We first meet around three years ago, performing in Wrocław at one event organized by Plal. What started as a brief encounter slowly turned into a long-distance connection, shaped by shared curiosity and personal topics. She is one of those rare artists who are genuinely open, generous, and willing to share knowledge with others. Watching her evolution since then has been powerful and inspiring.
Her trajectory feels organic and the music moves through the spaces with a raw, crashy intensity, but always remains deeply emotional, as if extracted directly from inner states rather than constructed for the dancefloor. There is something pure and vulnerable in the way she approaches sound. Her tracks unfold as fluid scapes, full of textures, gestures, and melodic fragments that seem drawn from nature details most of us overlook, but that she is able to perceive and translate into full melodic lines.
Originally from Toulouse and now based in Berlin, Jan Loup continues to expand her universe across Europe. Her presence is growing, and it feels clear that her energy will reach many more dancefloors in the near future. Stay tuned, she might be coming closer to your city sooner than you think. Producer, DJ, and sound technician active since 2018. Working often in solitude, she develops a distinctive sound that blends modern dubstep, dark drum and bass, percussive halftime, and tribal influences.
Let’s start simple. Where are you right now, and how are you feeling today?
Hey ! I’m in Berlin right now at the studio, waiting for some stems to export. Today I feel slightly tired, third day of heavily scheduled studio session ( I only have the space for a week) but still excited and eager to push my research further.
You recently moved to Berlin. What brought you there?
Haha, heavy subject. I don’t know if I’ve really moved here. Most of these past few years I’ve been on the road. I didn’t feel like going home anymore, and I wanted more than just staying for a night every weekend. I wanted to meet people, collaborate, engage with the local scene, discover places in depth, how people live, how the communities there thrive or survive. I was craving for real exchanges.
Though winter arrived, and I also needed a nice spot to produce. During my wanderings, Berlin was one of the places that made me feel like staying the most. The people, the music, the energy, the amount of things to discover. It’s like a gathering in a huge swamp of accomplished witches, artsy goblins, DIY pixies, and many other extraordinary underground creatures. It felt very queer, open, and generous, compared to what I have experienced in France. I felt more at home here than in Toulouse, because it seems to resonate with something inside me. It made me more curious, fed me with inspiration, made me hungry for more, obsessed to learn.
I guess it’s also about what a capital city can offer, though it doesn’t fully have the typical “big city” feeling. Its spread-out, spacious areas make it a place where I don’t feel cluttered, where I can wander and find calmness. Still need to find the rhythm, though.
You’re part of the upcoming “All Stars” compilation on Tempa and your release is amazing. How did this connection happen?
Well, with Beatrice M., we had already made an EP together for NAFF, Shallow, Light and Safe. So it felt natural to reconnect in May, when I was in London for the Goodness UK party at Fold, where I was playing a b2b with Hewan Aman. I stayed for another week after the event, to see Bea and inevitably hit the studio. They were already in contact with Tempa at that point, and I think shortly after our session, Bea told me they were gathering tracks for the compilation. We thought immediately it would be perfect timing, if they were into it.
Your collaboration with Beatrice M. feels very close and natural. How did this artistic connection develop?
Our first meeting happened in Strasbourg where they were originally studying. We were both at a very early stage in our projects. We didn’t stay in close contact back then, but I actually interviewed them for my podcast Mana-Machine. At the time, I was researching how artists perceive their creative process and where they find inspiration. We reconnected few years later. We were happy I guess to find our way back to each other and it felt very natural. At that time, we were among the very few FLINTA people in France playing and producing dubstep / UK-influenced music. We were also sharing as well the struggle of being FLINTA peeps in the scene. From this was born comradery, energy and rage, that found its way into our music. In my view there is no better way to release that sort of tension through the work, it’s an alchemical process. I always have an affection for sculpting weirds sounds, losing myself in atmospheres and textures, in between daydream and mycelium growth, and they are more fast, precise, with a structured and connected vision, like an architect mind, so we were pretty complementary ( but that’s how I view them hehe sorry if I’m wrong bea :3)
In November 2025 you released a project with Of Paradise. How did this collaboration start?
I think Of Paradise first contacted me in 2024 for a track on one of their compilation, that was our first collaboration. I sent them a track called Marée Basse. Then they reached out again in 2025.
The mail arrived while I was at Trois-Quart-Taxi-Sistem’s place, maybe a day after we started to collab’ together. Things moved super fast, as we both used that moment to experiment and implement new stuffs. It felt very smooth and natural, both eager to show each other’s tricks and techniques we had recently discovered, or wanted to try. We sent the demo right after the session and OP immediately liked it. Quick story by the way, TQTS got his computer stolen few weeks after, with all his work on it ( personal and collab music with malesa, his lives..), zero back up… so we thought this track was lost as well. It was super tragic as he was asleep in the train, coming back from a gig, when it happened. He messaged me in panic from the station, right after it happened, searching desperately for his computer still. He is just so sweet, like he was apologizing, even now! I felt so sorry for him, empathizing so much with state of mind he must have been in, just thinking “Dude, you just lost your entire live set and productions, I think our track is the last thing to care about right now“. We were actually very fond of this work, so it felt hard to imagine it was gone, for both of us. But still, bruh just lost ALL of his work. That was just a one session track.
