There are many keys to finding success — a bit of luck, being in the right place at the right time, maybe knowing the right people. Talent never hurts, but the most important thing is discipline. “For me, discipline is everything. It’s just as important to stay disciplined about health and well-being as it is about music.” I couldn’t agree more — and maybe that’s also what makes Brooklyn-based DJ, producer, and violinist Kozlow so inspiring to listen to, because beyond the sound, he has a lot to say about life, balance, and creative growth.
His previous single Cowboy Killers brought a playful twist to house music — a fresh mix of groove, wit, and personality. With his new release Find a Way, out now on his own ANTHR FCKNG PARTY (AFP) label, he continues to build that bridge between raw underground energy and timeless rhythm. A straight, tightly produced track that works equally well on the dance floor — or in my case, even in the gym.
We caught up with him to talk about creativity, balance, chaos, and the art of finding your own rhythm in between.
photography by Ola Wilk
Grant, great to have you! How are you feeling these days — between all the AFP parties, releases, and late-night chaos, do you ever find a quiet moment for yourself?
Hey C-Heads! Super excited to be here. How am I feeling these days? Honestly, today I feel fucking great. I went out last night for the first time on a Wednesday in a long time and had a little boogie at Outer Heaven. Then I actually went to The Box — which I’ve always had a soft spot for.
This morning, I got up early, grabbed a coffee, sat down at my computer, and got back to work. That’s what really makes me happy — being able to do nightlife stuff but still maintain a normal schedule. That balance is really important for me.
Do I ever find quiet moments? Yeah, pretty much every day. I try to meditate, do yoga, go to the spa… I’m also a huge fan of my noise-cancelling AirPods and always have chill music going to unwind, especially after leaving the club or studio. I actually call my apartment the “Serenity Palace” because of the vibe — though I do live across from a factory, so I can’t record between 9 a.m. and 1 p.m. because of the trucks. But once they’re gone, it’s ‘serenity now’ all over again.
You said Find a Way came out of a wild studio session with the ForgiveMeTommy! boys in Montreal — “absolute chaos merchants,” as you called them. Do you remember the exact moment when you knew this track was going to be something special?
I adore ForgiveMeTommy! Thomas and David are very close friends I met along my musical travels. Our relationship is raw and honest. There’s a lot of trust between us, both in live settings and in the studio. And I absolutely love Montreal — I jump at every chance to go there.
I wouldn’t call Find a Way a groundbreaking club anthem, but it’s a well-produced track with an uplifting vocal that just feels good on a great system.
“Luck is what happens when hard work meets opportunity.”
And what made that creative chemistry work so well between you?
I actually met Tommy playing violin with him at an engagement party in Beverly Hills — someone’s backyard nightclub setup — and we hit it off immediately. I think he could’ve been a therapist in another life; I’m constantly struck by his perspective and his ability to connect with people. That’s what makes him such a great DJ.
I met David later in Montreal and was really struck by his story and authenticity. Those guys are storytellers, and I’ve learned so much from them about how to communicate with a dance floor — both in a single track and across the arc of a night. Over time, it’s been our shared experiences, tastes, and parallel musical journeys in our respective cities that have taught us how to work in tandem.
You come from a classical background as a violinist, which isn’t very common in the electronic music scene. How did you find your way into techno?
I think we all start somewhere. I started playing violin when I was four and was first introduced to electronic music when I heard Flume and Avicii in middle school. But it wasn’t until my sister sent me the songs she was Shazam-ing while studying abroad in Berlin that I started to dive into deep house and more underground club music.
And how does that early discipline from violin training help you nowadays?
You nailed it.
For me, discipline is everything. Some people go out, party like rock stars, make their first song, and it blows up overnight. Next thing they know, they’re touring the world. That didn’t happen for me — and to be clear, it still hasn’t happened for me, (laughs).
But being disciplined in the studio, with admin, correspondence, and all the non-sexy parts of the job, is crucial. It’s just as important as being disciplined about health and well-being.
You’ve played violin on stages with artists like Carl Cox. How do people react in those moments?
Burning Man is incredible — people are open to things they might not normally be. The first time I played with Carl was wild; I hadn’t slept, I was delirious, and my friends convinced him to let me plug in my violin on the spot.
