hearts into throwing parties simply for the pure love of the music and community. It’s tough out there, and very few independent promoters are doing this for purely financial gain.
Lately, things have become a bit more fragmented and localized, moving away from massive commercial brands. But honestly, that feels like a beautiful turning point. It means small collectives are doing things entirely on their own terms again, creating tight-knit, authentic spaces which is exactly how underground culture regenerates itself.
Andrew Byrne – Magnetik Source
What do intimate underground spaces offer that larger venues often cannot?
It really comes down to genuine, organic community building. It’s about getting to know the people in the room in a much more authentic way. Even larger, established movements are starting to move toward smaller, more intimate gatherings because everyone is craving that real connection again. It brings together people who are truly there for the music, and implementing spaces where people can just be present without phones completely transforms the collective energy of the room.
Can you tell us a bit about the upcoming EP for Rhythm Cult without giving too much away?
We are honestly so grateful and honoured to share this music with Rhythm Cult. It’s a label that feels like a true home for underground music, and the guidance and trust we’ve been given to just explore our sound has been incredible. That’s the beautiful thing about a proper creative community; it brings out the best in everyone.
The EP features three tracks and one remix, and the brief was simply to create something fresh while allowing the artist to work to their strengths. Mood-wise, we like to think of it as a late-night drive down the highway between Chicago & Detroit, sitting right in that sweet spot where deep electronic foundations meet an addictive groove.
Is there a central theme or emotional thread running through the new material?
We are really enjoying where the sound is at right now and it feels like a very honest reflection of where we are; but we never want to stop learning and evolving.
For us, it’s not about sticking to one rigid conceptual theme; it is all about the raw emotional journey. Music is completely personal, and we just want people to feel the genuine love and care that went into the studio process. Our ultimate hope is for these tracks to take listeners to a space that sparks their own personal memories, vibes, and moments.
What can listeners expect next from Magnetik Source over the coming year?
Hopefully a lot of music! We’ve got a real sense of optimism and are eternally grateful for the mentorship and community support that has helped us share our sound. We’re just keeping our heads down, working hard in the studio, and hoping to contribute to the scene organically through a few new EPs and remixes. We just want to keep sharing the journey with everyone.
Paul Loraine & DCLVIII OFC – Halo (Magnetik Source Remix) is out on now on Cubism. Grab it on Beatport HERE.
Head to Beatportal to read The Night Bazaar exclusive interviews in partnership with Beatportal HERE.
