French DJ and producer DJ King Flow returns to Scientific Sound Asia with another edition of Mixtape Addict, continuing his focus on independent and underground Hip Hop. Scientific Sound Asia operates as an international radio station, promoter, DJ agency and music news platform, giving space to artists connected with the foundations and continuing development of Hip Hop culture.
DJ King Flow began DJing at the age of fourteen and developed a style firmly rooted in Boom Bap. The influence of 1990s Hip Hop remains central to his approach, although his selections consistently bring newer underground artists into the same framework rather than treating the music purely as nostalgia.
That ability to connect different generations has become an important part of his identity as a selector and producer. Classic drum programming, sample-driven production and lyric-focused records sit alongside contemporary independent releases from artists continuing those traditions around the world.
His career has included collaborations with established names including Ras Kass, Tragedy Khadafi, O.C., Juicy J and Khujo Goodie. These projects reflect a long-term commitment to Hip Hop foundations while keeping his production work connected with artists active in the present underground scene.
In 2015, DJ King Flow launched Mixtape Addict as a platform dedicated to independent Hip Hop. What began around mixtapes and radio has developed into a wider project combining regular broadcasts, artist interviews, new music and direct support for rappers, DJs and producers.
The interview side of Mixtape Addict has become particularly important because it allows artists to discuss their work beyond the limits of a conventional radio playlist. Conversations sit alongside the music, giving listeners more context around the people, labels and independent networks responsible for many of the records featured on the programme.
DJ King Flow's wider activity can be followed through Facebook, X and the Mixtape Addict YouTube channel. These platforms extend the project beyond the radio show and provide space for interviews, videos, releases and other material connected with the international underground.
Production has also become an increasingly visible part of his work. His instrumental album The Adventures of F.J. Parker combines jazz-influenced melodies, soulful textures and deep grooves with the raw drum-led character associated with classic Hip Hop production.
Trill Legacy (Instrumentals) further developed that side of his catalogue and placed the emphasis entirely on his beatmaking. Without an MC at the centre, the project gives the arrangements, samples, drums and melodic ideas more space to demonstrate how his production style operates independently.
His collaborative releases continue to connect that production work with underground rappers from different scenes. Warzone featuring Ice Crimi, Win or Lose featuring Imam T.H.U.G. and Money with Lex Lakaiser demonstrate how his beats can provide a foundation for contrasting vocal approaches while retaining a recognisable Boom Bap core.
More recent work includes Back To Basics (Mixtape Addict) featuring Faf Larage, Napoleon Da Legend, Relo and DJ Djel. The project brings several voices together around the musical principles that have remained central to DJ King Flow's work since his earliest years behind the decks.
Bills (Remix) featuring Khujo Goodie extended his connection with established American Hip Hop figures, while Laser Rouge with Omaz and Joe Mack returned to the collaborative underground format that runs throughout his catalogue. The Movement featuring ISH-ONE added another international connection and reinforced the global outlook behind Mixtape Addict.
That international direction also appears through Legacy with Dnzl Izm and Northwest Flow with Seattle emcee King Khazm. Rather than concentrating exclusively on French or American Hip Hop, DJ King Flow uses the platform to connect artists from different locations through a shared commitment to independent Rap and Boom Bap production.
Interview Guest: Da Beatminerz.
Da Beatminerz are the influential Brooklyn Hip Hop production team led by brothers DJ Evil Dee and Mr. Walt, closely associated with the dark, sample-heavy Boom Bap sound that emerged from New York during the 1990s. Their production is built around hard drums, heavy basslines, chopped samples and gritty atmospheres, making them an important part of the development of East Coast Hip Hop.
The group's history is inseparable from Black Moon, the Brooklyn group featuring DJ Evil Dee alongside Buckshot and 5ft. Da Beatminerz produced Black Moon's 1993 debut album Enta Da Stage, including material such as Who Got Da Props?, helping establish the stripped-back production style that would become closely identified with both Black Moon and the wider Boot Camp Clik movement.
Their influence expanded through Smif-N-Wessun's 1995 album Dah Shinin', another landmark Brooklyn release built heavily around Da Beatminerz production. Work with Heltah Skeltah, O.G.C. and other Boot Camp Clik artists strengthened their place within the tougher underground New York sound of the decade, while later productions extended to artists including KRS-One, De La Soul, M.O.P., Eminem, Jean Grae and Dilated Peoples.
