Images Throughout Credited To Eliza Jouin
For years, BRUX built her reputation through club-focused electronic music that blended analog synth work with bold vocal writing and high-energy production. With releases on labels including Future Classic, Fool’s Gold Records, and LuckyMe, the Australian-born, New York-based artist developed a catalog rooted in rhythm-driven tracks designed for shared spaces on the dancefloor.
Her new album Halcyon Phase, released February 27, 2026 via Sources, moves in a different direction while maintaining the melodic identity that has defined her work.
The seven track ambient record began taking shape in 2020 while BRUX spent time in Katoomba in Australia’s Blue Mountains. With most of her studio equipment already shipped overseas ahead of a planned move to New York, she composed the early sketches using a single Dave Smith Prophet 08.
The result developed slowly over several years into a collection of atmospheric compositions shaped by solitude, reflection, and a deep connection to natural surroundings. In this conversation, BRUX reflects on the origins of the album, the creative instincts that guided its development, and how artists can create space for new voices within electronic music.
Interview With Brux
Your new album Halcyon Phase came together outside of the club context that most people associate with you. Where were you, physically and mentally, when this record started taking shape?
I started making this record back in 2020 when I was living temporarily up in the Blue Mountains of NSW in Australia for a few months. I was in a town called Katoomba and was going on daily hikes, finding peace in the natural scenery up there.
I had feelings around loss, wrapped up with anxiety as I was meant to move indefinitely to NYC that year but the ground fell away and my big life plans were stalled. Club music was the last thing I was inspired to make and it was these melodic lullabies that seemed to pour out of me.
Most of my studio was on a shipping container on its way to New York so I just had my Prophet 08 to compose with, limiting but also so liberating.
You have a tenure in club music and now you are releasing an ambient album. Your career seems to resist staying in one lane. How do you decide when to follow a new creative instinct versus staying where you are already thriving?
It’s hard for me to keep still! I definitely follow my gut instincts when a project feels ripe to share – it took me 6 years to finish crafting this record & feel ready.
I’m glad I waited that long to feel ready though, because coming back to it over the years has allowed me to add in new layers of emotional experiences that give the songs so much more meaning to me now. I’m inspired by so many different genres and artforms, so staying in one lane has never sat right with me creatively.
If someone listened to Halcyon Phase and then heard your club work for the first time, what do you hope they would recognize as the same artist?
My signature analog synths and melodies are what I hope connect the 2 worlds…
Was there a moment when someone extended access to you that meaningfully shaped your trajectory?
Playing with Fred Again recently in New York for his January 2026 USB002 residency was a huge turning point. Fred had me open for 3 of the 6 weekends, exposing me to such an important crowd of receptive electronic music fans – his fanbase are so open minded and yearn for songs with emotional connection.
So, it’s been really validating seeing all these new followers resonate deeply with my club side but also my ambient experimental side.
In what ways do you try to create opportunities for others now?
I’ve always loved the quote “A rising tide lifts all boats” and we’re in an industry that’s all about opportunity. At the Fred Again shows I was playing a lot of music by local & international emerging talent that I’m a fan of.
Things like this have the potential to make an impact – as it has done for me countless times over the years when artists playing big shows have played out my tunes too. I’m also a big believer in not gatekeeping – something that’s so common and I see it often.
Connecting artist friends with each other who would work well together is something I love to do, it’s always a positive thing, more is more!
How do you see access and inclusion playing out in today’s scene?
It’s a mixed bag…if we’re talking about inclusivity on lineups, there’s definitely still room for improvement. But, I’m hopeful that it’s slowly changing the more that we speak up about it.
What are practical ways DJs can help broaden lineups and perspectives within their circles?
Simple, do the work of researching local and upcoming talent who are making waves in their communities. Just listening. Doing the thing is enough to inspire others to do the thing too.
How do you recognize when it is time to share space or step aside for someone else?
Artists are empaths, and it’s a real practice to put your ego aside when it comes to inclusion and opportunity.
I think intuitively picking up on when someone is taking up too much space is also a practice – a lesson that we can apply to life in general, for relationships and social situations.
The post BRUX on Creativity, Inclusion, and Her New Album Halcyon Phase appeared first on Magnetic Magazine.