Introducing: Biscits, a Tech House Hitmaker on the Rise
Introducing: Biscits, a Tech House Hitmaker on the RiseJuly 26, 2021
“If Biscits hadn’t been available, maybe it would have been something cheese-related? I like names that are related to food,” Biscits says with a smile when discussing his chosen moniker.
Luke Wright Jones, better known to the world as the tech house specialist Biscits, should have confidence in his alias. With releases on SOLOTOKO, Club Sweat, Ultra, Insomniac Records, Toolroom, Selected, Black Book Records, Defected, and Higher Ground, his tracks have all the characteristics one looks for in a biscuit. Sweet, textured, gooey, crunchy, savory… all these adjectives and more can apply to the plethora of party tracks that Biscits has up his sleeve.
Growing up in Southampton, UK, Luke became magnetized to the piano early on in life. A far cry from the “boring” classical music he was being taught in school, his love for music production came into full view at the age of 16 when he opened up Logic for the first time. “It just clicked,” Luke explains. “Because it was visual, creating music began to take on a whole new meaning for me.”
This meaning was solidified once again when Luke and his friends ran off to Ibiza to sneak into clubs just a year later.
“We didn’t know what we were doing, we were just sort of out there,” Luke says. “And it was just like, ‘Oh my god, this is it.’ I had no idea about specific genres and all of that stuff, but from that point forward, I was trying to create all sorts of music.”
Luke found major inspiration in the Ed Banger crew and became fascinated with the heavy drops of Skrillex. He’d soon signed up for a music technology course at his university and began posting his tracks on SoundCloud.
Before the tech house of Biscits, Luke started off as a trap and dubstep DJ/producer under the name Gold Top — inspired by the English milk brand of the same name, keeping in line with his penchant for food-related monikers. Despite booking a few gigs under the alias, both at home and abroad, the project eventually “fizzled out,” he says. Money was tight, and Luke realized it was time to find a job.
“I was at an awkward stage of my life and didn’t know what to do,” Luke says. “And so I just got a straight-up office job and for about three or four years, there was just no music. So it was just like, ‘Right, I’m an office person now,’ and I absolutely hated it. I was just the worst person to have in an office.”
In 2015, Luke had a life-changing, albeit terrifying near-death experience that shook him to his core and awakened his need to grab life by the horns. While sitting on the tarmac of McCarran International Airport in Las Vegas, returning home after having a blitzed-out weekend with his mates to celebrate his friend getting married, one of the engines on Luke’s plane exploded in fiery and dramatic fashion during takeoff.
“It was a nightmare,” Luke says. “But we evacuated, no one was seriously injured, and I kind of lost the plot after that. It wasn’t until a few months later that I suddenly thought to myself, ‘Wow, I almost died that day. Am I just going to work this horrible office job for the rest of my life?’ So I decided to get back into music. I quit my job, broke up with my girlfriend, and moved into my brother’s house. I had about a year’s worth of money saved, and I was like, ‘I’m just gonna fucking do this, and see what happens.’ And if it doesn’t work, I’ll get another job and give up or whatever.”
In hitting the reset button, Luke soon found himself obsessed with the down and dirty tech house style that was invading the airwaves thanks to acts like CamelPhat, Walker & Royce, Solardo, and Fisher. From there, Luke got back into the swing of production and started making music like a madman, teaching himself loads of new tricks via YouTube and cracking on with getting his tracks signed to labels.
His first success was in 2017 with a local Southampton label run by a few of his friends called Midninties. Releasing singles like “M Night,” “Creepin‘,” and “Real Low,” Luke was well on his way but had more time to go before fully realizing his tech house potential. He secured a manager who showed him the ins and outs of how to get his music signed to bigger labels, and after sending constant emails to imprints like Dirtybird, Repopulate Mars, Toolroom and beyond, his patience, persistence, and head-down music production work ethic eventually paid off.
