This week on our culture spotlight we interviewed Casper AKA Young Gho$t, the man behind the capital’s underground promotional powerhouse Ghost Media. Responsible for some of the sickest jungle, garage, and breaks nights in recent memory, Welly bass heads should be familiar with Ghost Media as a staple for a great night out. We quizzed Casper on the beginnings of his “one-man-operation”, the highlights and lowlights of running events, and what’s on the cards for the future…

“Initially Ghost Media was started as an outlet to platform myself, as well as other artists who had talent but weren't necessarily getting booked at parties or gigs. A lot of the Ghost Media ethos is rooted in hip-hop, punk, hardcore and metal, so we are firmly on the side of the underdog, championing the voices of the underground that don't always get a light shone on them. It started off with more of a hip-hop focus, then over time I realised that I wanted to shift things towards rave-style electronic music events, as it felt like there was a more positive and fun culture around them, fostering an enjoyable environment with good knock-on effects to the community.

I never really wanted to run events, there just wasn't anybody else putting on the sort of shows that I wanted to go to. I'm a music fan first and foremost, and that's why the focus of the events is always on platforming the artists and creating an environment where people can enjoy listening to the music. That’s exactly what makes Ghost Media events so special - the music and the people who come with it. We try to deliver a cross section of up to date cutting-edge sounds, alongside the more classic sounds that helped to inform the genres that we love in their formative days. I am a huge believer in the role of history in music, and aim to educate as well as entertain. As a result of what we push, I think we end up with crowds that are a bit more music-oriented, who aren't just there to party. This is where I think our goals align with Twisted in particular - we are spreading love through music and connecting like minded people across their passion.

What I love about Welly is that it is such a cultural melting pot, and you get people who actively engage with niche interests. There's a lot of artists here, so people really appreciate artistry within music, which is what allows us to bring relatively niche acts time and time again. Another thing that is unique about Welly is how small it is for a major capital city, so we get all these big artists that end up playing in a tiny bar like Valhalla or Moon. One of my proudest moments was  the first time we packed out Valhalla for an international. We had Killjoy and Peaky Beats on for a double header and it was just carnage. That was when I realized that there was a place for this type of music, and that what we were doing was truly a community service. Another time I felt that was when we hosted Breaka and Bakey on a sunday night at San Fran and sold over 200 tickets. I couldn't believe we got that many people out on a Sunday night and was so amazed by how far the whole thing had come.

On the other hand, it isn't always an easy place to run events, and you can't just throw a night and expect people to come, especially with this type of music. The last year has been especially challenging as people have been doing it a bit rough financially, and don't always have the money in their budgets to afford $30 or $40 for a concert ticket, so we try and give out free tickets where we can. In an ideal world these events would be free so everyone can indulge, but sadly we do have costs to cover. 

Regardless of the ups and downs, it’s all been worth it. Over the past couple of years we’ve been able to host so many incredible artists including 4am Kru, Cesco, Plastician, Coco Bryce, Sully, Goth-Trad, Doc Scott, Isgwan, Papa Nugs, Need For Mirrors, Sam Binga and Paige Julia. Running events with so many amazing musicians and being able to chat to them and pick their brains is something else. One highlight that stands out in particular is spitting bars over Main Phase & Neffa T's b2b and having Neffa-T chop while I was spitting - that was absolutely surreal. 

We have some big events in the works in the near future.This Friday (15th November) we are teaming up with Third Eye Hi-Fi and Jungle Juice, doing a multi-level rave at The Grand headlined by none other than Breakage, an absolute legend of jungle dnb. We've got an all-star jungle lineup downstairs, and essentially two techno parties upstairs, so I'm excited to see these two worlds collide. It'll probably be the first time we've tried to push an event this large with jungle as the focus, but hopefully people are ready. We shall see! We've also got a couple of shows locked in for 2025 already, but honestly I'm at the point of trying to say no to as many as possible now - I have been struggling with my musical output a bit since being so busy, and next year I'm hoping to shift the focus away from running events and a bit more towards finishing and releasing some of the music that I've been working on.

