Bianca Oblivion’s ability to blend across genres and styles has propelled her to the top of the game, and she is known for creating a global sound that can bounce any room. Using “curiosity and chaos” as an instinctive force in creating tracks and sets, Bianca has established herself as an international star. Bianca has her own label and show, ‘Club Aerobics’, on NTS and has recently dropped her EP ‘NET WORK’, featuring a track with Machinedrum titled ‘Til Tomorrow’. From growing up dancing amongst the multicultural noise of Los Angeles, to rediscovering film scores for sampling, I wanted Bianca to delve further into her creative process, unpacking how she has blossomed into the multi-sound artist that she is.
Your sets blend anything from baile house, to hardcore, to jersey, to grime – what is your process behind cultivating multi-genre sets?
“Part curation, part curiosity, part chaos. It’s a reflection of how I consume music —constantly hunting for new sounds from all over the world. I’m always gathering tracks, Shazaming songs from passing cars or the corner bodega. When I sit down to create a recorded mix, it’s my time to experiment and dig into my collection. My library has grown so extensive that there are songs that haven’t seen the light of day in years, so I make an effort to revive a few for each set. I usually start with a few newer tracks I know I want to include and then build from there. I search for related songs by genre, key, and BPM and use them as a guide—that’s where curiosity and chaos come into play. Sometimes I’ll mix tracks that, in most contexts, should probably not be mixed, from completely different genres—but somehow it works. It’s these unexpected blends that push your creativity, like isolating drums from one track and bringing in an acapella on the other, and lo and behold, it’s a vibe. This approach also applies to my live sets, though the crowd adds another layer. In a live set, I’m constantly responding to the crowd’s energy and adjusting based on their reactions. That often means shifting tempo or genre to take them somewhere new. The chaos comes in when I decide to pull a track I’ve never played live or haven’t used in a set in years, and in the mix, it goes. It might flop, it might go off, but that’s what keeps things fun and exciting.”
You’re L.A.-based, yet representing music genres from around the world – what has influenced your global sound?
“Los Angeles is a highly multicultural city, and I grew up in a household where I was exposed to music from all genres and corners of the world. Growing up as a dancer played a major role in fueling my curiosity to explore music from different cultures, studying not only the dance styles but also the rhythms of their drums, which go hand in hand. As I’vetoured the world and visited cities with vibrant music scenes, I’ve had the chance to connect with local DJs, learn about their culture and their music, and in turn, share my own. This exchange has been pivotal to my growth as a DJ, as I continue to incorporate songs and sounds from all these different places.”
With the upcoming release of your debut EP, ‘NET WORK’, can you tell us what was your favourite aspect of making this project?
“The highlight would be getting to collaborate with such incredible artists on each track. They’re also my friends, so it was amazing to spend time with them in their cities and studios. While I had a clear vision for some parts of the EP, other moments came together completely from scratch during the sessions. I learned so much from each producer, and I feel incredibly lucky (no pun intended) that they were all eager to be a part of it.”
Your new track ‘Til Tomorrow’ with Machinedrum was recently released – what influenced this specific track?
“When Machinedrum and I got into the studio, we were sifting through samples for inspo and he pulled up a folder of soundtrack scores from old Italian films. As we searched through it, we found this dreamy disco track ‘Hold Me Till Tomorrow’ by Piero Piccioni. We both immediately knew we wanted to sample it and decided to flip it into a juke track. We sped it up to 160 bpm, programmed the drums, chopped the vocals and melody, and added a few other elements to shape the final result.”
‘Til Tomorrow’ follows the release of ‘Scat Track’ in November last year with Lunice and Lamsi – how have crowds responded to this track live?
“‘Scat Track’ has gotten some huge crowd reactions when I’ve played it live, even before its release. There’s a tension that builds in the intro, and when the drop hits, the drums come in with such force — that’s when I see the crowd light up. I think people connect with the intensity of the drums and the track’s overall energy. I have a few videos where you can see the crowd jumping and dancing after the drop. It’s incredibly gratifying to see them react exactly how I envisioned when making the track.”
You’ve been part of cultivating inclusive events, and you’re reflective of the growing diversity in this industry. Why do you think it is important that we have inclusive spaces for femme, queer and POC audiences?
“Ideally, every space would be inclusive, but we know that’s not our current reality. We want to feel safe and seen when we attend events. Holding an event with a femme, queer, and POC audience doesn’t just create a safe space — it elevates the entire energy of the party. If a party isn’t giving that, it’s not worth it for me. No matter the type of party or music, it’salways better when femme, queer, and POC attendees are present.”
Your label and monthly show, Club Aerobics, has been a hit on NTS since 2017. Can you talk us through your creative process for selecting artists and tracks for Club Aerobics?
“I enjoy putting together my show each month, both by hosting a guest DJ and getting to hear their mix (and sometimes interviewing them), as well as showcasing tracks I’m excited about. For most shows, I only contribute a few songs before the guests mix, giving them the majority of the airtime. I take the time to pick out the tracks that have caught my attention recently. While I often highlight new releases, including my own, I’ll occasionally switch things up with a throwback. I love having this show each month because it gives me a chance to sort through all the promos and downloads I’vecollected over the past few weeks, testing them out in my mix. Even if they don’t make it into that month’s show, I’ll keep them in mind for future episodes or my club sets.”
Can you name an artist you think everyone needs to listen to right now?
“Gaszia has been releasing some incredible remixes that you’ve probably heard in your favourite DJs’ sets, and that’s just the start. He’s now dropping more original tracks and has some sick collaborations in the works—including one with me! I’m excited to see what he releases over the rest of this year and into next.”