For our latest 333 Sessions, we welcome MJK, a Melbourne-based DJ and producer known for her hypnotic fusion of techno, psychedelic, and tribal soundscapes. Her dynamic sets lead listeners on an immersive journey, blending powerful beats with deep, hypnotic rhythms that keep the dance floor moving.
Regularly performing at Melbourne’s most iconic venues and on international stages, MJK has built a reputation for her ability to create high-energy, emotionally charged experiences. In this interview, we explore her journey through electronic music, her take on the evolution of Melbourne’s underground scene, and the challenges facing independent artists and festival promoters today. She also shares her thoughts on the recent cancellation of Esoteric Festival and what’s next for her as both a DJ and producer.
1. Hey MJK! Thanks for joining us. For those who might not know, can you give us a little background on your journey into the electronic music scene? How did you get started, and what inspired your sound?
Hi Flow Music listeners, this is MJ.
I had always been a passionate electronic music listener, but it wasn’t until I moved to Melbourne that I truly experienced the dance floors and felt the pulse of the underground scene. Discovering techno, I got myself an XDJ and began experimenting at home. Then came a fateful night when I had the opportunity to play at a friend’s house party. Seeing how the music brought everyone together in a shared, emotional experience was indescribable. In that moment, I felt a deep connection, realising that I had found the perfect form of expression. That spark set me on the path of playing music for others, a passion I’ve been living for the past two years.
Constantly evolving, my sound reflects my exploration of new experiences and music worldwide, grounded in tribal, psychedelic, and hypnotic textures. I’m drawn to music that unveils deep emotions, whether it’s dark and energetic or introspective and meditative. Music that carries mystery, fluidity, and expansiveness speaks to me.
2. Melbourne has long been known for its thriving underground electronic scene. How do you feel the scene has evolved over the past few years, especially post-pandemic?
Melbourne’s underground scene has always been resilient, but post-pandemic, I think we’ve seen a shift. A huge wave of energy followed when restrictions lifted; people were hungry for music and connection, and events began emerging in every corner. Now, I see things refining. There’s a greater focus on intentional curation, quality, and community-driven experiences rather than just volume. The ones thriving feel more dialed in than ever.
I’ve also noticed a greater diversity of sounds, with heavier crossovers between genres, blending various musical elements in fresh, unexpected ways. The underground has always been fluid, and currently, there’s a strong openness to experimentation. Artists and promoters are pushing boundaries more and focusing on curated experiences, which I believe is one of the best things to come out of the past few years.
3. The recent cancellation of Esoteric Festival was a huge blow to the scene. As an artist, how do you see this affecting the Australian festival circuit, and what does it say about the challenges promoters are facing right now?
Esoteric’s cancellation was absolutely heartbreaking, not only for the artists and crews involved but for the entire community and everyone who dedicated countless hours to building, installing, and preparing for the event. It’s a festival that so many of us hold close, and its absence has left a significant gap in the scene.
For promoters, it’s an ongoing challenge to keep events sustainable while staying true to the creative vision that makes these festivals unique. The scene is fueled by passion, but as financial and logistical challenges grow, passion alone isn’t sufficient. Rising costs, logistical obstacles, and shifting audience expectations make it difficult to run large-scale events without significant financial risk. Today, it’s not just about delivering an amazing experience; it’s about navigating a tough industry landscape. Unless more support comes from local councils, sponsors, or the community, many promoters will continue to struggle.
For artists, it means fewer chances to perform in spaces that truly resonate with the essence of this music. For the community, it’s the loss of a shared experience that brings people together in a way indoor settings just can’t replicate.
While Esoteric’s cancellation was a huge loss, it brought a level of awareness that reached far beyond the festival scene. The extensive news coverage prompted more people to recognise the cultural significance of these gatherings. This kind of awareness can be a catalyst for change, and I’m hopeful that moving forward, we’ll see more collective support to keep these spaces alive.
4. From your perspective, what are some of the biggest struggles for independent artists and event organisers in Australia today? Do you think there are any solutions that could help the industry recover?
For independent artists, one of the biggest challenges is sustainability. Many of us balance music with other work, trying to avoid burnout while pursuing a career. Gigs alone often don’t provide the financial stability needed, so many artists turn to other sources of income. It’s not just about securing any booking but ensuring the opportunities align with long-term growth rather than short-term exposure.
Event organisers face the challenge of blending creative vision with financial realities. With rising costs, permits, and insurance, events must become more intentional to stand out. Audience expectations are shifting, and people are increasingly selective about where they invest their money.
I think part of the solution lies in stronger community collaboration. Whether that’s collectives pooling resources, artists supporting each other, or more grassroots initiatives that keep the scene thriving outside of big commercial spaces. The more we build strong networks, the more sustainable the industry will be.
Finally, these challenges aren’t unique to Australia. They’re part of a broader shift happening worldwide. Rather than seeing it as a matter of “recovery,” I view it as an evolution. Music and its communities have always found ways to adapt, and while the landscape may change, the passion that drives it remains strong. There will always be solutions, and I’m confident that we’ll continue finding ways to keep it thriving.
5. Despite the challenges, there’s always something special about playing in Melbourne. What do you love most about performing here, and are there any standout gigs or moments that have really stuck with you?
Melbourne’s crowd is what makes it special. People here are engaged, open-minded, and have a deep appreciation for music, whether indoors or in the iconic outdoor bush settings that are so deeply rooted in Australia’s music culture.
One of my standout moments was a recent event called Shadows. I had just returned from a trip to New Zealand, immersed in the nature there, collecting music, and shaping the sonic direction I felt most connected to. I came into the set with refreshed energy and excitement to share what I had discovered.
The event was held at Revolver, a venue not typically known for this style of sound. But Shadows was all about pushing boundaries and showcasing the darker side of music. Even though those textures and moods weren’t what the space was usually known for, the audience was fully locked in. It was a magical moment, feeling the music shape the space and connecting deeply with the crowd.
6. Let’s talk music—what’s inspiring you right now? Any upcoming releases or projects we should be keeping an ear out for?
I’ve always been drawn to organic, tribal, and hypnotic soundscapes, centering on psychedelic music and techno.
As I work on my first release in the coming weeks, my focus is on translating the deep emotions and connections I feel when listening to these sounds. Lately, I’ve been experimenting with hardware and live performance, fascinated by the freedom that live improv offers. The essence of it is in the moment, and responding to how I feel in that instant.
You can check out some of my work on YouTube—youtube.com/@mjk_303, where you’ll find video recordings of my tracks.
7. Finally, if you could play a dream set anywhere in the world, where would it be and why? And for those looking to catch you live, where can we see you next?
Somewhere in the heart of nature—an open-air festival deep in the forest, by the ocean, or in the desert at sunset. There’s something magical about playing music in an open space where the environment becomes part of the experience.
As for upcoming gigs, I’ll be playing at The Warehouse in Melbourne on 22nd March, with more exciting shows in the works. I’ll be posting updates on my socials, so keep an eye out!
💿 Find MJK here:
SC – @mjk_2412
IG – https:www.instagram.com/mj.babe
IG – www.instagram.com/mjk_303 (Live Techno)
YouTube: www.bit.ly/MJK_303