Before all that though, Twisted is next on the list! I just can't wait for that feeling you get when you get to the valley and you realize you don't have to do anything for the next five days except embark upon silly shenanigans and listen to sick tunes. There is something about being in that remote location, surrounded by like minded weirdos, all ready for the same chaos. I have heaps of friends who I only get to see at Twisted, and it's always fun catching up with them all. I've heard it's the ten year anniversary this year, and the lineups have just been getting bigger and better year by year, so I assume we have some amazing acts to look forward to. I definitely can't wait to DJ at the Beat Bach for the first time - there is something about Twisted that just makes it one of my favourite places to perform. The crowds are so open-minded, and you can really push the boat out and play tunes you might not get away with at other festivals.

My favourite set I've ever seen at Twisted was Digital last year. I've seen some epic sets in the Cobb over the years, but getting to witness one of the originators of the drum’n’bass sound laying it down in the valley sent chills all up and down my spine. Earlier that night I played probably the best set of my life, with Bad Taste, and that was pretty crazy. The giant b2b2b2b last year was absolutely iconic too.

To cap things off I would like to give a shout out to Further Sound. Mikey (who runs Leather Kennel studios) in particular is the backbone of a lot of our operations. Without those guys we wouldn't be able to have achieved half of what we've done. I also want to give a shout out to Third Eye Hi-Fi and Tubs Audio, the other two sound systems we work with - both great teams run by knowledgeable and passionate people. I would also like to big up my partner Gianni, as well as Noyer, whom I run the Garage Sale events alongside, as they are always open books who I'm able to bounce ideas off. Shout out to Piper from Support Your Local Collective, another absolute legend. Last but not least all the talented VJs and lighting operators we work alongside - Cubeman, Lightsmith, Lightcraft, Uncle Graham, Grace, all the others. Not to mention Ben from Valhalla, Jamie from Moon - it takes a lot of people to run a ‘one-man operation’!”

Massive ups to Ghost Media for their mahi in the music scene! If you’re in Welly this weekend get down to Shakedown at The Grand on Friday for an epic three stage rave - you don’t wanna miss this one!

Ghost Media

Today is line-up release day for Rolling Hertz 2025 so what better time to share the lowdown on this epic event! We asked the legendary Luan from Sound Delinquents about the history of their crew, their toughest and proudest moments, and what makes the underground festival circuit in Aotearoa so unique…



“The Sound Delinquents are a collective of passionate young bucks that host music and art events in the South Island of Aotearoa, predominantly in the Tasman region. With a love for getting the highest quality rigs in NZ paired with the best underground musicians, they are dedicated to creating immersive and unforgettable experiences. 

Back in June 2021, a group of our friends all had birthdays near the same weekend and decided to host a birthday party open to the public. The party was called “The Krusty Krab” as the friends were all Cancers. This event is how we (Luan and Bayley) decided that we wanted to continue hosting events together and started our journey. Incidentally, we share the exact same birthday, year, month, and day.

All we wanted to do was host outdoor parties that we would want to go to ourselves. We saw such events as opportunities to showcase the musical talent and passion for art in the Tasman region and our friend group. We wanted to create safe, fun, and inclusive environments where every person can contribute what they are passionate about, a space for countless ideas and energy to converge, where people can unapologetically be themselves and have the time of their lives at the same time! 

Growing up going to Twisted, we knew that the Cobb Valley was the perfect spot to host our gatherings because it’s such a lush area with stunning nature and an awa right next to the site. This is where we host our main event, Rolling Hertz, the 4th installment of which is coming up in February 2025. We picked a pretty rough time to start out, because just as our first event was about to go ahead the COVID lockdowns hit and we were forced to postpone. After recouping some losses, the first Rolling Hertz went ahead in May 2022 when we were just 19 years old.

Six months after that we decided to host another festival, the infamous Galvanize (meaning to inspire someone into action). Absolutely torrential rain engulfed the Cobb Valley, and no amounts of hay could save us. That was by far the wettest we’ve ever seen the Cobb. Literal rivers were flowing through the site, people swimming and sliding everywhere. Litres of water were in the subs on the Discrete Sound stage, and we were so close to pulling the pin on the stage and packing up because we were afraid of damaging the equipment when suddenly skies cleared and we could continue on. 