Then we realized he had actually sent me a WAV version of the demo at the end of our session. In the end, not too badly mixed and kind of more advanced than our memory remembered. We edited a few things, cleaned up the mix, and it was ready to send. TQTS didn’t find his computer back.. I now use this story to encourage everyone to set up a backup system for your work. I can share mine if necessary. I‘ve heard many similar stories, and some people even stopped producing after such hard accidents. It’s a gift to yourself to protect you art from hazardous accidents. Seriously, I’m a very spiritual person, but sometimes incident like that doesn’t mean a thing. You can always grow from them of course, like you can grow from anything, but surely there are better places to learn from.
Let’s talk about the stage. How has your performance evolved over time? How do you feel on the stage and what is still shifting within yourself?
There is so much to say about it. I reflect a lot on my work as dj on stage, my presence or my role, what I want to bring and what I should also let go, what is not within my control. It keeps evolving, reshaping itself because I also now perceive it as an art that is built overtime, forever changing, through many kinds of experiences. A constant practice. Each gig has taught me a little bit more about myself, about music, about humans, about the scene, about parties, about magic, about the whole ecosystem in which all of this, and much more, unfolds.
But yeah I would say, something really shifted in the way I approach my performances. It came from listening to Anne-Laure Le Cunff, a neuroscientist and writer. In short, she explains how we could feel holdback by the mindset of “winning”, and suggests moving instead toward a “tiny-experiments mindset”. I think her words allowed me a freedom I was not giving myself, because of so many internal and systemic reasons.
I was already in my life expressing all the time how creativity requires experimentation and failures, though it’s much easier to say it than to actually fully embrace this reality. Furthermore, DJing makes it even more complex. Everything is often condensed into this short timeframe, from 90 minutes to 3 hours, during a party, with its amounts of randomness, intensity and chaos, even though there are countless hours behind it. Digging, preparing, refining, looking for meaning, implementing, trying to invent something new… So it’s hard to let go of desire to “be good, be memorable” or prove yourself. Especially if you carry that so familiar artist wound, that need of acceptance, safety and recognition that you could never receive earlier in life.
Anyway this newly found freedom allowed me to lean further into my already existing perception of the DJ set as a cooperative and fictional art-piece (fictional as tale, story, fantasized collectively) . For me it is collectively shaped – kind of co-created, and to my view never to be extracted from its context space-time-dancers-social-political-economical. DJ Sets are often perceived as central in a party, but I feel it’s more architectural. A piece of a larger build. And I largely combat this push of placing the DJ on a pedestal/god like position. After all, most of my first party experiences happened in raves in the forest. I see DJ as a role within a wider theatre. I play my part, with my adaptation and perception of this role, like everyone else is playing theirs in the party. With ofc my story, and feelings, and experiences of life that are echoing through my being and my craft.
Culture is a shared lucid dream.
When i’m on stage now, I focus on my inner intuition. I understand now that we perceive far beyond what this pre-frontal cortex can articulate in words. Our entire body is an antenna, a receiver, and we learn through it. I have this belief and mantra now: “We learn with the body. Everything is muscle memory”. Therefore I’m listening to my body-intuition, navigating like with a compass, as it’s a dowser’s wand, through the many whiffs from the world, the room, the people’s energy and emotional state, biofield or electromagnetic field, and my playlists, my desires and hopes, the journey I have prepared for them, messages I want to share, places I want to take them to. There is always this desire, or rather, this yearning, to build together a path to unrestrained and manic dances. A vibe as we might commonly say, in which a sort of liberation from our mental cages happen, even just briefly. Everything sounds a bit too New-Age maybe for the more reasonable minds haha. I think my perception is in any cases a precious guide to build and reinvent my practice, wether it’s a secret truth of life I’m unravelling, or a complete hallucination. I feel reassured somehow to see many before me have seek and felt the same, and express it in different words. I recently came across the writings of Eris Drew. Her idea of the “Motherbeat” resonated a lot with what I was sensing myself.
I still struggle with stage fright. I long to feel more safe, more confident, as it’s in this state true creativity can happen. It’s not in opposition to stress. Stress can also be a motor of energy. But it’s about removing my worth in this process. The desire to be aligned kind of, to give my all, to be this very selfless and sensitive antenna guided by the music and the people, rather than the fear.
If you could choose three artists to collaborate with in the future, who would they be ?
Well i’m already collaborating with truly amazing peeps and feel pretty delighted and excited about it : Bea, Ojoo, georg-i, Cinna Peyghamy, Son du Maquis, TQTS..
And to be honest there is also a bunch I would love to experiment with, so that’s a hard one. If I had to quote a few, would probably be : Metrist, isabassi, upsammy, herbalistek?
