From the underground bass scene to the sweaty house floors, Salt Lake City’s Alexis Nikki has been craftily reinventing herself without missing a beat.
Leaving behind her bass-heavy Kleøpatra project wasn’t just switching lanes—it was shedding an old skin. With “Can’t Get Enough” dropping as her first cut of 2025 after her “All Eyes On Me” EP turned heads, she’s proving that her genre-hopping gamble is paying off in spades.
What’s striking about Nikki isn’t just her sound—a slick cocktail of tech house grooves, punchy bass house aggression, and melodic hooks that stick like gum to your brain—but how effortlessly she cranks out bangers. Most tracks come together in a mere four hours, an almost suspiciously quick turnaround that suggests her creative instincts run deep. This rapid workflow has become her secret weapon as she builds a catalog that’s catching the ear of scene tastemakers who recognize authenticity when they hear it.
Behind the beats is a story of artistic rebirth, where her current output feels far closer to her true self than the subsonic rumbles of her previous incarnation. We caught up with Alexis to dig into her musical backstory, production tricks, and how “Can’t Get Enough” fits into her constantly evolving sonic world.
THE KNOCKTURNAL: How did you begin producing?
Alexis Nikki: I have a background in classical music, playing the piano, clarinet, guitar, and violin, but I lost interest during my teenage years. While in college, some close friends who were organizing the Safe n Sound tour invited me to their show. That experience sparked a realization in me—I wanted to try my hand at producing music. In 2016, I decided to leave the University of Utah and enroll in Salt Lake DJ & Production. Since then, I’ve been fortunate to have three mentors, all of whom attended Icon Collective, and I’ve been producing music ever since.
THE KNOCKTURNAL: What made you transition from dubstep to house music?
Nikki: The primary reason is that dubstep no longer reflects my identity. It embodies an unhealed version of myself that doesn’t resonate with me anymore. The songs I’ve released under Alexis Nikki genuinely capture who I am today, and they were the fastest tracks I’ve produced to date—each taking only about four hours from start to finish.
THE KNOCKTURNAL: Who are your biggest music influences?
Nikki: My biggest influences would be Matroda and Dom Dolla.
THE KNOCKTURNAL: Is your production process different for house music compared to dubstep?
Nikki: Not really. I usually start with drums and sound design on the drop and build the rest from there. Every once in a while, I will start with the intro.
THE KNOCKTURNAL: How does Salt Lake City’s house/dance scene compare to other cities?
Nikki: The scene here is actually geared more towards bass music. However, the house scene is definitely growing! V2 presents throws Get Funky yearly, Mutiny brings major house/dance artists a few times a year, as well as Blaqvoid.
THE KNOCKTURNAL: How has being a woman in a male-dominated industry affected you?
Nikki: It’s certainly been an interesting journey. There have been moments when breaking through has been challenging, and it often feels like I need to prove myself more than my male counterparts—something I’m okay with since I take pride in hard work. However, I’ve also encountered situations where some of the men on the lineup seem to regard me as if I’m inexperienced or clueless about what I’m doing.
THE KNOCKTURNAL: How does “Can’t Get Enough” set the stage for your production sound moving forward?
Nikki: My production moving forward will continue to be whatever comes to mind in that moment, as my sound is always evolving. It will still be house of some sort, though!
With her classical background, efficient workflow, and commitment to authentic expression, Alexis Nikki continues to carve out her unique space in the electronic landscape. As “Can’t Get Enough” demonstrates, her ability to blend technical precision with emotional resonance marks her as one of dance music’s most exciting emerging talents.
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