ONARA returns with “SHARPSHOOTER,” a new riddim single that dropped on May 15, 2026, and the record lands at a point where his rise feels less like a new-name discovery and more like a project entering a sharper, more visible phase. The track began as a fast run in the SoundCloud underground around 2020, gained early support from names like INFEKT, Shiverz, Obey, HOL!, and Mad Dubz, and has since led to charting releases, sold-out shows, and international festival traction.
That background connects directly to how ONARA thinks about digging.
His process still starts in SoundCloud likes, reposts, private sends, and underground artist pages, which fits a scene where some of the best records stay buried before they become part of larger bass music circulation. For an artist whose catalog has already moved through high-level riddim sets before many listeners fully knew the name behind the files, that day-to-day digging habit feels central to the way his identity has formed.
In the conversation below, ONARA discusses SoundCloud discovery, doubling tracks, testing combinations with hot cues, and planning fast-paced sets that hold together under pressure. He also talks about how new records can reshape an entire set, why older tracks still deserve attention, and how staying tied to underground music keeps his DJ voice active.
Interview With ONARA
What does your crate-digging process look like right now, day to day?
The dubstep scene is very much rooted in SoundCloud, and that is where I tend to find the most exciting and unique material. There is so much gold to discover by digging through other people’s likes and reposts. Some of the best stuff comes from underground artists with a few thousand plays or fewer, so I always make an effort to spend time on SoundCloud when preparing new sets or looking for new music.
I also like revisiting my existing library. It is easy to forget about older tracks that still hold up and get overshadowed by new stuff. Overall, my process is a mix of that and looking through music I get sent directly from friends and other artists.
How has your taste developed through intentional music discovery over time?
I would say my taste has changed as a result of unplanned discovery more than anything else. By that, I mean hearing new tracks in DJ mixes, recommendations from friends, or stumbling across stuff on SoundCloud.
The best music can be difficult to find intentionally, since a lot of it is unreleased, kept private, or deep underground on SoundCloud. I try to stay open to chance discovery, so intentional music discovery to me mostly means keeping an ear out.
Do you follow any personal routines or filters when selecting music?
Since my style of mixing relies heavily on doubling tracks, a big part of the selection process comes down to what works well together. This can take quite a bit of time, especially with a large library, and it involves a lot of back-and-forth experimentation.
When looking for a new double, I like to keep my main track on one deck and browse through my library on the second deck. I use hot cues to quickly check combinations and see if the tracks work together. It takes time, and it is worth it for those moments where I find the perfect double.
Can you recall a recent discovery while digging that changed how you thought about constructing a set?
If I find a new song I really like, it can definitely affect how I approach the rest of a set. I like to plan my sets pretty meticulously in advance, since they are fast-paced and intense to perform, and I want them to feel cohesive and fluid the whole way through. I pay attention to pacing, the overall energy curve of the set, and if the transitions between tracks feel right.
If I come across a new song or double that I want to play, I have to think about where it will fit best. Sometimes it is easy to find a place for it, and other times I have to rearrange large parts of the set so everything flows how it should.
How does finding new music continue to shape your identity as a DJ?
I always try to bring at least a few new doubles into every set I play. Sometimes it will be a heavier tune that pulls things toward the modern heavy stuff, and sometimes it is a more fluid old-school tune that pushes everything toward the OG riddim feel.
The effort to find new music also means I have to stay tapped into the underground. It is a great feeling to play music that people have not heard before. Ultimately, the music I play is a reflection of my taste, so finding new stuff is a way to express my taste and style better.
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