Da Beatminerz eventually expanded beyond the original partnership of Evil Dee and Mr. Walt, with Baby Paul, Chocolate Ty and Rich Blak contributing during different periods. Their 2001 Rawkus Records album Brace 4 Impak brought the production team forward under its own name with guests including Talib Kweli, Pete Rock, Ras Kass, Royce Da 5'9", Naughty By Nature and members of the Boot Camp circle.
The group remained active well beyond its formative 1990s period rather than existing solely as a golden-era production name. Their more recent catalogue includes the 2024 album Stifled Creativity, and releases under the Da Beatminerz name were still appearing in 2026, demonstrating the longevity of a production identity established more than three decades earlier.
DJ Evil Dee and Mr. Walt have also maintained Beatminerz Radio, which traces its beginnings to a programme launched through 88HipHop.com in 1997. The station continues the same emphasis on underground and golden-era Hip Hop through DJ sets and producer-led programming, linking Da Beatminerz's historical role in New York Hip Hop with an active contemporary platform.
DJ King Flow opens Mixtape Addict 109 by putting Da Beatminerz' production legacy firmly at the front, beginning with Black Moon's "Who Got Da Props", Smif N Wessun's "Bucktown", Shadez Of Brooklyn's "Changes" and Krumbsnatcha's "Rich Man Poor Man". That opening run goes straight to the foundations of Boom Bap, pairing hard drums and sample-led production with the rugged East Coast delivery that became central to the duo's identity.
The programme then moves into contemporary Underground Hip Hop through Terror Van Poo and Vinny Idol, Rome Streetz, REKS with DJ Mickey Knox, and Shabaam Sahdeeq with The Bad Seed. Jay Royale, Drag-On, NEMS and Copywrite continue the emphasis on lyric-driven records, keeping the middle of the show close to the raw, uncompromising character established by the opening classics.
The Musalini and 9th Wonder's "Salt Box" adds a soulful edge before Kroni, Larry June and Monk.E with Dimeh broaden the selection beyond one regional approach to Hip Hop. Xzibit, B-Real and Demrick then bring a clear West Coast Hip Hop presence with "This Thing Of Ours", providing a strong contrast to the New York and East Coast material that dominates much of the programme.
Da Inphamus Amadeuz and Blazin lead into Slaine and Statik Selektah's "It's All Good", bringing the musical section back towards the harder East Coast Hip Hop tradition before the final conversation begins. DJ King Flow closes Episode 109 with his interview with Da Beatminerz, making the programme both a celebration of their influence and a bridge between foundational records and the newer underground artists carrying that approach forward.
DJ King Flow welcomed Da Beatminerz, represented by Mr. Walt and Evil Dee, to Mixtape Addict for a detailed conversation about DJ culture, production, mixtapes and the principles that have guided them through decades in Hip Hop. Both brothers made clear from the beginning that despite their long careers, they still approach the culture as fans first and regard DJing and music production as part of their everyday lives.
Discussing their favourite DJs, Mr. Walt named Tony Humphries as a major influence on his approach to smooth, technically precise mixing, while also recognising DJ Jazzy Jeff on the Hip Hop side. Evil Dee shared the admiration for Humphries and placed Jazzy Jeff and Kid Capri alongside him, praising the ability of both DJs to control a room while maintaining exceptional technique.
Their longevity, they explained, comes from a genuine love of the culture rather than simply treating music as a profession. Mr. Walt described Hip Hop as their life, while Evil Dee emphasised that their connection to the music grew naturally and continues to come from the heart rather than from any calculated career decision.
The brothers also discussed the importance of retaining traditional DJ skills as technology changes. Mr. Walt argued that DJs who work with Serato should still understand how to play vinyl, describing the difference as learning to mix with the ears rather than relying primarily on visual information from a screen.
When King Flow asked whether they missed mixtapes, both said the physical experience of holding and playing a cassette remains special, although they believe the basic idea survives through platforms such as Mixcloud, YouTube, Apple Music and Twitch. Evil Dee pointed to the large number of mixes he continues to release and described online broadcasts as a modern version of the mixtape tradition rather than its disappearance.
For Evil Dee, keeping Hip Hop alive requires embracing new technology without abandoning the standards that existed before it. He argued that DJs should use Serato, CDJs and modern controllers when they are useful while still applying the same expectations around scratching, mixing, selection and turntable technique that defined earlier generations.
