Norwegian artist BAKKIS lights the fuse on his new label, Okada Records, with the launch of Inna Fire—a percussive, low-slung groover that channels his years behind the decks into something both stripped-back and urgent.
Leaning into the kind of no-nonsense house music that’s seen him win support from Jamie Jones, MK, Claptone, and Marco Carola, Inna Fire is all about tension and tight spaces—minimal elements deployed with maximum intent. Musically, it’s raw, chunky, and rolling—warped vocals cut through crisp drums and rubbery basslines, giving the track a hypnotic, heads-down momentum.
The single lands with a remix from Huxley, a longtime innovator whose flair for flipping genres with subtlety and power is well documented. On his remix, Huxley dials up the groove and steers it into slightly more soulful territory—stripping things back without losing the original’s bite.
We caught up with BAKKIS for a deep dive into the release, label and plans for the future.
Okada Records is clearly a passion project for you. Can you tell us about the journey leading up to its launch? What made this the right moment to finally make it happen?
Okada Records has been a long time coming. I’ve been a music lover my whole life, and I always dreamed of making my own music and eventually starting a label. Now I have done both, and I’m incredibly proud of that, even though I still feel like I’m just at the beginning of my journey.
Over the past few years, I’ve been building relationships in the scene and honing my skills and sound. Along the way, I realised I was craving a space that could truly reflect my musical identity, but also act as an outlet for music I believe in beyond just my own. With the way the industry works now, I wanted the flexibility and freedom to release music on my own terms, rather than constantly sending out demos and hoping for a response that often never comes.
The timing felt right, especially as the community around me was growing stronger. The network I’ve built through radio, DJing, and my previous releases has allowed me to launch Okada Records with a solid foundation. It’s really a natural extension of everything I’ve been working towards.
“Inna Fire” is described as a percussive, low-slung groover with a focus on tension and tight spaces. Can you walk us through your creative process for this track? How did you balance the minimal elements while maintaining that sense of urgency?
“Inna Fire” actually started outside my house on a warm, sunny day. I set up a little temporary “studio” in the shade with a Behringer MS-1, a Bass Station 2, the KOII ep133, and my laptop. The goal was pretty simple: to have fun and enjoy the process. I was just jamming on the gear, and the track kind of came together naturally, almost on its own.
To be honest, I didn’t consciously try to balance anything I just instinctively followed the vibe. The drum groove had this relentless, rolling motion that really locked everything in, and I played live on the MS-1 and recorded it straight in. Most of the elements in the track came from hardware, which definitely helped keep that raw, hands-on feel.
That live and playful approach gave the track its energy. It wasn’t overthought it was about capturing a moment and letting the music evolve in a way that felt honest and exciting.
Having “Inna Fire” played by Pete Tong on his BBC Radio 1 show is a massive milestone. How did it feel to hear your track on such an iconic platform, and how important do you think radio support is for electronic artists in 2025?
Honestly, hearing Pete Tong drop “Inna Fire” on BBC Radio 1 was surreal. It’s one of those milestones you dream about, and it really validated all the hours I’ve spent making music. Funny enough, I actually thought about how cool it would be to get played by Pete a few months ago but I didn’t expect it to happen anytime soon. Big kudos to Huxley for delivering such a strong remix that helped make it happen.
I still think radio plays an important role, especially platforms with global reach. With so much music coming out every week, having a tastemaker like Pete give your track airtime helps it cut through the noise. It’s not just about exposure it’s a stamp of credibility that can open new doors. On a personal level, radio has always had a bit of magic for me. I had my own radio show when I was 10 years old, so there’s a real sense of romance around it. Even though it’s not quite the same as it used to be, I really hope we can keep some of that magic alive.
You’ve mentioned that having Huxley on remix duties felt like coming full circle, given his support for your tracks on Dumb Safari. What do you think makes Huxley such a strong fit for this project?
Huxley was one of the first established artists to support my music and release my very first track, so bringing him in for the remix felt like a real full-circle moment. I honestly can’t praise working with him enough he’s got such a deep passion for what he does, and he’s given me a lot of inspiration and confidence along the way.
My goal is to one day become as prolific and consistent a producer as Hux. He just gets it. As soon as he heard “Inna Fire,” he was into it, and from that point I knew I couldn’t go wrong with him on the remix. He brought his own flair to the track and gave the release a whole new dimension. He was the perfect fit for this one.
With Okada Records, you’re aiming to showcase not only your own work but also music from like-minded artists. What kind of sound and ethos are you looking for in the tracks you sign?
