WillOirson-5

Will Oirson, the name that resounds from every corner of the Dutch scene for a good 20 years now. Producer and disc jockey extraordinaire with close connections to Atomnation and the SEKOIA collective, next to running his own show on Red Light Radio.

Originating from Oirschot and now based in Amsterdam, Willem van der Ploeg’s contribution to the Dutch electronic music scene stretches over two decades. The southerner has spend that time in a very productive way, being closely involved with several front running projects like Atomnation and the renowned SEKOIA collective, and brought joy and pleasure with his sets on the dance floors of Trouw, Paradigm and Draaimolen.

In the present day, Willem remains intriguing as ever. Having previously operated under a different alias, the producer and disc jockey decided reinvented himself as Will Oirson, two years ago. With his attention fully turned to his work in the studio, there is much to be expected from this new endeavour. With a combination of rhythmical craftsmanship, carefully selected transitions and an infinite track knowledge, his sets are a class on its own and alternate between slowed-down ambient vibes and spaced-out house goodness.


This wizardry behind the decks is something you can witness on a regular basis during his monthly radio show on the acclaimed Red Light Radio. The two-hour show features Oirson, together with one of the many friends he’s made over the past 20 years, such as Nuno Dos Santos, Dimitri and Tsepo. With a new residency, and gigs at Welcome To The Future and Drift festival this summer, Will Oirson continues to expend his realms.

We decided to invite him for a couple of beers and had a little chat about his past doings, future plans and current favourites.


16809943_1302576763119441_251363866_n


Coming from a little town, tell us about your first experiences with electronic music?

My hometown is located between Tilburg and Eindhoven. The town itself wasn’t particularly a breeding ground for electronic music – Eindhoven, on the other hand, was doing some pretty cool stuff with illegal techno parties at the time. Accompanied by a case of beer and friends, I often made the trip to those parties on my bike. Around the year 2000, I started to play my first records at home, starting with straight-up techno, which slowly evolved into minimal, before turning into James Holden and electro. The past years, the deeper sounds took over.

What do you try to provoke whilst playing your sets?

To be honest, it’s different every time I play, but I love to put some emotion on the dance floor and try to deliver something that captures the dancer at that particular moment. Whilst I’m playing, I don’t try to stick to one thing or sound. What I do like; is to surprise people. It has occurred that I stood on a dance floor, almost in tears and thought – “Wow this is so beautiful”. That is what I aim for when playing. 

You where closely involved with the SEKOIA family, how did that come about?

SEKOIA, good times. I already knew the guys before I got involved. At the time I had contact with Ward and Florinsz, two of SEKOIA’s co-founders. They saw what I was doing and asked me to join the SEKOIA family. From that point on, I contributed by writing stories and helping with the organization of club nights. SEKOIA turned into a tight group of friends, who operated out of love for music.

In our eyes, SEKOIA did some amazing things at the time. What is your personal highlight of that era?

There were many highlights in that era, but one thing that will always stay with me is our trip to America. SEKOIA got invited to host a evening at a indoor festival in Boston – something like ADE. The festival wanted to showcase dance culture from different parts of the world and ended up inviting us. We travelled their with seven people, and also Tom Trago, Martyn and Heleen Blanken.

After SEKOIA stopped, what came next for you?

After the SEKOIA era, my main focus was to work on my own sound as a producer, and still is. I’m busy with finishing some tracks at the moment. It’s a exciting new chapter, but I have made a lot of helpful friends over the years.

How would you describe your sound?

Pretty deep and techy. I love a sense of passion and affection in my music.

Who, would you say, are your main influencers? 

I’ve so many different influences when it comes to music. I enjoy the early days with acts like Aux 88 and Model 500. And when it comes to contemporary music I like people like Cleveland and Edward. When I’m at home, I listen to a lot of Soul, HipHop, and even got a Spotify playlist dedicated to Garage Rock. So, very different then the stuff I play during my sets, where music on labels such as Something Happening Somewhere, Nous’Klaer Audio and Hivern Discs take central stage.


Not long ago, you made the decision to operate under a new alias. What was the reason behind the switch? 

Last year’s September, I made the decision to make the switch to Will Oirson. When you operate under a moniker for a while, you get a certain label attached to you. Not that that is a bad thing but, now that I’m focussing on my productions, I felt the need to start fresh.

You’ve had the pleasure to perform at Trouw, Paradigm, Draaimolen, and be a part of some amazing line-ups, the last few years. Which moment will you always treasure?

The gig at Draaimolen, alongside Mathew Jonson and Job Jobse – two artists I deeply respect – was definitely one to remember, especially the fact that I played that set together with my friend Lucky Done Gone. That said, there was one time I found myself playing a 4-hour back-to-back set with Nuno Dos Santos and Dimitri, which was a very special moment for me. 

Since a couple of years, you have your own show on Red Light Radio. How did that come about? 

I contacted Hugo from Red Light Radio and suggested him the idea to curate a hour long, monthly show, where I would play back to back with that months’ guest. Hugo was keen on the idea so, after that I invited friends and artists such as Tsepo, Nuno Dos Santos and Applescal. It didn’t took long to discover that playing back to back with someone, isn’t always the best option for various reasons. Red Light Radio extended my show to two hours, so now my guests can play an hour solo, followed up with a set by me where I implement my monthly findings. 

Which two acts would you recommend to keep a close eye on in 2017?

Polynation: These guys have some great material coming out soon on some very cool record labels. Next to that, their live performances combined with their visual show is next level greatness.


Leif Müller: Müller just released an awesome new EP on Mule Music, which works perfect on the dance floor, and the guy is a great DJ.


Which five tracks get your juices flowing at the moment?

01. Larry Heard – Guidance (LOR Remix)
02. Panorama Channel – Jigsaw Lovers Club (Aera Remix)
03. Forum – Yucatan (Original Mix)
04. Quince – Stop (Original Mix)
05. Antony Naples – Lekker (Original Mix)

You provided us with a hour long mix for our podcast series. Tell us, what where you trying to capture?

I always just start mixing and see where that leads me. This mix begins with electronica from L.I.E.S. artist Gunnar Haslam and then sees new material by Max Cooper and Objekt. Some oldschool is provided by The Future Sound Of London and Carl Craig. It ends with the broken beats by Panthera Krause. I guess it’s a mix somewhere in the middle of dancefloors and a whiff of experiment.

Will Oirson: Facebook // Soundcloud

Comments