But he wasn’t out of the woods quite yet. Money troubles had reared their ugly head again, and after moving back in with his mother, who expressed concerns about the reality of fulfilling his lifelong desire to become a DJ, got him a job at a local shop. It didn’t last long.
“My first shift on my first day, I get a phone call from my manager,” Luke explains. “He says, ‘Quickly! We’ve booked tonight at a club in Nottingham in support of Fisher!’ So I literally left the shift and the job on my first day and drove straight to the venue. The following day, I quit.”
In 2018, Sonny Fodera had just started his SOLOTOKO imprint and was scouting for fresh talent to grow on his label. After reaching out, a video surfaced online of Sonny playing his new demo, “Do It Like This,” at a festival.
“I didn’t even know if that track was going to get signed at that point,” Luke says. “We got an email later that day saying he had picked it up, and a week later, a video of Fisher playing the track surfaced as well. It was an insane step up from like, literally nothing.”
“Do It Like This” eventually climbed to the overall number two spot on Beatport and stayed there for weeks on end.
“After these videos of big DJs playing my track, it started ending up in everybody’s set,” Luke says. “It was a huge turning point for me, and all of a sudden, labels wanted to release with me, and I was getting loads of gigs as well.”
What followed was a flurry of smokin’ releases that took dance floors by storm in 2019. He linked with Sonny Fodera for multiple tracks, including “Insane,” “Scratch My Back,” and “Vibrate.” He also released a two-tracker on Club Sweat titled Speakerphone, landed on Sola for his Carnival Tune EP, remixed the Duke Dumont & Shaun Ross track “Red Light Green Light,” and his music was featured on compilations by Defected, Cr2 Records, and Toolroom. By the end of the year, Biscits ended up as one of the Top 10 best-selling artists of 2019 on Beatport.
Now with half a million monthly streams across all platforms, Biscits’ appeal has gone global. With international gigs rolling in, he took a trip to São Paulo, Brazil, to play Kaballah Festival Green Valley before heading down under for a wild Australian tour.
“Australia was my high point,” Luke says. “My Australian booking agent is Fisher’s as well. He had seen Fisher play ‘Do It Like This’ and asked what it was, so that song opened the door again. Listen Out Festival was insane. Just packed festival crowds, and the Australians are always just so up for it. In England, tech house has this sort of a serious feel to it whereas out there, it’s just like, fuck yeah, let’s just go absolutely mental.”
Luke was teeing up to have his most successful year to date in 2020 before global nightlife was put on pause due to the covid pandemic. With no gigs, money was tight once more, and Luke chose to move back in with his brother — a personal trainer who insists on getting Luke in on his early morning workouts. Luke also rolled out tracks like “Let Me Show You” on Chris Lake’s Black Book Records, “Jungle Sounds” on Sola, “Ready To Dance” with Martin Ikin on Ultra, and his most recent release on SOLOTOKO, “Your Body.”
“I can’t wait to play that one in a club!” Luke exclaims. And there is plenty more where that came from. The sound of Biscits continues to build more hype with each passing day, and that’s likely to continue as the dance floors worldwide keep opening.
“I’ve got this absolute banger coming out on SOLOTOKO in October. I’ve sent it out to Fisher, Sonny, and these up-and-coming American guys Local Singles whose vibe I really like, and they’ve been playing it out at their parties in New York, so it’s nice to see that it works.”
All that being said, it’s clear that the next in-person set from Biscits is going to be chock full of fresh face-melters aimed directly at the dance floor, and that he can’t wait for his return to the stage.
“This is so difficult,” Luke chuckles after asking him what first track he’ll play when he’s finally back on stage. “I made this mashup of Bicep’s ‘Glue’ with the a-capella of Solardo’s ‘XTC,’ and it’s just so over the top. That’s the one I’ll play first, but only if it’s a full crowd.”
With things going the way they are for Biscits, there’s no doubt it will be.
Cameron Holbrook is the Junior Editor at Beatportal. Find him on Twitter.