In this interview, we catch up with Wim, a seasoned DJ, producer, and event organizer who’s made his mark on the music scene through decades of evolution. From his early days spinning hip-hop at his own shop to becoming a key player in the house and tech-house world, Wim has experienced the highs and lows of the industry. After a well-needed break, he’s back in action, and we’re excited to dive into his journey, the transformation of the underground scene, and what lies ahead for him musically and creatively.
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Let’s get into it!
Hey Wim, long time no see and hear. How have you been?
All good, thanks. Juggling kids, building my creative (and luckily paid) freelance work, and handling the usual—getting older, supposedly wiser, and, naturally, more attractive. Throw in a few ignored aches and pains for good measure. But hey, enough about that—let’s get to the music.
You have been around for a while as a DJ, promoter, and producer. Let’s go back in time and tell our readers where and how it all started for you.
My musical journey kicked off with the purchase of two SL 1200s. Back in the ’90s, under the name DJ Tish, I honed my turntablism skills at my own Hip-Hop shop, Skillz, in Hasselt. I hosted and spun at a slew of hip-hop parties featuring legends like TLP, DJ Grazzhoppa, and Mig One from Starflam. They, along with their and my crew, turned the Limburg hip-hop scene into a colourful affair – literally, as Hasselt quickly became a graffiti canvas. That wraps up my hip-hop phase.
After a party weekend in Ibiza, where some friends and I decided to dive into the local house scene, I fell head over heels for the vibe of that time (mid-to-late ’90s). Back home, I made a smooth transition from hip-hop to house and tech-house, while keeping my funk and hip-hop roots intact.
I quickly realized I needed a new DJ name for my Ibiza gigs that summer, so DJ CéCém was born. From that point on, it all took off pretty fast. The club and party scene back then was vibrant and not yet drowning in DJs, which helped. My soulful, funky, jazzy sound—bolstered by my hip-hop turntable skills—stood out, or so they say. My musical taste was pretty broad; picking up everything from deep house for sunny afternoons at beach bars to heavy tech-house for late-night sets at Café d’Anvers and The Zoo.
During those years, I held a few residencies at places like Transit East, The Zoo, and Katsu Club. Additionally, I was a resident for Mad Productions, a Limburg-based party organization founded by Yves & Daniel that threw events in Belgium and Ibiza. Opportunities to spin at national and international clubs and parties – luckely – came my way, including Space Ibiza, 69 Bar Kuta in Bali, Dockside in Cape Town, Danssalon NL, Café d’Anvers, Club Industria, Fill Collins Club, Le Mirano in Brussels, Stereo Sushi, and La Rocca, to name a few. That pace was maintained for a good 12 years—hahaha.
There has been a break for you. What was the reason?
My break was a mix of factors—new fatherhood, turbulent relationship issues, and a changing music and club scene that left me feeling burned out as a DJ. I felt like I was rarely spinning at the ‘right’ places or parties anymore. It seemed like there was no room for me and my music; I thought I was being too difficult and spinning too complex tracks. Back then, I was all about house, deep house, and jackin’ house with soul, funk, and jazz influences—not exactly mainstream digestible.
I wasn’t interested in playing chart-toppers because I believed it was my job as a DJ to bring something new to the table. And I still feel that way today. Plus, I was pretty bad at networking and self-promotion—hahaha. But maybe that’s just how I remember it; perception is a tricky thing. Long story short: the passion was gone—plain and simple.
What made you pick up things again as a DJ, Producer and event a new event concept?
It all kicked off with an invitation: ‘Wim, are you up for a gig?’ (NY Evening 2023). Suddenly, I was reminded of the joy of spinning—pure, unrestrained creativity and expressing feelings through music. It was a total vibe.
