EDMTunes Exclusive With Weska On His New EP NEVRSOMWHER

Toronto producer Cody Hull, aka Weska, releases his new EP NEVRSOMWHER today on his imprint HYPERWAX. To mark the release, we sat down with Weska to talk about his journey, new music, and what’s ahead. Many listeners know him from standout releases on Drumcode, collaborations with Bart Skils, and music on labels like Experts Only and Bedrock, helping him build a strong global reputation.

After spending time in Berlin before returning to Toronto, that influence continues to shape his sound. Weska moves fluidly between melodic techno, progressive house, and indie-leaning textures, creating music that feels both energetic and emotionally driven without fitting into one box. His approach focuses on groove, atmosphere, and evolution, whether in the studio or behind the decks.

Take a listen to his new EP while reading, as the interview highlights both his talent and personality. This Toronto artist has big dreams, and we’re excited to watch them take shape. The EP was originally set for a January release but was delayed due to sample clearance. That track is now a collaboration, and as Weska says, “the universe came together on that one.” Weska also hosted a pop-up in Toronto yesterday at the W Hotel, where fans got an exclusive first listen along his radio live recording, making it a fun and memorable experience. For now, sit back, get comfortable, and enjoy this read.

The Interview

(Please note, the bolded text represents a question, while the paragraph(s) are Weska’s responses to them)

Hi Cody, excited to chat today, congratulations on your EP and Imprint! Your EP NEVRSOMWHER feels like a concept just from the title alone—what does that name represent to you, and how does it tie the tracks together?

Hi, so happy to be here and thanks! That’s basically the title, just like you said. I love so many different types of music, and that’s the idea behind it and HYPERWAX, which is my own space we can talk about later. The EP NEVRSOMWHER describes my sound as being never in one place and always everywhere. It also reflects how I play. I love progressive house, and I also enjoy certain types of techno today. Techno has evolved, but I just love dance music overall. I don’t want to be pigeonholed as either a techno DJ, a tech house DJ, or a progressive artist. I enjoy all of it.

The EP includes five different genres. It has a tech house track, a melodic techno track, a peak-time techno track, a breakbeat track, and a progressive track. That variety really represents my sound right now and my overall mentality toward my music.

Your sound often sits somewhere between heavier, melodic, and tech house influences—how did you decide where to land sonically on NEVRSOMWHER, and did you lean more into one direction across the EP?

Tying into what I was saying I think it can also describe DJs in general, always moving and never staying in one place.

These tracks came together at different times and in different places. I wrote the melody for ‘Burnout’ a few years ago and rediscovered it later on my hard drive. The rest of the track wasn’t working, but I knew the melody was strong and worth building on. ‘Move With The Lights’ came together last year, and ‘House It Up’ was finished in November. ‘Alpha Nova’ is also a few years older, so each track comes from a different moment. All of them were created in different places around the world, which ties into the overall theme. It reflects that sense of always moving and never staying in one place.I think it also connects to how my mind works, always active and moving in different directions. That idea of being “never somewhere” fits both the music and my head space. HAHA.

Have any of the NEVRSOMWHER tracks already been road-tested in your sets, or picked up by other DJs? If so, what kind of reactions have you been seeing?

One of the first times I played ‘Move With The Lights’ was in Miami last year at M2, right after I wrote it. I hadn’t tested it yet and wasn’t sure how it would land, but I knew if it worked, it would really connect. It did, and hearing that snare hit on the first drop felt incredible. I’ve opened a lot of sets with ‘Solstice’ and included it in several podcasts. It always gets a great reaction because it feels unexpected. It starts very progressive and melodic, then quickly shifts into a more club-driven groove. The drop feels more like an implosion than an explosion, with a simple structure and plenty of space. It transitions the energy in a unique way, and it has been working really well.

‘House It Up’ has already received strong support. I’ve played it often, including in Amsterdam, and several friends have been playing it worldwide. Bart Skils has been playing it in many of his sets, and Martin Garrix also played it early on, which was exciting. It’s getting the crossover support I hoped for because it sits between styles. It’s a very danceable track with high energy, leaning toward tech house but pushing beyond it into something more club-focused. I’ve also been playing ‘Burnout’ quite a bit. I haven’t played ‘Alpha Nova’ as much recently, mostly in podcasts, but I want to start using it more. I often forget to close with it and run out of time before closing, but I think it would work really well as a final track because of its atmosphere.

Overall, I’ve been playing tracks from the EP in my sets, and they’ve been getting strong reactions. The promo just went out again, so I’m excited to see who else starts supporting it.

Speaking of your EP, we’ve seen a clear evolution in your sound over the past few years. NEVRSOMWHER fits right into that progression as well. You mentioned how it captures the different styles you enjoy. Do you see it pointing toward where you’re heading next, or is it more a reflection of where you’ve been so far?

It ties back to the title and to HYPERWAX. HYPERWAX is my own label and my own space, where I can release whatever I want. I don’t have to wait on other labels or worry about whether a track fits somewhere. If I like a track, I can put it out. That freedom is something I’m really grateful for. Having that kind of home lets me control the output and eventually sign artists I believe in. On a bigger level, that reflects the EP and my sound. The EP is a snapshot of a moment in time. I’m always writing and creating ideas, and I need that to stay creatively energized. Sometimes ideas come out as techno, sometimes as something else. I don’t always know where they’ll go, and I’m not trying to control that. This EP represents about one to two years of my sound, but it’s always evolving.

