IN CONVERSATION WITH KOZLOW

Interview by Samo Šajn

Kozlow is a classically trained violinist and DJ, who has become one of New York City’s most unique voices in electronic music. As the founder of ANTHR FCKNG PARTY, his no-lineup, no-phone events have built a loyal following across NYC’s top venues and underground spaces. Now, with the launch of the ANTHR FCKNG PARTY label and his debut single “Untitled,” Kozlow is bringing that same raw energy to his own music. In this interview, he takls about his journey from classical roots to the underground scene, the story behind AFP, and what’s next.

How did your background as a classically trained violinist shape the way you approach DJing and running ANTHR FCKNG PARTY?
Growing up as a classical violinist is, in many ways, the antithesis of being a DJ: showing up, getting loose, and playing tracks versus diligently practicing every day, learning techniques, and showing up to orchestra rehearsals on time. That foundation helped me when I moved into DJing because my DJ gigs start at 1 AM, and I like to get there by 12:15, get a sense of the room, and be plugged in by 12:58. There’s definitely a sense of anxiety that comes from putting your faith in USBs. When I first started, I’d show up with three or four of them, just in case one failed. It really comes down to preparation and being on top of everything that could go wrong.
A huge breakthrough early on was realizing that the instrument I’m actually playing is the mixer. Most of the clubs I came up playing in had Pioneer mixers with built-in effects, and effects are a big part of how I like to DJ. Understanding the mixer’s capabilities has been instrumental in how I shape sounds live. I’ve also been exploring ways to integrate more live elements through Ableton Live.
As for the violin, when I first started, I was a terrible DJ and had no idea what I was doing but realized that if I played violin in my sets, people would take note. I used it as a crutch for the first year or two. Eventually, I was honest with myself and realized I’d never become a good DJ if I didn’t stop relying on it. So, I left the violin at home, bombed a few gigs, and slowly applied the same discipline from classical training, organization, catalogue familiarity, and understanding the linear flow of a night, to DJing. That’s really what helped get me to where I’m performing today.

You’ve performed with artists like Carl Cox, Alesso, and LP Giobbi. How do these collaborations influence your own sound?
I'm very fortunate to have had the violin with me in my development because it's given me opportunities that many DJs don't get when they're just starting. As an instrumentalist, I've been able to play alongside some of my heroes quite early into this journey. One of the craziest moments was playing with DJ Vice at Marquee in Las Vegas. I have perfect pitch, which allows me to hear a song and play along immediately. Totally by chance, I ended up on stage with DJ Vice at a sold-out night. He mixes into a Calvin Harris song I’d practiced to as a kid—it was so surreal to be standing there playing the same music I jammed to in my parents' basement. Chills!
In terms of influence, I really admire LP Giobbi, how she stands on her own as a DJ but also incorporates piano as a live, improvisational element. I’m always grateful for chances to be in the booth with high-calibre performers and see how they operate. Watching others and studying their transitions and crowd control has been one of the best ways I’ve learned to mix.

AFP has developed a strong identity of its own. What makes these parties stand out from other events in NYC?
ANTHR FCKNG PARTY has always been about the party itself. One thing that confused me as I got deeper into nightlife was how often events are billed as “shows.” Yes, I get excited to see a DJ I love perform, but when a DJ is billed as a show rather than part of a party, it changes the vibe. So many of my most memorable nights in New York happened at a party, not because I was seeing one specific DJ’s show.
AFP started as a night in New York City, and I’m grateful to the venues and people who took a chance on it early on. Focusing on the party, not just the lineup, is what makes AFP so fun. Anything can happen at a party, whereas a show sometimes feels more scripted. That’s what’s helped us succeed in NYC.

What pushed you to expand AFP from a pop-up party into a full record label?
A lot of DJs today start as producers and gain traction by releasing their own music. Once they can sell tickets, they start throwing parties, and many of those are great.
For me, I struggled for years to land my music on other labels. Like many artists, I’d spend months on a track, pitch it, and hear, “We like it, but not for us,” or “Let’s circle back.” You end up stuck, waiting on someone else’s schedule.
I was already producing events and pitching music to labels but still dependent on them to release my tracks. So, I thought, why not turn the party series into a label? It could be a vehicle to release my own music and to support other artists who need a platform. Since we were already throwing parties, now there’s more reason for them to exist. We just did a release party at Laissez Faire in New York for Cowboy Killers, and it was really fun and cute.

