Felix Lee is a London-based artist, producer, and curator whose work has been central to shaping the city’s experimental underground over the past decade. Emerging from South London’s DIY circuit, he is the founder of ENDLESS, a platform and club night born out of necessity, with early parties taking place in unlicensed backrooms, squats, and peripheral spaces outside of the established East London scene.

Felix early trajectory intersected with a wider movement that included figures like Bladee and the broader Drain Gang universe, helping define a cross-pollination between London’s underground and a new wave of internet-born musical expression.

Early releases navigated noise, deconstructed club, and ambient under different aliases. With each project, Lee has refined this vocabulary, bringing raw textures and emotional immediacy into a more focused form.

Glamour, his latest album, marks a new chapter. Featuring collaborations with Gud, Oxhy, and Rainy Miller, the record presents a more direct and high-contrast energy while continuing his trajectory toward refinement. Rooted in the old English meaning of glamour as enchantment, the project explores a threshold between reality and illusion, impulsive, paranoid, and romantic.

Developed during a period of personal transition, the album reflects a moment of recalibration. Built from blown-out drums, sparse melodic elements, and stream-of-consciousness vocals, its sound is both stripped back and emotionally charged, shaped by the textures of London and Brixton.

INTERVIEW

sabukaru: Hi Felix, your new album Glamour is out, congratulations! What was the inspiration to make this new album compared to the previous one and what does Glamour mean to you?

FELIX: Thank you.

I would say this project is a continuing thread from my previous album Skullstepper, tapping into life in the threshold between reality, illusion, the living world and the spiritual realm.

But where Skullstepper was a loose narrative about a protagonist going through each stage of an awakening and derealisation, Glamour is a collection of attitudes, impulsively driven, paranoid and romantic in a way.

sabukaru: Is there a central idea or emotion that ties the album together?

FELIX: I wanted to make a record with an intentional palette, higher in contrast, big blown out drums, a singular scratchy synth or guitar, and minimal stream of consciousness vocals.

Glamour in the old English sense of enchantment.

sabukaru: How does Glamour relate to where you are in life right now?

FELIX:

“This record was made at a big crossroad of my life, in a time of self reflection and reclaiming an energy once lost.”

sabukaru: How did London and Brixton influence the album?

FELIX: London is a beautiful and dark place, and Brixton is the heart of London.

Growing up with the soundsystem culture outside, street preachers, and everyday chaos, all while living in a musically inclined household.

Some of my earliest memories being my dad playing things like "jesus blood never failed me yet" on loop, all these experiences continue to shape my choices artistically.

sabukaru: You always gave (me) a "punk" vibe, understanding punk as the idea of someone who does whatever they/she/he wants and feels to do... At the same time punk seems a rare term to link with Glamour but you seem to manage both worlds. Have you ever thought about that?

FELIX: Not really but the way me and the people I came up in the scene with did stuff always aligned with these kind of DIY ethos, all our early parties were in unlicensed backroom clubs, squats, mostly out of necessity as the cool east London people never really fucked with us.

I'm not trying to make out that I was a full blown crust punk or anything, the goal has always been to live a blessed life.

sabukaru: How long did it take to make this album?

FELIX: A year on and off, but with the main body of work recorded in a couple months.

sabukaru: Do you prefer to produce with hardware or sit on your DAW? What are your preferred and used hardware and plug ins for this album?

FELIX: I like to avoid the screen as much as possible, the majority of my recordings are from hardware synths, processed guitars, drum machines and samplers.

In the DAW I'm more often chopping up straight audio, or manipulating it further.

sabukaru: Which track was the easiest to do on this album and which one was the hardest to finish and why?

FELIX: The hard part is everything else aside from the music.

sabukaru: How did the collaborations with Gud, Oxhy, and Rainy Miller come about?

FELIX: Very organically, I never push for features, but I was honoured that Gud gave me the beat to Demolition which really aligned with the vision.

I'd been wanting to nail down Rainy on a feature for a minute and we finally got some time in the studio together.

Oxhy is one of my favourite friends to collaborate with, we always make a banger.

sabukaru: Does Glamour feel like a turning point for you artistically?

FELIX: I'd say from Skullstepper onwards I've found my feet as an artist, coming up playing noise shit and then getting known as an electronic producer before bringing it all together, it took a minute for me to find my tribe but now we're here.

sabukaru: Is there anything you left unsaid or unexplored on Glamour?

FELIX: This project feels like its own capsule. I'm happy with the outcome.

sabukaru: Where do you see your sound going next after this?

I'd like to spin back on something ambitious sonically, almost baroque.

sabukaru: THANK YOU!