In the daytime, Asia embraces a true hustle culture; by night, we let our hair down and erupt in a magnificent energy to good crowds and good music. In Tune With meets the electric DJs and music makers of Hong Kong and Asia to feel their pulse and uncover why they entered the frenetic nightlife industry.

Xiaolin is anything but your typical DJ. The Hong Kong-born DJ, producer, vinyl enthusiast, and multi-instrumentalist, is also a storyteller, whose sonic exploration knows no bounds.

Born Olivia Dawn Mok, Xiaolin honed her craft at The Juilliard School in New York and the Berklee College of Music in Valencia, Spain, where she studied a wide range of genres from classical violin to jazz, world music, and electronic composition.

Inspired by the underground electronic cultures of the US and UK between the mid 80's to early 00's, Xiaolin's analog synth-heavy sound reflects her diverse influences, from her roots as a former professional concert violinist to her love of anime, video games, and Cantonese culture.

A resident DJ at 宀Cluband Founder of HEX/HEXSCAPES, Xiaolin is known for her sets that navigate the space between minimalist progressive house and glimmering techno, taking listeners on a journey of early trance beats with tribal rhythms and raw acid electro vibes. She also draws from her experiences playing agogos in a Batucada band to produce her uniquely ethereal sound.

Xiaolin’s musicality and curiosity has left a significant mark on the gritty electronic music scene in Asia. Hosting a bimonthly show on Baihui Radio China and making a splash with her recent Boiler Room debut in Singapore, she’s rapidly rising on the international stage.

Ahead of this weekend’s Shi Fu Miz festival, The Beat Asia caught up with Xiaolin to hear exclusive insights into her musical inspirations, classical roots, and passion for electronic music.

How would you describe your sound?

My sound has an organic 90’s touch, with ethereal harmonies, and a sense of journeying through a full spectrum of emotions.

I play quite a few different styles, but my sets are generally separated into sunshine and moonlight energy. Live house sets are usually on the sunshine side, with acid house and a lot of percussion and melodies, while live ambient sets are moonlight energy, with spacey and psychedelic textures.

Daytime DJ sets veer on the funkier less-serious side of electro and house while nighttime sets are more hypnotic, with heavier bassy electro & techno-leaning grooves and progressive energy.

What inspired you to start making music and pursue DJing as a career?

While I was at Berklee Valencia, I was about to take a job at Propellerhead Software in Stockholm, but my professors intervened and convinced me to stay an extra year to work on music.

Meeting Dave Smith and Roger Linn and experiencing the sound of the 303 for the first time inspired me to create music inspired by the 80’s-90’s. Seeing all these possibilities in how they translated on a larger dance floor really moved me.

I began producing first. It wasn’t until after collecting records for a few years that I started to build a bit of confidence to DJ. It was only when I joined 宀 that I fully began to embrace and accept myself as an electronic artist.

How has your formal classical music education impacted the music you produce?

Berklee taught me how to break the rules learned, but the discipline has come in handy too. I picked up my first record at Berklee Valencia and was introduced to Ableton [a music software], while learning jazz and world music.

There we were exposed to valuable mentors and had access to some crazy gear. I still go back to my mentor from school now for guidance whenever I pass by Europe. My time there was deeply life changing, and it’s still been applicable to what I do now.

You incorporate jazz and analog equipment, among other acoustic elements in your music. How do you fuse these elements with contemporary tools and genres?

The beauty of electronic music is the ability to combine music from different worlds while paying respect to the pioneers of each style. It’s like blending different cuisines together, without taking away from the original flavors.

I use plugins and analog gear to create warmth in the sound, allowing electronic elements to blend in more organically with live samples and recordings. On the flipside, coloring recorded sounds with effects and pedals help acoustic elements sit well in the mix.

Can you tell us more about your residency at 宀? How did you first get involved and what do you love to bring to the electronic music venue?

宀 holds a special place in my heart. If it wasn’t for them, I wouldn’t be who I am now. I have been going there since moving back to Hong Kong at the beginning of the pandemic.

I got involved when JF (宀 music director) came up to me and snapped at me from the bar: “Why aren’t you asking to play here?” I told him, “I’m just here to learn, it doesn’t feel right to impose.” He replied saying, “Most people are eager to play, here I am waiting for you to ask!”

Since we met, he has been a great friend and constant source of support. The HEX parties are seeing more regulars coming and becoming increasingly open-minded. Watching people release their worries on the floor motivates me to give more and connect with them. Dance is an incredible form of therapy.

What do you make of the music scene in Hong Kong?

The Hong Kong scene is getting more and more exciting. Ever since COVID, new producers are emerging with interesting material.

I regularly attend HK Philharmonic Concerts, as well as jazz shows at the Carlyle. There is so much more in Hong Kong aside from electronic music. The underground jazz scene – like the Fountain de Chopin – is really fun and overlaps with some experimental electronic and 90’s hip-hop elements.

What trending music genres or styles have caught your interest lately?

90’s Detroit electro & 00’s electro house is making a bit of a comeback right now alongside 90’s more minimal/progressive house and techno records. There has also been a bit of an 80’s Asian disco/balaeric thing going on, and now we’re seeing more of the 00’s. I’m happy to see the dancefloor tempos going back down slightly (to a more normal speed)!

Who has left a lasting mark on your journey as an Artist?

My synthesis teacher at Berklee Valencia, Nacho Marco, who introduced me to acid house music. He [also introduced] me to Sonar Barcelona where I experienced Laurent Garnier’s 7-hour DJ set at SonarCar. He also showed me Ron Trent, Larry Heard, and Kraftwerk. I remember thinking, “What is this crazy music? I need to learn how to make it!”

There are fellow 宀 crew members including Mr. Ho and Sunsiare, who always give valuable feedback and advice.

More recently, meeting Jane (Fitz) in Hong Kong felt like a turning point. She is so inspirational having also begun her DJ journey in Hong Kong. I truly appreciate her energy and ethos not just in music, but also in life.

Other people who inspire me as both artists and humans include Polygonia, who also comes from a classical violin background, and Gonno, with whom I did my first proper Japan gig - they are among the calming sources of comfort and trust within this scene.

What can we expect from the upcoming seventh edition of Shi Fu Miz this year?

I will be doing a house-oriented set this time, on the Sunset Stage from 7 PM to 9 PM.

What’s next for Xiaolin?

This year has been the most exciting one so far. I will be stopping by Klymax in Bali, The Observatory in Saigon for a live night with Alex Kassian and Peter Van Hoesen. I’ll be playing at 宀 on December 6, Pawnshop Taipei the same weekend, and will finish up the year with Wonderfruit for the 428 crew and Enfold Stage.

There are some exciting projects for next year musically, but I can’t reveal them just yet. I can't wait to get back in the studio again!

You can keep up with Xiaolin on her Instagram @oliviaxiaolin.

Enjoyed this article? Check out our previous In Tune With profiles here .