The Future Of Retro: Stekker And The Cutting Edge Of Jungle

Some 1.5 years ago, the iconic Dutch city of Breda got featured on UKF as the ninth instalment of ‘Rave Scenes’. And one previously mentioned artist (among other local upcoming producers in the scene) definitely deserves a dedicated publication. 

We’re talking here about the man like Stekker to be precise.

With a deep-rooted passion for music that transcends trends, Stekker’s (Teun Streefkerk) journey evolved into a defining force within the scene of jungle. From initial experimenting with hip-hop production, to embracing the craft and culture of ‘90’s reminiscent sound design – Stekker’s organic approach is driven by a relentless pursuit of authenticity.

The Breda-based artist has established himself as a creative force through his label, ruff ‘n tuff records. How so? ‘Quality above quantity’, as he says. And it has proven to be a philosophy that his rapidly growing following attests to. As does his debut EP on renowned Pete Cannon’s N4 Records together with Cheetah, DJ Sofa and Phineus II. 

What’s more, the widely acclaimed Amigo Sampler VST he collaborated on with Dario Potenza has made jungle production more accessible for aspiring producers worldwide. A tool recognized and used by none other than High Contract, Bizzy B and Flava D. Talking about (re)defining the take on a genre.

In this interview, Stekker opens up about his musical origins, creative philosophy, and his ambitions for the future, offering insights on his vision and goals. We also touch base on his latest release ‘The Council’ with DJ Sofa. Read on below for the full scoop.

Hi Teun, great to have you for a chat! How did you get into music production?

I started making music relatively late, around the age of 20 or 21. Initially, I was producing for friends who were into rapping, and it gradually evolved from there. I was also part of the Dutch SoundCloud scene for a while, which helped shape my early experience. Some of the artists I worked with back then include Big Bobby and $keer & Boo$, who might be familiar to some.

Over time, I realised I wanted to explore other genres beyond hip-hop. I had always been drawn to electronic music and jungle, listening to it for years before I started producing it myself. At first, I kept my jungle productions to myself, but eventually, I felt the need to branch out creatively. I no longer wanted to be just a producer for others; I wanted to express my own artistic vision.

How did your connection with Yoël (Coco Bryce) come about?

I initially reached out to Yoël with some jungle tracks, but he wasn’t interested at the time. Instead of being discouraged, I kept refining my sound and started uploading music independently. Eventually, it caught on, and labels started approaching me, which was a big shift from when I was the one reaching out.

Regarding Joël, I didn’t know him personally then, but being from the same city (Breda), I was aware of his work. As my music improved and gained traction, our paths crossed again, leading to my first release on his label Myor.

Have you collaborated with Yoël on any projects?

Yoël and I have discussed working together, but scheduling is always tricky since he’s quite busy. However, we are connected through the scene, and I have a track of his coming out on my label, ruff ‘n tuff, which is something I’m excited about.

How do you think music production has changed over the years?

When it comes to music today versus the past, I think there’s a lot of truth to the idea that older music had a more creative and experimental edge. Back then, producers spent hours in their bedrooms, discovering unique sounds through trial and error. Now, tutorials and pre-made sample packs make it easier but also more formulaic.

I try to maintain that old-school ethos by focusing on original sampling rather than relying on existing packs. It’s more about the mindset of experimenting and finding unexpected sounds, rather than following a set formula.

Can you tell us about your production process?

I started with old hardware like Amigas and vintage samplers to achieve an authentic sound. While I used to rely solely on that equipment, I now blend it with modern tools like Ableton to balance flexibility and authenticity. Using both old and new technology allows me to preserve that classic jungle sound, while still benefiting from the efficiency of modern workflows.

How important is mastering in your work?

Mastering is another key aspect. In the jungle and underground electronic scenes, many artists work with the same mastering engineers who have been around since the ’90s. I’ve had tracks mastered by some of these veterans, but it ultimately depends on the label’s choice. Working with these experienced engineers helps maintain the raw, punchy sound that jungle is known for.

What genres inspire your music?

I draw inspiration from a wide range of genres—ambient, IDM, Detroit techno, and house. Despite making jungle, I don’t listen to it constantly. Instead, I find ideas and samples in other styles, which keeps my sound fresh and unique. Exploring different genres helps me avoid creative stagnation and ensures that my productions remain dynamic and interesting.

What role do you play in your label, ruff ‘n tuff records?

When it comes to my label, ruff ‘n tuff records, I focus entirely on the creative aspects—approaching artists, designing artwork, and curating releases—while Tekno Sucks handles the business side. This allows me to concentrate on making music without getting bogged down in administrative tasks. Having this division of responsibilities ensures that the label maintains a strong artistic identity.