Can you tell us about the creative process behind your debut label release “Untitled” and the most recent one “Cowboy Killers”?
I’m always chasing sounds that intrigue me. For Untitled, I’d been experimenting with layering live upright bass over synth bass, and working with Jonathan Michel, a phenomenal jazz musician, was amazing. His riff became the backbone of the track. It’s been surreal seeing clips of it being played at Pacha by Marco Carola. The percussion aimed for a Latin-tech, Miami-style feel, something that could work for big names in high-energy environments, and I’ve been thrilled by the early support.
Cowboy Killers came together differently. I was in Los Angeles after Stagecoach Festival, inspired by what I’d heard there. I’ve always had this fantasy of fiddling in a country band while DJing. Mixing Western themes with an indie-dance, Maccabi House-style groove gave it a fresh direction. While making it, there was this crow outside my buddy’s place that wouldn’t shut up, so I sampled it. Now every time I’m in LA and hear that crow, it brings me right back to Cowboy Killers.

You performed at a party for Kevin Hart. How did that come about, and what was the experience like?
Kevin is super cool to hang out with and obviously hilarious. That party was in Montreal. I was playing in a nightclub there, and Kevin came through after one of his stadium shows. ForgiveMeTommy! and I were already playing at an afterparty, and Kevin was really into the music and tagged along for a bit. We’ve done a couple of other parties with him in LA, one of the nicest guys ever, with a relentless work ethic.

Out of all the shows and studio sessions you’ve done, which moment has been the most memorable or defining?
Honestly, the first time I played violin with Carl Cox at the Purple Party was one of the craziest nights of my life. I’d been dying to go to Burning Man for years, and when I finally did, I had to leave early for a wedding gig in Aspen. Determined to make the most of my time, I wandered into the Mayan Warrior, Robot Heart, and Maxa tie-up and saw Carlita and DJ Tennis as Astra Club throwing down one of the sickest sets I’d ever heard. Later, my friends dragged me to the Purple Party, where Carl Cox was playing disco. Out of nowhere, they got his attention, and Carl said, “Anything can happen on the playa.” Suddenly I was on my friend’s shoulders, playing violin over a track I’d never heard. The crowd loved it. Still to this day, people come up to me and show me videos from that morning, it’s the best feeling.
Nuttiest studio session was probably recording violin with Scott Storch and Burna Boy at Scott’s place in LA, after I met Scott playing violin at an afterparty in Vegas. Both of them took 100mg edibles, and at some point, Burna had to tap out. Another surreal moment where I was like, "What is my life right now?"

AFP has popped up at both major venues and DIY spaces. How do you decide where each party will happen?
Coming up in NYC nightlife as a DJ and working with different venues means I’m constantly hearing about new spaces. There’s a level of trust now, operators know AFP will throw a great party that’s fun and commercially viable.
It depends on what we’re trying to accomplish and the kind of party we want to throw. The cowboy party at Laissez Faire was super cute and kind of last-minute, but depending on which artists are releasing on AFP and what they have in mind, we’re open to all sorts of venues and capable of much larger events. It’s really about having awesome partners and bringing a great mix of people together.

One of AFP’s goals is to support the next generation of artists. How will the label and parties do that in practice?
So many friends and DJs I know have faced the same frustrations I did with labels. Now that I’m on the other side, I understand why I heard a lot of “no’s.” Labels aren’t just asking, “Is this song cool?” They’re asking, “Does this have the potential to succeed commercially, and what are we trying to accomplish with it?”
We’re open to new ideas and want to give young producers opportunities. One of nightlife’s biggest issues is how ticket sales dominate, driven by billing. By focusing on the party itself and cultivating a loyal following that trusts AFP, we can give up-and-coming DJs chances to play great events regardless of their following. The same philosophy applies to releases, great parties and great music will always shine through.

After “Untitled” and the label launch, what are your plans for future releases, collaborations, or expanding AFP beyond NYC?
We have a release coming at the end of October with ForgiveMeTommy! from Montreal, and we’ve discussed throwing a party there next year. We’re also working with Moontalk in Sweden on a release and have talked about hosting a party in NYC or maybe even overseas.
Last month, we did our first party in Aspen at Escobar, and this past weekend we hosted AFP NYC for the Cowboy Killers release, then partnered with the Gost Town Chariot sound stage for Venice Afterburn in Los Angeles, the first AFP event we’ve done there.
Slowly but surely, we’re expanding. There’s been talk about Miami and possibly Art Basel. I’d love to do something in Paris during Fête de la Musique. All of this takes time and focus to execute, but we’re small, focused, and growing.

Again, thank you for taking the time to chat. I’m really excited to see what comes next!