Right now, dance music feels like it’s in a moment where genres are blending and boundaries are less defined. In the studio, I’m not thinking about where a track belongs. I just focus on writing and letting things flow naturally. I wouldn’t say this EP defines my sound completely, but it represents the styles I like to explore. It reflects how I play, moving across different genres rather than sticking to one.

I used to focus more on techno, especially peak-time techno, but I’ve always brought in groove and progressive elements. Now I’m leaning more toward a broader, dance-focused sound. At the same time, I’m always evolving. One week I might feel inspired to make progressive, and the next I might go back to melodic techno. That constant change is part of being an artist. The goal is to keep a sense of identity in everything I make. No matter the genre, it should still sound like me.

Exactly, at the end of the day it comes down to your sound and staying authentic to yourself, regardless of genre. What are you hoping to build with the HYPERWAX beyond your own releases? Do you have artists ready to sign, or are you still figuring that out?

I haven’t fully executed it yet, but I do have a lot of artists in mind. When people send me music and something really stands out, I take note right away and keep track of it. I’ll engage with them, share music, and build those connections. I’m selective, but there are definitely artists I’m genuinely excited about, and I do plan to start signing music. I really want HYPERWAX to grow beyond just a label. The label is the foundation, but I see it becoming something much bigger! I’d love to do HYPERWAX-branded parties and expand into things like athletic merch and other fun ideas.

At the core, it’s a home for everything I want to build. It’s my brand, and I care deeply about it. I’m still nurturing it right now, but there are some really exciting plans ahead that I can’t wait to bring to life. I dream big, and I have big ambitions for HYPERWAX!

That sounds amazing. We’re really excited and looking forward to seeing it all roll out over the next year. Do you already have plans in place, or is it still in the works?

It’s definitely going to take time. It’s no longer just an idea, but it’s still in the early stages. Right now, it’s about lining things up, executing them properly, and rolling everything out step by step. I’m planning to work with artists and eventually release some merch as well. HYPERWAX is really an extension of me, and I want it to become synonymous with who I am as an artist. It’s more than just a music label. I want it to grow into a full brand, including elements of health, fitness, and athletics alongside the music.

You recently played the Experts Only show in Whistler—how was that show? How was that whole experience with John Summit!  The setting and crowd differ from your usual club environments, and how did it influence building your set?

It was amazing, honestly haha, it felt unreal. It really felt like the best of both worlds coming together, where all my passions aligned. I’ve always been into snowboarding, surfing, skating, anything involving a board, and that’s been a huge part of my life. Being in Costa Rica, surfing Friday morning, then flying back, switching gear, and snowboarding in Whistler the next day was incredible. Then performing on Sunday made it one of those moments where you stop and think, how is this real? It was a truly special experience.

I never take moments like that for granted. The conditions were perfect too, blue skies the first day and fresh snow the next. I wish I stayed longer to ride more, but even so, it was unforgettable. I’m really grateful to the Experts Only team. John is such a great person, and the whole group brings an amazing energy. The festival itself is just a lot of fun. I played almost entirely my own music, which I always try to do. It filled up quickly, the energy built fast, and having friends there made it even better. It felt like a true Weska set, and I couldn’t have asked for a better weekend.

That sounds amazing, and it looked incredible on socials!! Shifting to your collaborations and releases with such a wide range of artists and labels—looking back, which collaboration pushed you the most creatively, and which one came together the most naturally?

I mean, Bart Skils is definitely someone I’ve collaborated with the most. Our relationship goes back almost a decade. It started with him supporting my music, and over time we began sending ideas back and forth and working together. That’s a relationship I really value. He’s a legend, but also just a genuinely great person. He’s almost been a mentor to me, not just in music but in life as well.

Working with Charles D has been more recent, over the past couple of years. He’s an incredibly talented producer with a strong vision. We complement each other well. I might bring more melodic ideas, while he’s great at arranging, refining, and seeing the full track through. We really push each other creatively, and I enjoy that process a lot.

Enamour is another artist I’ve worked with, including our track ‘Deadbeat’ on Experts Only. He’s incredibly skilled in the studio, especially with sound design and engineering. Working with him was really eye-opening. You think you understand your craft, and then you see someone operate at that level, and it pushes you in a different way.

Each collaboration has been different, but they’ve all been really rewarding and creatively inspiring.

That sounds like a lot of fun and a busy 2026 ahead, we can’t wait! Now a fun one, If you weren’t a DJ or producing music, what do you think your dream job would look like?

Oh man, I don’t know, haha. Being a professional athlete would be amazing. Surfing would definitely be the dream. I love it and try to do it as much as possible. Anytime I’m not in the studio, I’m doing something active, whether it’s running, training, or being outdoors. When I travel, I surf as much as I can. In the winter I snowboard, and otherwise when I’m in Toronto, I skateboard.

I don’t think I could ever have a typical desk job. I’m just not wired that way. I’m really grateful every day that I get to do music for a living. There was never really a plan B. It was always about getting better at this because I love it so much. I’m not where I want to be yet, but I’m grateful for the progress and the journey so far. If I wasn’t doing music, it would definitely be something active and outdoors.

Maybe I’d be a digital nomad, traveling the world, chasing waves, and building something of my own. But honestly, I’m just really happy and grateful to be doing music every day.

I love that, thanks so much for your time today and sharing. We love the EP and excited to catch your shows this year!

Thanks so much for the love and to everyone streaming my EP and reading this! Catch you all on my next shows

We hope you enjoyed this read. If you want to catch Weska near you this year, be sure to check his socials to see where he’s playing next. Stay tuned to EDMTunes, and have a great weekend!