For a year, I’d been toying with the idea of getting back into music, pondering how I would approach it: if I started DJing again, what would I play? My musical taste is quite broad, extending well beyond just electronic music. And if I produced, what would I create? How would I go about it? Initially, I thought I’d cast a wide net, but it quickly became clear that my heart lies in house and tech-house. So, I bought a Pioneer RX3 and made the challenging, sometimes painful, but ultimately worthwhile switch from vinyl to digital. This shift came with its own luxury problem: so much music is readily available online now. No more driving to the record store three times a week to spend a fortune on vinyl. To be fair, I still dig deep to select music carefully, making sure I only buy tracks I absolutely stand behind—no more compromising by grabbing crowd-pleasers I don’t vibe with. That just doesn’t work in my sets and drags down my performance. Only when I play what I truly love and believe in does a solid, authentic set come together—and you can hear and feel that. DJing is, even more than before, pure fun for me—no obligations, just freedom. Case closed.
Back in the days, we can remember the cool underground parties you organised and played yourself. How has that scene changed for you for the good or the worse?
Ah, ‘back in the days’—a phrase that evokes a bit of nostalgia. I prefer to cherish the best moments and memories from that time; no one can take those away from me. Those partying and DJing days in ’90s Ibiza were something else—when clubs like Space, Amnesia, Pacha, and DC10 were still accessible. Bora Bora was the go-to open-air club for those never-ending afterparties of Manumission.
Back then, true music lovers and connoisseurs danced their asses off in front of the DJ booth instead of filming everything with their iPhones. These were the die-hard party people and clubgoers, the very ones we brought together to throw our own parties, which often happened in random, unlicensed spots. The marl caves in Riemst are a prime example: we’d gather a crew of party enthusiasts, bring a Rodec mixer and two Technics turntables, a generator (and a few liters of fuel), and a bunch of tealights for ambience, then off we’d go! We also had our fair share of parties in squats, forests, and castles under various concepts like Criminalz… what’s in a name.
The club scene in Belgium was alive and kicking back then, with amazing spots like Café d’Anvers, La Rocca, Fuse, and Katsu Club, alongside plenty of smaller, intimate venues and cool restaurant-bar-club combos with live DJs. I’ve noticed these trends making a comeback lately, hopefully bringing along some fitting, laid-back underground music—fingers crossed.
So, has it changed? Absolutely. Of course, I’ve gotten older and seen my fair share of parties and gigs, so my perspective has shifted. The scene has undergone significant changes—legendary clubs have closed, and those small, intimate gatherings have largely given way to ever-expanding parties and festivals. The underground scene will always exist, finding its place and winning over new hearts among true music lovers, myself included. But like I said, I’m just grateful to have experienced the ‘good times’—that’s something I truly appreciate!
You create these nice and catchy house grooves with recognizable vocal samples. How do you set this up? What’s your starting point? Where do the ideas come from?
‘Catchy’? I’m not sure everyone would agree with that, especially if we’re talking about certain artists—take Nick Cave, for instance. Some people consider it almost taboo to sample him…
But let’s get real: I believe all music can—and should—be used, reused, and sampled, as long as it results in something new, beautiful, and surprising. There’s a ton of sampling in hip-hop, house, and electronic music; you wouldn’t believe it. So, I don’t want to hear any complaints about that, and I certainly steer clear of the overused disco samples. I’m all about finding fresh input and building a new database of samples—whether that’s from Arno, Henny Vrienten, Nick Cave, Hall & Oates, Fun Lovin’ Criminals, or whoever. It’s high time we inject some originality into house production, using material from artists outside the typical 13,412 times-used Chic or Donna Summer samples.
As for inspiration and workflow, I usually kick things off like this: I’ll hear a song—often by chance on Spotify or the radio—and if a particular segment—whether it’s instrumental, rhythmic, vocal, or a combo of those—strikes me as awesome and usable, I jump right in. I fire up my computer, open Ableton, import the track, set the tempo/BPM, and start tinkering: cutting, pasting, looping, laying down beats. From there, it’s a lengthy process of combining, experimenting, and embracing the wins and failures. I’ll mix and export along the way, listening on my phone and in the car to check if the sound holds up on all devices and if the song structure and arrangement feel right.