At some point you were traveling on your tours with a sound system. Do you have any stories from that period you would like to share and how the actual experience felt for you.
Well I have many stories from that period. We still have so many unused footages, recordings and souvenirs from that time. I feel somehow I’m still in a kind of transition from it, figuring out what to do with both the accumulation of archives, and this sort of “field knowledge” we gathered along the way.
For context, I spent around three years touring intermittently with Son du Maquis across Western Europe, traveling with a small white truck and a sound system inside. We were offering our performances and also of the usage of our sound system to sonorize the event, a 10-12kw baby. We had this desire and shared vision of slow traveling/touring. Coming from DIY scenes, and being very aware of the economical realities around them, we tried to organize things in a way that made sense, logical paths, sharing costs, limiting unnecessary expenses, and spending time there. It was making sense for us to be neither tourist, nor one night DJ, but really connect and “live” in the places we were invited to. Even though we stopped touring together, this way of traveling is still very much part of my reflections (I now do it now by trains mostly) and his, as he is still touring with the truck. Designing a tour like a thoughtful journey, planning in each steps, is also a way to reconnect with geography and a sense of the world. Plane traveling often makes us lose track of space and time, and its cycles. Though i’m not claiming to be gigsta’s level of dedication towards the avoidance of planes, I share many thoughts with her vision of traveling. I feel very grateful and happy to have met her and having also her words and views to stimulate mines. Feels like a fellowship of some sorts, as we have touching fields of research and this way to explore wisdom through practice, even if our paths are not identical. Both those similarity and difference are great source of inspiration. I see myself as in constant quest for ways to live, to understand connections between life and music, the search of sensory and elevating experiences. DJing in a way is allowing me to pursue all of that at once.
With maquis we thought of making a fanzine from this adventure and learnings, but if I were to share something now to try to sum it up now would be that this experience was of striking beauty and also terribly pains, at times. There are moments on the road still vivid in my memory. How I felt ravished by landscapes that unraveled in front of us in the south of Italy. The early sunrises as we were camping in the Swiss mountains. Boarding in Croatia after spending the night sleeping on a massive ferry from Bari. The joy I felt playing and sharing the dance floor in this rave at the pic of Brittany in France, in this squat called Les roches blanches in Douardenez, so close to sea and nature. Organizing the setup of the sound system as an opportunity to host a FLINTA-only workshop at the cutest Gofildren’s festival. Or the incredible restoring feeling at the thermal bath after dismounting our sound-system at Klein und Harig festival in Germany.
Tell us about ‘Le Comité des Fêtes’. How did it begin, and how is it evolving today?
Le Comité des Fêtes is a long story I’d love to tell. To keep it short, it’s both a collective and a series of parties taking place in a warehouse in Toulouse. The settings of the party and the name was carefully chosen in the connection with Toulouse and the space itself, which is also and most of the time a shared workshop space for other entities and crafts. We are ten people in Le Comité. We gathered quite organically after covid, following a period of experimentation in diverse formats, with more flexible organizations, more porous projects. At some point, we felt the need to have a more secure structure, while remaining non-hierarchical. We wanted a more fixed location, to experiment new/other ways to party and organize party.
During covid many subjects emerged, around safer and risk reduction, and questions around activism and community support, around the representation of minorities in the scene.. and more fundamentally, the position of a party/rave in time and space of society (is it an utopia? Is it simply an escape? Is it a way to bond people, reinforce connections? How to push towards one more than an other…). We wanted also to question and improve ourselves in terms of event organization. The space we had, 200 peeps capacity, was completely malleable. This allowed us experimentation in every fields, build everything from scratch, with no funds, as it was primarily empty. And it needed every time to be return empty and cleaned again at the end of every event, for the dayworkers and their crafts.
It was about understanding every single layer of what makes a party exist, from internal communication, to scenography, to sound, to the physical maintenance of the space itself, the economy around it. Especially with rent constantly increasing, like everywhere.
It would be truly difficult to fully describe how “Le Comité” has evolved, though I can say now this adventure has been to us for real a space of learning and practice. Each of us gradually developed specific skills there, while also exploring other roles. We learned a lot through mistakes. At some point, I think we became a too obsessed with finding the “perfect formula”, and doing so, we lost at some point the excitement a new project or new idea can carry, and thus the energy and power a group can harvest from that. We ended up limiting a lot ourselves in the fear of exhaustion and had a phase where it felt repetitive, even if to be honest each event had something special.
I think we broke out of this phase with sudden realization that the exhaustion wasn’t coming from the work itself, but from a loss of meaning, a loss of curiosity and creative desire. When I was coming back from the tours, with many ideas and desire to experiment, I was actually using more time and energy, but never felt as drained as during those periods of repetition. We are now in the process of recruiting, because we need some new visions to shake the castle again, and I flea rust, fossilized ideas and fixed in stone structure like evil.
To wrap up, we’d like to ask you to complete the phrase “Under…”
Under no circumstances I will follow the rules blindly and without question.
Social Credits: Instagram / Soundcloud / Bandcamp