Congratulations on this latest release, TCRNT01 – can you tell us more about this new collaboration with DJ Sofa under ‘The Council’…

My collaboration with DJ Sofa under the alias ‘The Council’ stemmed from our mutual passion for jungle and an inside joke about being the ‘council of jungle.’ We were inspired by acts like Drexciya, who created entire fictional worlds around their music. Our project aims to bring that kind of storytelling and conceptual depth into our releases. We wanted to create a sense of mystery and immersion, inviting listeners to dive deeper into the world of jungle music.

What’s your overall philosophy when it comes to making music?

Ultimately, for me, music is about emotion and experimentation rather than rigid storytelling. I believe that listeners should interpret it in their own way. My goal is to create something that resonates on a personal level, allowing people to find their own meaning in the sounds I craft.

The Amigo Sampler has been a major highlight of 2024. How did the idea come about? Developing a VST sampler must involve a lot of programming…

Absolutely. It required a lot of programming, brainstorming, and trial and error. I had the idea for a while because, while making music with old computers is great, it’s also a hassle. Those machines are becoming rarer and more expensive, and they’re not always the most accessible option.

I can imagine it took a lot of extra effort beyond the creative process…

Exactly. It pushes you creatively, but sometimes you spend an hour just getting the thing to turn on before you can start working. I always thought it would be nice to just sit on the couch with my laptop and make music without all the hassle. I think a lot of artists feel the same way, especially those who travel frequently.

So how did the collaboration with Dario Potenza come about, and what role did he play?

Dario is primarily a programmer. I can program a bit, but I’m not great at it. He’s very skilled. I actually found him in a pretty random way—he was unemployed at the time and had posted a free plugin online. I came across it, started following him, and then one day he posted on his story asking if anyone had an idea for a plugin. Furthermore, I reached out with my idea, and we immediately clicked. For three to four months, we worked on it daily, with him handling the programming and me focusing on the graphics and concept.

That’s amazing. So it was a passion project from the start…

Yeah, completely. It wasn’t a business-driven decision. I created something I personally wanted. But after putting so much effort into it, we couldn’t just give it away for free, so we priced it affordably at ten pounds, essentially making it accessible for as many people as possible. 

That’s a great approach, especially for young producers who might not have the budget for expensive plugins…

Yes, we wanted to make it accessible because when I started producing, I used to download plugins illegally because I couldn’t afford them. But we put so much work into Amigo that it needed to have some value attached to it.

And then it took off quickly. How did that feel?

It was both exciting and stressful. We weren’t prepared for the commercial aspect of it. Suddenly, we had a lot of people reaching out for support, treating us like a professional company.

That must have been intense for just the two of you…

Yeah, it was a challenge. But now we’ve streamlined the process—our website works well, and we have standard responses for common questions. It’s running smoothly now.

How many downloads have you had?

We prefer to keep that private, but I can say it’s doing really well.

Fair enough. Has this success inspired you to create Amigo Sampler 2?

Yeah, we’ve received a lot of feedback from people who love the sampler but don’t necessarily want the lo-fi aesthetic. So we’re considering a second version that offers more flexibility, making it appealing beyond old-school jungle music.

Prominent artists have embraced Amigo. Has that opened new doors for you?

Not directly. I’ve always been on an upward trajectory, making connections gradually. While the plugin introduced me to new people, it hasn’t drastically changed things.

Looking ahead to 2025, what are you most excited about?

Growing my label further. Last year felt like the beginning, but now I see more people recognizing our work. I’m focused on maintaining quality over quantity.

How many releases did you do with your label last year?

Five. I don’t have a set number in mind; I only release music that I truly like, even if it’s from a well-known artist.

That’s a strong vision. Are you also planning an album?

Yes, that’s a goal for this year. I want it to go beyond just jungle music—something people can listen to while chilling at home, incorporating ambient elements.

Would you release it independently?

Yes, I prefer to. I have a clear vision for how I want it to look and feel, and I already have the platform and connections to do it myself.

And how about upcoming gigs?

I don’t see myself as a DJ. I prefer making music that others play rather than touring. Likewise, I do have a love for sound system culture and would be selective about where I perform.

Any shoutouts you’d like to give?

Definitely. Shoutout to DJ Sofa, Cheetah, Phineus II, Coco Bryce for the opportunity to be on his label, and the Tekno Sucks crew. Also, Worsley, a great producer from England.

RUFF N TUFF Records /  Instagram