I’ve made it a point not to start a new track until the previous one is finished and polished. I want to avoid having a hard drive cluttered with unfinished tracks and loops—been there, done that. As a father of two, I have less time, so I need to work more efficiently. It’s paying off.
Which one of those releases is your all-time favourite or maybe a top 3?
Haha, it sounds pretty cool when you call them ‘releases’—considering that 80% of the tracks are sample-based, we could debate whether they can even be officially ‘released.’ You get the picture: music rights, clearances, licensing, and all that jazz aren’t exactly my forte. I’ve heard whispers about a limited bootleg on vinyl, but I’m not sure I’d want to listen to that anonymous idea – 😉
BUT, to share my personal favourites in the form of a top 3 (and maybe one day on vinyl as a bootleg, who knows?):
Meteen Anders – The title says it all. This was the first in a series of productions and set the tone for my new approach and sound. It was made with love, drawing on samples from two of my musical heroes—Arno and Henny.
My Heart and Soul, Lost in Tupelo – As a genuine fan of Nick Cave, I found it a challenge to give this dark track a housy feel. It wasn’t easy, but I’m pleased with how it turned out.
That’s How We Roll – Currently a work in progress, based on ‘Scooby Snacks’ by The Fun Lovin’ Criminals. I just couldn’t resist it—stay tuned.
What’s on your planning for the next months, release-wise?
Produce-wise, you mean? Haha—sure! There are a few artists and songs on my mind that I hear plenty of ‘sample-able’ potential in. One standout is Urban Dance Squad; they’re a top band and a solid foundation for creating a kick-ass, funky tech-house track. I’m still deciding which song to use, though. I’ll keep you posted, scouts honor!
Talking about events, maybe share a few words about your new concept Four On The Floor. What’s the story? Why a new concept?
4OTF came from my desire to dive back into music. It quickly became clear that I should also start organizing parties to get back in the groove—not an easy feat in a rapidly evolving and somewhat saturated scene filled with an overwhelming number of DJs, especially since I’ve been out of it for over a decade.
Four On The Floor is fueled by a love for music and a demand for quality house parties that bring back the intimate vibe of yesteryears. We’re primarily focusing on a Sunday afternoon concept, centered around quality house music and unrestrained fun. There’s nothing quite like a Sunday afternoon party on a sunny summer day, dancing and celebrating until a respectable 10 PM—so you can still get some work done on Monday if you’re lucky – 😉
As for the name and concept, Four On The Floor represents both a 4/4 beat and the four music and party enthusiasts—Kristof, Marlo, Yves, and myself—who birthed and keep this concept alive. Our target audience is music lovers aged 25 to 65 (or more) who appreciate quality house music and are looking to break free from the usual Sunday routine of walks and cake with the in-laws.
How about DJ’ing? As we slowly age, of course, becoming more handsome, how does that pick up for you?
Well, when it comes to the ‘growth’ of my DJ career, I think I’m doing pretty well. I’m involved with some music organizations like Macca & The Music Central, and party concepts such as Four On The Floor and rendez-fous, which have led to various gigs. I also have a regular spot at Café Café in Hasselt, where I can really express my musical side.
I’ve found a home under the wings of Juicy’s Agency, a music and event agency that supports quality and authentic DJs within a like-minded community. From all this, I hope to see more DJ opportunities arise—especially at the right, enjoyable, and intimate parties filled with genuine music lovers.
Any future plans there?
Absolutely. I plan to keep producing and forging valuable connections with like-minded people—DJs, musicians, and music lovers like you all. The underground scene needs to collaborate to create innovative, quality events that not only provide a dance floor for lovers of fresh music but also serve as a platform for young and emerging talent. The goal is to keep the scene alive without tearing each other apart through competition. Word out.
Thank you!
