Quite Lucky enters a new chapter with the launch of Quite Lucky Records, a Romanian drum & bass label built around cross-border collaboration, community, and the soulful side of the genre. The announcement lands alongside ECHOES – Chapter II: Cobor, the collective’s second writing camp documentary, filmed at Gospodaria Cobor in Transylvania and created in collaboration with artists connected to Hospital Records.
The film gives the label a clear starting point, showing the human side of a scene that has been steadily building its own voice inside the wider international drum & bass community.
The label’s first single, “Feeling Quite Lucky,” which dropped on June 19 as a collaboration between Transylvanian vocalist and writer Blocksberg and Romanian producer Azotix (@azotix_). Blocksberg brings the emotional vocal character that first caught attention on “Stay” with Mefjus, while Azotix comes in with releases on VISION, Overview Music, and Critical Music, plus support from names like Halogenix and Rockwell.
Together, the track works as an introduction to the label’s sound: soulful, high-energy drum & bass with a clear link to the Romanian talent Quite Lucky is trying to push outward.
In the interview below, Azotix talks about depth, hype cycles, and the importance of surrounding yourself with people who remind you to make the music you actually care about. His answers fit the label’s wider mission because they keep coming back to community, taste, and patience rather than quick visibility. For an artist tuned into modern DJ Culture and tied to a project built on writing camps, documentaries, and real creative exchange, that perspective feels like the right place to start.
Interview With Azotix
How do you define depth in your work as a DJ?
It would have to be the amount of effort put into actually picking out the right tunes, the ones that actually move me in some sort of way.
I feel like a lot of DJs go too safe with their tracklists, especially in the drum & bass scene. In the past couple of years, though, I have been seeing more and more people dropping 140 and garage in their sets, which I think is lovely.
It goes to show you really can have some fun with a drum & bass crowd.
Have you ever had to consciously step away from hype cycles to protect your process?
Not really.
I am constantly surrounded by the right people, and I have always been told to make what I actually want to make, which is a narrative that is not being pushed enough nowadays in my opinion.
What is something you have built over time that you are proud of, even if it did not trend?
I am quite proud of my discography.
I have managed to collaborate with and remix artists I would have never thought possible just a few years ago.
I would say I have not really had a so-called breakout tune or EP yet, but I am not rushing it. Things like that take time, especially if you do not want to make music that kind of blends in with everything else and ends up being forgotten.
How do you cultivate growth that feels real, not performative?
Taking your time with it, trying not to make social media your whole persona, and trying to do something a bit different.
I think that is what actually gets you a fanbase.
Posting yourself dancing to some tune you made might get you a lot of likes, but realistically, it does not really build anything in the long term.
When you look back, what do you notice about the things that aged well versus the things that burned out fast?
The things that aged well are the ones that had some actual thought put into them.
Take a look at the liquid and minimal tunes from maybe a decade or two ago. Maybe they were not as great technically, but a lot of them have aged gracefully due to the fact that people just made what they liked, not thinking about what might get the next Beatport No. 1 and so on.
I feel like older tunes had this sort of finesse that only a select few artists have these days.
Is there a part of your work that the public does not see, but fuels everything?
I would say just hanging around with fellow artists at shows gives me this drive that I do not really get from anything else.
Every time I am backstage at some club and have conversations with the people around me, I get all these ideas on what I should do next.
A lot of the time, I end up with some new tunes afterward.
How do you stay committed to the long game when hype is louder than craft?
Referring to what I said earlier, I would say surrounding yourself with the right people is essential to not giving in to the hype.
Sometimes you are blinded by the amount of listeners you might be able to get if you started making some other subgenre of drum & bass, but at the end of the day, not everything that is selling like crazy on Beatport is necessarily good.
If you have the right people beside you, they will let you know that you do not have to give in.
Just keep believing in what you actually love making, and something good will come of it.
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.