Afterward, I spent a year anxious that I’d ruined his recorded set. The next year, I went back to the Purple Party, found Carl, and said, “Hey, I was that guy who played violin with you last year.” He was super nice and had kind words about it. Turns out the anxiety was all in my head. He even invited me to do it again, and we’ve played together a few times since.
You’ve built an entire world around ANTHR FCKNG PARTY — or AFP — which started as a no-lineup, no-phones underground party in New York and has now grown into a label and community movement. How do you protect that spirit now that it’s also becoming a label and a bigger platform?
That’s kind of a misconception — we didn’t start as a no-phones, no-lineup party. We just wanted to throw something fun, and it worked. From there, we started to brand it, and over time, it evolved into something bigger.
Capturing the spirit of something that began organically is tricky. It’s a tightrope walk — keeping it raw and authentic while also dealing with venues, promoters, and other realities. It’s always a balancing act.
“Creativity isn’t something you can force — but you can create the conditions for it to happen.”
You’ve said AFP wasn’t something you planned — it grew naturally. Do you think the best creative projects are born that way, almost by accident?
I’m convinced that creativity isn’t something you can force, but you can create the conditions for it to happen — and, over time, get better at flexing your creative muscles on the spot.
If you wake up every day and force yourself to sit in front of an Ableton session for hours, getting better and faster at all the things that go into production, then when inspiration does strike — or something just clicks — you’re ready to capture it. I think that’s true for anything. Not to sound like a poster in an elementary school, but luck is what happens when hard work meets opportunity.
You seem to live between worlds — classical and underground, NYC grit and California sunshine. If you had to choose one, which would it be?
I have some good friends in Los Angeles, and I did hang there for a while. But LA is definitely not my home. My home is New York City. While it’s nice to get out of Dodge and enjoy some good weather, I’d take New York over California a hundred times out of a hundred.
I swear I’m not making this up — last night I walked into the bathroom at The Box and overheard a guy say to the person at the urinal next to him, “You really should move here (to New York) from LA — it would be great for your personality.”
Your new releases have a certain playfulness but also real depth. Do you think dance music needs a bit more humor and chaos again?
I love serious techno, but I also love fun, fruity, silly tunes. If you can merge the nuanced production of heavy techno with the joy of disco or pop, that’s the sweet spot. Labels like Make-A-Dance and Semi Delicious in London really nail that — music that slaps but doesn’t forget how silly this whole thing can be.
What’s something about you that people who only know you from AFP wouldn’t expect?
I’m slowly but surely learning how to cook, and I’ve found a lot of joy in the process — shopping for ingredients, cooking, and figuring it out as I go.
Most of my meals are pretty basic — beef tallow and ground beef or chicken, some veggies and fruit, drizzled olive oil, pink Himalayan salt — but I love the process of being bad at something and still putting in the time to get better.
“If you can merge the nuanced production of heavy techno with the joy of disco or pop, that’s the sweet spot.”
I get the feeling — also from how you come across on social media — that there’s this wild, free-spirited energy about you, both in life and in your music. But I’m sure there’s also a softer side. When does that one tend to show itself?
(laughs) So it’s working! I’ll tell my creative director you think they’re doing great.
But yeah, the softer side shows up when we skip the small talk. Ask me real questions, I’ll give you real answers. Musically, I try to show that through the violin or with some moody sound palettes. My close friends would tell you I’ve got depth. Right, guys???
And finally — what’s the most important thing in life right now for you?
Last year, my New Year’s resolution was discipline, routine, and moderation. I haven’t had a drink this entire year, and I’ve really fallen in love with my routine. I try to stay moderate in what I pursue — not throwing myself into work for insane hours or staying up ridiculously late out of some misplaced sense of “doing whatever it takes,” regardless of what it does to my body or mental health.
What’s important to me now is balance — being able to show up for myself and for the people in my world.
Thanks so much for sharing your world with us! (smiles)
No, thank you for taking the time to talk to me. Hope you have an excellent holiday season and a happy New Year!
Follow Kozlow for more:
kozlow.fm
www.instagram.com/kozlow