We definitely shoved ourselves in the deep end with these early events, we fucked around and found out so to speak. With our ‘go big or go home’ attitude, we got into a lot of debt trying to make the vision happen, and had to work full time jobs and get loans to pay off the festival once it was done. But when you do it for the love of it, it doesn’t matter, the moments created are far more valuable. It was the support of our community and friends that made, and still makes it possible for us to continue these events - you know who you are <3

We have a lot of pride in the grassroots, community focus of our events. Pretty much every aspect of the art that is incorporated in our festivals, from the stage art to the event posters, is from Tasman/Tākaka locals. We have a focus on natural event builds, making all the stages from wood and re-using as much as we can. We also try to cover the whole spectrum of underground electronic music in our events, along with a hearty dose of hip hop and live bands. Aotearoa has such an amazing music scene, and being able to combine your favourite acts with gangsta bedroom DJs you haven’t heard before in one lineup is amazing. With hundreds of acts in just a few days, there’s truly something for everyone. 

Compared to larger commercial festivals, ‘doofs’ in Aotearoa have a more intimate vibe, which fosters an environment that allows people to feel more connected to the event and those around them. The parties feel real and genuine, with a strong sense of community and homegrown flavour. The outdoors is the perfect place to boogie, and when we do we take care of it by disposing of waste correctly and respecting the whenua. 

Community is the main reason we do this - festivals open up opportunities for creativity and growth by bringing together artists, musicians, and performers, creating a platform where everyone’s unique talents shine. The magic happens when everybody’s individual strengths combine, creating a seamless fusion of music, art, and atmosphere that wouldn’t be possible without the collective energy of the community. 

We’d like to give a massive shoutout to everyone who has supported us on our journey through the years, whether by buying a ticket, painting a sign, or digging a hole - thank you!

Special thanks to Clayton, having our backs since day one. Niwa Jongkind for creating the most insane artwork ever. Discrete Sound, passionate and onto it legends. Jakob Climpson, visual maestro. Amy Soulfire, the most gangsta genius out there. Biggup Pedwar. Charlie Brown the don. Cardi da master builder. Naomi the stage painting machine. Psycare and medic team holding it down.. And all the DJs, artists, and workers, the list goes on…

Community is what it’s all about. Aotearoa underground. Stronger together. 

Thank you to Twisted for being the biggest inspiration and GCs. 

We can’t wait to see what the future holds. 

Come to Rolling Hertz 2025, Feb 6-9th. See what the hype is about. 

With Love, Sound Delinquents.”



Phwoah - What a bunch of absolute legends, <3 We are so excited to see the new blood coming through and producing such phenomenal events and it is clear that this crew hold a lot of the same ethos and passion as the Twisted team. Make sure to get your tickets locked in and support these up and coming weapons in their noble cause.

Massive love right back to ya Sound Delinquents, you should be thoroughly proud of the effort and mahi you have put into your mission so far and we are looking forward to seeing your events grow and thrive in the coming years <3

Rolling Hertz

Ahead of the first intercontinental Decennium session in Sydney this Friday we decided to do a write-up about the history of our collaborators, DUNJ. Known for their epic warehouse parties and holding it down since the early 2010’s, DUNJ is one of the forefront crews making shit happen across the ditch. We spoke to them about what makes their scene special, the differences in the doof scene in Aus, and what they’re most looking forward to about their stage takeover at Twisted’s 10th anniversary…



DUNJ (originally Dungeon Events) was started by three friends as a pop-up party in war bunker locations around Sydney harbor, strictly on Tuesday nights. At the time we were club rats and promoters at Sydney clubs, Chinese Laundry and The Wall, who were looking to run our own gigs. At the time a DIY event seemed like the best option. After a few years of bunker parties we put on our first club and warehouse events just before Sydney’s lockout laws of 2014 were introduced. 

