The ever-restless crate digger and globe-trotting selector Romain FX steps into the booth for our 137th edition of the Phonica Mix series, bringing with him the full force of his nomadic, genre-bending ethos.
Born in France but raised across Hong Kong, Taiwan and the USA, he’s spent nearly two decades cultivating a sound with no borders—whether through founding Hong Kong’s Fauve Radio and Fauve Records, digging through the city’s back-street record shops or driving sunrise sessions atop the Great Wall of China. For this mix he set out to “create a melting pot of sounds from different corners of the world, stitched together into my own musical sphere,” he tells us, outlining his intent to blend Canto Pop with Korean beats, Ghetto House with IDM, Indian electronic experiments and dreamy rave, all seasoned with a dash of space disco. That he pulls it off – without caring if genre purists wince – is testament to years of diligent vinyl hunting (over 3,000 records and counting) and a restless urge to challenge the dancefloor. It’s not just the track-list that intrigues, but the spirit of connection through contrast. Expect hidden unreleased gems for curious ears, and a journey that reminds you why Romain FX remains one of the most adventurous voices in underground dance music today.
Hey Romain, thanks for joining us! Can you tell us about your mix and what the idea behind it was?
The pleasure is mine, thank you for having me. With this mix I wanted to create a melting pot of sounds from different corners of the world, stitched together into my own musical sphere. It’s about connection through contrast, mixing rhythms, textures and moods that shouldn’t fit but somehow do. Canto Pop to Korean beats, Ghetto House to IDM, Indian electronic experiments to dreamy rave, always a dash of space disco. That’s the thread I follow whenever I play. Genre purists hate it, dancefloors don’t seem to mind. And of course, there are plenty of unreleased gems hidden inside for curious ears.
What are your preferred methods for finding new music—do you still enjoy digging around in dusty crates, or do you prefer to buy online?
Both still play a part. Touring, producing, performing, handling a record label and throwing parties… time is scarce, so I can’t dive into crates like I once did. And the age of cheap gems is fading fast. The internet put every piece of wax under the microscope, with sellers chasing inflated Discogs prices. For me, digging while traveling is the sweetest way to carry memories home in vinyl form. Outside of that, I’m constantly exchanging discoveries with friends, private groups, and online diggers, plus the occasional Discogs treat to keep the fire alive.
What are five records you couldn’t live without?
These are the ones that soundtrack my days from sunrise to nightfall.
Breakfast: The Yussef Dayes Experience – Live At Joshua Tree
Noon: Sade – Diamond Life Daytime: Zig Zag – Zig Zag
Dinner: Saâda Bonaire – Saâda Bonaire
Wind-down: V.A. Night Palms (Hobo Camp)
What has been one of your most memorable sets over your career?
Two moments stand out. First, a 9-hour vinyl-only marathon at MyHouse in Hong Kong (rest in power). Just me, a crate of LPs and 45s, trying not to trainwreck for half a day. By hour eight, my head felt like a pumpkin. Worth it. The other was on a tiny deserted island with Seelie, full moon, rising tide. The crowd had to squeeze Boiler Room-style as the water came up. People were drinking over the CDJs, every DJ’s nightmare, but there was this “fuck it” energy in the air. Pure unexpected madness.
What do you have up your sleeve for 2025?
Plenty of new stories carved into grooves. 2025-2026 are the years most of my music gets etched into PVC and hopefully shared on dancefloors worldwide. Two vinyl EPs this year and another planned for 2026. One drops this month on Japanese label Sound Of Vast, timed perfectly with my Japan tour. The other’s on Muscle Memory, a fresh UK imprint where I’m honored to be their first guest, available for pre-order now. Plus a couple of vinyl-only edits landing on different labels in 2026. Beyond releases, I’m pushing my live hardware set into new territories with my first performances at Womb in Tokyo and Macadam in Nantes.
Thanks Romain 🙂
