Get to Know the Thunderous Sounds of Kamaloscope

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Hailing from Virginia’s capital, DJ and producer Kamaloscope drops off a hot new mix and fills us in on the inner workings of his project.

Serving up Bengali flair to the bass community, Syed Kamal intertwines his rich heritage with the prominent electronic subgenre through his project, Kamaloscope. The DJ and producer immigrated to America from Bangladesh in his youth. Not losing sight of his heritage, he uses a moniker that plays on his last name, Kamal, which means perfection.

Finding a home in Richmond, Virginia, the state’s capital, and its rich music scene has left an imprint on Kamaloscope as he follows in the footsteps of many artists before him who are looking to find their way from RVA to the main stage. Throughout his career as a DJ, he’s solidified support slots for Peekaboo, Jaenga, Smoakland, and Jkyl & Hyde, to name a few.

Kamaloscope’s growing popularity within and beyond his local scene is a testament to his wizardly ability to craft soundscapes that elevate bass music. From the infectious rhythm of “NASTY” to the cultural flavor of his Jkyl & Hyde’s “Left Right Center” rescope, his twist on remix, the self-taught producer is slowly building a catalog of innovative, festival-ready weapons.

Hot off his festival debut, we caught up with Kamaloscope to get the scoop on getting his start in music, what it’s like to be a rising DJ in 2026, and where he sees himself fitting into the current landscape of bass music. Keep reading along for the full conversation with Kamaloscope, and be sure to give his exclusive mix a spin!

Stream EDMID Guest Mix 501 || Kamaloscope on SoundCloud:

Hi Kamaloscope, thanks for chatting with us today. What first sparked your interest in becoming a DJ? Have you always known you wanted to pursue a career in music?

When I first came to America, I heard Daft Punk for the first time and was bewildered to hear something so non-human, but it evoked such a human reaction in me. Since then, I have become obsessed with the science behind sound and music.

When I started getting better at music production and getting amazing affirmations from my audience, I realized that this is what I want to do for the rest of my life. There are very few better feelings on this planet than seeing people enjoy your art in the way it was meant to be enjoyed.

Born in Bangladesh, how do you honor your cultural heritage through the Kamaloscope project?

I honor my cultural heritage by incorporating South Asian sounds and vocals into Western music and Western styles. While I am the only musician in my family, and growing up, music was not allowed in my orthodox Muslim upbringing, I still love my culture and the beauty in its art.

My people and my country have gone through many hardships, trials, and tribulations to call ourselves Bangladeshi. As I live in America, the best way I can personally pay homage to that is by putting Bangladesh into my music.

How has the landscape of Richmond’s music scene influenced your project?

Richmond gave me the outlet and the niches to really bring me out of my shell when it comes to all things music. I started by joining an improv band that is now doing quite well in the city. That paved the way for me to join a pop-punk band (as a drummer) and gave me the confidence and opportunity to hone my production skills to get to where I am today.

If it weren’t for the community I have and the people who have supported me thus far, I would not be here today, nor would I have the platform I have. For that, I am eternally grateful.

Being based in Richmond puts you in close proximity to both Washington, DC, and Virginia Beach. How have those nearby cities helped shape your career as an artist?

I’m grateful to the DC and Virginia Beach communities for helping me grow as an artist and recognizing what I can contribute to the scenes. It took a lot of work and connections to meet genuine people who are here for the musical culture, who have helped me grow as an artist and put my name out there.

Both of these communities have supported me just as the Richmond scene has, and I want to do everything in my power to support them in return. They honestly taught me how important community really is in a counterculture such as EDM.

What has been your most memorable performance as Kamaloscope thus far, and why has it left such a lasting impression?

On July 11, I played my first festival in Denver, Colorado. That weekend and performance are by far the one that means the most to me. I went on stage with barely anyone knowing who I was, and stepped off stage with people asking for my autograph, bigger artists wanting to work with me, and people singing my praises and hoping they get to see me again.

I felt so validated, and these wonderful people gave me the motivation to keep going with this no matter how hard it gets and to stay true to
myself and my morals! Plus, Xotix, my favorite producer at the moment, came up onstage and danced with me, which was an incredible feeling. That same weekend, I got booked for another, much bigger festival also in Colorado. I can’t say what it is yet, but the announcement will be made soon!

Recently, you’ve been releasing lively flips, including your take on Soulja Boy’s “Pretty Boy Swag.” What draws you to a track you want to flip, and how do you infuse it with your own sound?

Quite honestly, I just like listening to my friends who have no knowledge of production whatsoever. As a matter of fact, that song and my Gym Class Heroes remix are ones that I’ve taken from my lovely group of friends from Lynchburg and made for their birthdays. Now, one of those songs is my second-highest-played song of all time! I make music for the people I love, so it’s important that I listen to their opinions and just have fun with it!

I infuse it with my own sound by imagining how people will react when they hear it for the first time. Someone recently told me that I make music that sounds like we are about to enter the sexiest boss fight ever — I laughed and couldn’t have agreed more! I love making music that invokes an intense reaction like that. However, I also love making music that is unexpected, and I love not letting the
audience knows my next move.

You’ve released several songs on 9B49’s Lower Viiibrations label. When do you feel confident that a track is ready for an official release?

The truth of the matter is, I never really know when something is “done.” I just have to trust that it’s done enough, and if I’m happy with it, I’m sure someone out there will be as well. To me, making music is like putting together a puzzle without knowing what any of the pieces are. It makes for a more creative process; every song will have a different journey, and that is the fun of production.

What realities go on behind the scenes for someone pursuing a DJ career in 2026 that most people don’t see?

This is a topic I could spend hours on, but I’ll try to condense it as best as I can. Keep in mind that I can only share my perspective on everything, so this isn’t an absolute right-or-wrong; I’m just explaining my experiences. It’s important to let go of your ego and realize that art is supposed to be a humble experience. Do not let go of the love and passion you have for the art itself. Create music from the heart, and the love will follow.

A majority of the battle is showing up and making an impression with your genuine self. There are many people who do what I do, and it can get lost in the ether, but what people remember the most is the impact you have on them. So treat people with respect and show them that you genuinely care.

It is almost impossible to get anywhere by expecting yourself to succeed by just staying in your room and expecting the algorithm to favor you.
It’s not easy to succeed in this career, and only chasing success will make you lose the love and passion you have for this. There will be many times you will get knocked down, and you have to keep picking yourself back up. If you stay true to yourself, your community will be there to help pick you up as well.

There will also be a lot of people who try to take advantage of you and keep you down, but the best way to disprove them is to keep doing what you’re doing and constantly try to learn and improve. Finally, don’t be a creep and respect people’s boundaries. You are not a God; you are a
DJ.

Finally, how do you see your project contributing to the current landscape of bass music?

I think I bring a very unique sound and social dynamic to this landscape. On and off the stage, I urge people not to take themselves too seriously and just surrender to the music. In terms of the music itself, I refuse to confine myself to one box, so I make whatever I like, and I have been told that is what makes my music so unique. So that’s what I’m going to keep doing and expose people to my culture and how
I’ve integrated it with their culture.

It’s time for something a little different, and I believe that’s what I can contribute: giving people a safe space to enjoy themselves to the fullest while respecting other people’s boundaries and being respectful of our community.