Due to the lockouts, which led to the closure of 176+ entertainment venues across the city, we shifted our focus almost exclusively to warehouse parties with the occasional mid-week bunker parties for international guests. Over the years our crew grew with the addition of some close friends and music enthusiasts who were all brought on board after helping set-up and pack-down events. DUNJ has since evolved into a crew of 9 that runs regular events in a variety of spaces around Sydney and is heavily involved in the NSW doof scene. 


The main type of events we run in Sydney are in warehouses, because they provide us with a blank canvas to build and create unique experiences for every event. We host a fairly wide variety of artists and music so it's great to be able to adapt a space to suit the vibe of the night, the artists that are playing and the style of the music. There’s always a focus on quality sound and production, whether through a unique custom sound system, a hefty lighting rig and expert operator or an amazing concept for stage design. We put a lot of love and care into our events, and with the help of friendships and collaborations with some amazing locals in the scene we’ve hosted some incredible shows. 

The scene that DUNJ is a part of is unique because of the relative freedom that warehouse spaces provide to curate unique experiences, especially regarding production. It's easy for club nights at the same place to blend into one and specific performances to not feel special when your memory is storing it alongside countless others. With warehouses there is always an element of surprise and anticipation for the punters because, even though we all use the same spaces, the production, layout, stage build and decoration will be different every time. This warehouse centered outlook of the scene was motivated by the lockout laws, but times are changing and Sydney is having a revival at the moment, with 4+ clubs and multiple small bars and venues opening up in the last few years. 

We will always look back fondly on the lockout era in Sydney’s creative spaces. There was a feeling of civil defiance in what we were doing, not that we were doing anything wrong but it was clear that the government at the time had it out for dance music, events and disco balls for some reason. There was a beautiful culture around these spaces; promoters worked together and shared advice, experiences and leads on spaces and equipment. There was a very healthy and constructive level of competition and one up-manship where promoters would see what others were doing and think about how they could take the space or the event to the next level. This of course ebbed and flowed, and there were periods of max freedom, expression and creativity, and moments where the police would step in to settle everything down. 

One of the major differences between doofs/festivals in NSW and NZ is to do with policing. We live in a police state in NSW where police will extort festival operators with a "user pays" policing policy, where organisers will have to pay in excess of $100,000 for police to attend their event. Most festivals will have a very heavy police search at the front gate, with sniffer dogs going through cars and the festival grounds during the event. The police in NSW are in such heavy attendance under the guise of safety so it's always reassuring to see festivals in NZ with a much less extreme police presence go off without a hitch while still operating safely and working with local emergency services in a way that doesn't impact the viability or the beautiful friendly environment outdoor events can offer.


Other than that, doofing has a beautiful ability to stay relatively consistent country to country and we couldn't help but feel how similar our first experience at Twisted last year was from our favourite regular NSW doofs. Our doof scene definitely has more of a psy focus with bass music taking the back seat - we love to get amongst both but it was great to see bass music doing lots of the driving at Twisted. It’s also awesome to be part of a festival where the music goes 24/7, a lot of the larger-scale doofs in Aus will stop the music at night which can be good for rest, but it’s fun to see a party that lets adults make their own decisions about bedtime. 

This year we're all counting down the minutes and seconds until Twisted! We're in close comms with the crew and we're helping bring some acts over to NZ - after attending the festival last year there were two acts in particular that we reached out to immediately after getting home to get them locked in for this year's edition. We're definitely keen to swap out the esky for a chilly bin and go chase some of those pointy ducks on the festival site as well. And the river is definitely the best doof site river we’ve experienced too, so we’re all super keen to jump back in there!


These legends are co-hosting one of the first Decennium sessions - launch parties for the tenth anniversary of Twisted - in Eora/Sydney this Friday. If you’re in the area, be sure to get down and catch NZ bass heavyweights Ebb, Headland and Akcept share the stage with breakbeat assassin Jungist and the DUNJ crew themselves. And if you’re not, don’t worry, DUNJ are scheduled for stage takeovers at the Chillery AND the Beat Bach this year. Come get amongst it!

Ethos

Mission Statement

Why We Do It

Articles

Ghost Media

Rolling Hertz

DUNJ