I see myself as a bit genre-fluid, and I’m drawn to music that either has a groove or a melody that really hits or moves me. For Okada Records, the sound will lean into a mix of groovy and melodic tracks that carries originality and character. Okada Records will for sure not be limited to one subgenre. Ethically, I want to champion artists who are pushing boundaries and has true passion. It’s not about chasing trends it’s about energy, honesty and originality. I’m looking for music that feels alive and purposeful, whether it’s raw groovy, hypnotic, emotional, or all of the above.
Your music has gained support from Jamie Jones, MK, Claptone, and Marco Carola. What do you think it is about your style that resonates with such a diverse range of DJs?
That’s a good question and honestly, something I haven’t thought too deeply about until now. I think it comes down to being open-minded in my productions. I don’t box myself into any specific genre or formula I just follow the vibe and vision I’m feeling in the moment.I never try to copy anyone, so what you hear is mostly just me shaped, of course, by all the music I’ve absorbed throughout my life. I draw inspiration from a wide range of styles and sounds, and I think that diversity naturally comes through in my tracks.Maybe that’s what makes the music resonate with such a broad range of DJs. It’s honest, and it carries a bit of everything I’ve picked up along the way. And I’ve got to say I’m genuinely honoured to receive support from such big, established names. That kind of recognition means a lot.
You have roots in radio and a solid track record with Beatport-charting releases. How have these experiences shaped your approach to running a label and curating its sound?
My background in radio really solidified my passion for music from an early age. It gave me the opportunity to create some magical moments and lasting memories and that’s exactly the kind of energy I want to bring into Okada Records.The goal with the label isn’t about chasing money it’s about chasing the magic. That’s not to say you can’t have both, but for me, it starts with passion and a genuine love for what I do. I want each release to feel meaningful, not just another track in the pile. Having a few releases under my belt has also taught me a lot about how the industry works. I’ve got a much sharper understanding now than I did a few years ago, and that experience definitely informs how I approach the label.When it comes to curating the sound of Okada Records, it really boils down to gut feeling and having confidence in my taste. If a track gives me that feeling whether it’s mine or someone else’s I know it belongs on the label.
“Inna Fire” is all about raw, rolling energy with a hypnotic edge. When you’re behind the decks, how do you build and maintain that kind of tension in your sets? Is it something you consciously construct, or is it more instinctive?
It’s definitely instinctive but it’s guided by experience. I’m always reading the room, feeling out the energy, and gauging how far I can push things before delivering the payoff. I use long blends, FX, and looping to build tension and stretch out key moments. It’s a bit like storytelling playing with contrast, tension and release, light and shadow. My dj sets is again quite genre-fluid i would say and I don´t like playing a set where all the tracks sound the same. I love surprising people with curveballs dropping something unexpected if the energy feels right. That unpredictability helps keep the dancefloor engaged and creates those magic moments that stick with people. It’s not about playing it safe it’s about building a journey that feels alive.
As a label owner, how do you plan to strike a balance between your own releases and the music of other artists? Will Okada Records lean more toward your personal vision, or do you see it as an evolving, collaborative space?
In the beginning, I’ll be using my own releases to set the tone and define the identity of the label. But long-term, I see Okada Records more as a collaborative space. I want to build a circle of artists whose sound complements mine people I vibe with creatively and personally so we can grow together as the label evolves.It’s about creating a foundation of trust and a shared vision, where everyone involved feels part of something bigger. I’m not putting pressure on the balance between my releases and others, it’ll come naturally as the right music and people come along.
Can you tell us about the significance of the name “Okada Records”? Does it hold a personal meaning for you?
When I first started thinking about artist and label names, I was definitely overthinking it. I came up with all sorts of names that sounded cool, but none of them really felt like me. So I decided to strip it back and go with something that actually represents who I am.
BAKKIS is a nickname I’ve had since I was young it’s what all my friends call me, and even my wife. So using that as my artist name just felt natural and authentic. Okada has a similar personal connection. It’s actually a surname in Japanese, and I’ve always been a big fan of Japanese culture especially the food and the aesthetic. When I was a kid, my dad came home from a trip to Japan with a custom stamp bearing the Japanese characters for Okada. That stamp became a part of my identity, and I even used it to sign my first record deal. So naming the label Okada Records just made sense it ties back to something real and meaningful from my own story.
Looking ahead, what’s next for Okada Records? Do you already have other artists lined up for future releases, or is the focus on establishing a strong identity with your own music first?
Right now, the focus is on laying down a solid foundation with my own releases. “Inna Fire” sets a tone and sends a message about what Okada Records stands for but that doesn’t mean every track will sound like that. I want the label to have depth and range,
I’ve got a few more exciting releases in the pipeline, and I’m also in talks with some talented producers for future remixes and collaborations. That said, I’m not in a rush. I’m taking my time to make sure every release fits the vision I’m building and truly reflects the identity of the label. It’s about quality, not just quantity.