That combination of old principles and new tools also gives Da Beatminerz greater freedom during performances. Evil Dee explained that carrying a digital library allows them to access far more music than would be possible with a few physical record cases, turning a DJ set into something closer to live production because breaks, records and ideas can be brought into the mix immediately.
Asked what makes a great mixtape, Mr. Walt placed technical standards at the centre of his answer. He stressed that transitions, blends and scratches need to be tight and revealed that despite having DJed since the 1970s, he still practises regularly because he believes preparation is necessary regardless of experience.
Evil Dee described a slightly different approach to preparation, explaining that he practises scenarios rather than fixed sets. By developing routines around small groups of records and keeping his scratching sharp, he can arrive at a club prepared to react to the audience instead of following a predetermined sequence that may not suit the room.
That adaptability reflects their belief that DJing is ultimately a form of entertainment. Evil Dee stressed that knowing dependable records, understanding when to use them and presenting the music with personality are all part of putting on a show rather than simply playing one track after another.
The conversation then turned towards Da Beatminerz as producers and their recent project with rapper John Jiggs. Mr. Walt explained that the collaboration began after he posted that the group was looking for artists to work with, leading to an initial beat exchange that revealed enough chemistry to develop an entire project together.
Both brothers described the sessions as relaxed and creatively productive, with Evil Dee recalling how quickly he recognised the strength of the collaboration after hearing the first material. King Flow praised the finished project for moving between harder and more soulful moments while remaining cohesive, highlighting the variety that Da Beatminerz and John Jiggs achieved together.
Physical records remain an important part of their world, and the brothers explained that vinyl copies of the project were available through Fat Beats alongside its digital release. Mr. Walt rejected the idea that vinyl truly disappeared, arguing that dedicated listeners continued buying it even when the format became less visible in mainstream retail.
Their connection with records goes deeper than sound alone, as both remembered studying liner notes, shout-outs, engineers, studios and production credits while growing up. Mr. Walt spoke about carefully constructing the acknowledgements on Da Beatminerz releases, while Evil Dee recalled reading cassette and album credits during journeys home because he wanted to understand the equipment, engineers and studios behind the records he loved.
They expressed disappointment that complete credits are often harder to find in the streaming era, with Evil Dee revealing that he had once considered creating a dedicated credits database before concluding that too many modern releases lacked reliable information. The discussion reinforced their broader belief that understanding the people and processes behind a record is an important part of understanding Hip Hop itself.
Closing the interview, Mr. Walt and Evil Dee thanked listeners around the world for allowing two brothers who began DJing locally in Bushwick to eventually perform and make records internationally. They described themselves as fans who were given the opportunity to become part of the culture they admired, and both credited their supporters with making that journey possible.
Evil Dee promised that as long as people continue supporting Da Beatminerz, they will continue making records and performing DJ sets with the same energy that established their reputation. Mr. Walt echoed that gratitude while maintaining the quiet confidence that, after decades of practice and production, Da Beatminerz still have the ability to compete with anyone behind the boards or the turntables.
The live broadcast is scheduled for Tuesday, August 11th, 2026, from 8 to 9 PM Indochina Time (ICT), with a replay set for Saturday from 8 to 9 AM (ICT).
DJ King Flow, Da Beatminerz Mixtape Addict Episode 109
Black Moon - Who Got Da Props (Prod. Da Beatminerz)
Smif N Wessun - Bucktown (Prod. Da Beatminerz)
Shadez Of Brooklyn - Changes (Prod. Da Beatminerz)
Krumbsnatcha - Rich Man Poor Man (Prod. Da Beatminerz)
Terror Van Poo & Vinny Idol - Same Old Crew
Rome Streetz - I Don't Know
REKS & DJ Mickey Knox - Abilities
Shabaam Sahdeeq & The Bad Seed - Show & Prove
Jay Royale & Anibal Beatz - Glory
Drag-On - DOA Freestyle
NEMS & Ron Browz - Kruger Remix
Copywrite & Da Inphamus Amadeuz - Copy My Style
The Musalini & 9th Wonder - Salt Box
Kroni - Hey Kroni
Larry June - Casual Monday
Monk.E & Dimeh - Game Time
Xzibit, B-Real & Demrick - This Thing Of Ours
Da Inphamus Amadeuz - Close To Me feat. Blazin
Slaine & Statik Selektah - It's All Good
DJ King Flow - Interview With Da Beatminerz
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