“‘Pier 80’ is the latest two-track statement from Cal Like Ripken, a release that captures the tension between deep, rolling club minimalism and bright, street-level house energy.
Built around the imagined atmosphere of an after-hours waterfront drive and early-day city movement, the EP balances two distinct moods that still feel connected through groove and restraint,” perfectly puts Outsiders Recordings headquartered out of Germany and Bolivia. The EP was released just yesterday.
We clicked with Cal Like Ripken‘s vibe while exploring the Portland scene as he became a resident DJ on one of the local’s favorite radio station, Same Wave Radio before moving to The Big Easy. Alongside his latest lucky 77th mix for his Bon Appétit Radio his team filled us in on their first-hand perspective, “Cal Like Ripken has been carving out his own corner of the underground, moving between stripped-back house, rolling tech grooves and late-night club pressure. His sets are built around rhythm, swing and records that hit hard without overcomplicating things.” Be sure to catch Bon Appétit on Data Transmission channel too.
Beyond his radio work, Cal Like Ripken has quietly built momentum as a producer, putting out releases across the independent house scene and picking up support from Hot Since 82, London Ground, Tim Baresko, Kido, and others. Today we have his debut interview.
How’s your day going? What did you get into this past weekend?
“Hey brother! Day’s been good, hope yours is too. This past weekend was a bit of a mix honestly, just moved into a new place down in New Orleans, so I’ve been getting settled in and adjusting to everything that comes with that. Been trying to carve out some time in between to actually enjoy my recent releases as well, with Outsiders and Weird Recordings (Argentina). It’s been nice to step back and listen from a different headspace after everything’s wrapped. How about you, what’d your weekend look like?
Well I listened to ‘Hot N’ Ready’ down here in Chile. It’s a fun track!
“Gracias so much! That truly means a lot. That’s exactly what I hope to create with my music — something rhythmic, fun, and rooted in happy house energy. Chile sounds amazing! I’ve actually never been. I spent about 3 years traveling in a renovated van, and even made it to Australia for a year, so I really connect with that adventurous lifestyle and working remotely from different places. Wishing you a smooth workday down there.”
Thanks. So what are some of your favorite venues and events in New Orrleans?
“I’m still pretty new to New Orleans, so I haven’t made it out to too many shows yet. But from what I’ve seen so far, the electronic scene feels smaller and more tight-knit, which I actually really like. It seems very community-driven and authentic. What’s stood out most to me is the overall culture here, music is such a big part of the city’s identity, and you can feel that everywhere. I’m really excited to keep exploring the scene and getting more involved as I settle in.”
Who are some bands or local artists that are killing it right now? Also, I am trying to imagine what a New Orleans vibe remix would sound like…
“For sure, even though I’m still pretty fresh to New Orleans, there are already a few spots and names that feel essential to the city’s energy. On the venue side, places like The Rabbit Hole, Republic NOLA, and Tipitina‘s really stand out — each one has its own identity, from underground electronic to legacy live music culture. Even just walking through areas like Frenchmen Street, you can feel how deeply rooted music is here! It’s constant, raw, and everywhere.
Artist-wise, there’s such a wide spectrum. You’ve got legends like Trombone Shorty carrying that modern brass sound globally, and acts like Tank and the Bangas bringing a really unique fusion of funk, soul, and spoken word.
On a different tip, Big Freedia represents the bounce scene, which feels like a core piece of the city’s DNA.
If I had to imagine a “New Orleans vibe” remix, it wouldn’t just be about adding brass — it’s more about rhythm and swing. There’s this loose, almost second-line groove that lives between the beat.”
Okay, please go on. What is a song with that second line groove?
“That second-line groove is all about swing and looseness something that sits just behind the beat but still drives the floor. A track that really nails that feel for me is “Wan Poku Moro” by 2000 and One. Super stripped, percussive, and locked into that rolling pocket.”
Also, what are 5 essential tracks that you have been excited to mix into your sets
“As for essentials I’ve been excited to work into my sets: ‘Colt’ – Dense & Pika, ‘On Jazz’ – Camiel Daamen, ‘El Gato’ – Mishell, ‘How Can I Lose’ – Late London, and ‘DTPA’ – Duan Wasi. Right now I’m really leaning into stripped, groove-led records things that feel raw, percussive, and built for those deeper moments in the set where the rhythm does all the work.”
Love it. What is your background in music production? How long have you been at it? How do you like to learn about music theory or production?
“I’ve always been drawn to the more niche side of dance music—the kind that feels intentional, a little off-center, but still rooted in groove. That pull really deepened once I started actually making music this past year. It began when I picked up the Teenage Engineering EP-133 K.O. II. Working on a beat pad like that made everything click for me it’s hands-on, pattern-based, and super immediate.
Being on the autism spectrum (level 1), I naturally connect to patterns and repetition, so producing this way felt less like learning something new and more like unlocking something that was already there. I’ve always trusted my ear over theory, and that’s still how I approach it. I’m interested in the subtle details—the groove, the space, the small changes that give a track character. Growing up, music was always around. Saturday mornings with Herb Alpert & the Tijuana Brass, plus MTV and TRL shaping my early taste. Now, with both DJing and producing still new to me, I’m just exploring and following that instinct.”
Okay, so what’s your story with getting connected to Samewave Radio. Any good stories getting to know them? Or how did that start?
“When I first landed in Portland, I made a conscious decision to really plug into the scene and learn from the people who were pushing it forward. Samewave Radio was one of those platforms that just stood out. There was a real sense of community, but also a high level of taste and curation. I started showing up, supporting, connecting, and naturally building relationships. It wasn’t force. It was more like finding your frequency and realizing you’re already in the right room.”
Awesome, glad you found that. What would you say is something unique about the Portland scene? Please tell us about some of the events you have been to or played.
“Honestly, I’ve been mostly focused on my craft and running my radio show with Samewave Radio. One of the things I’m really proud of is our “24 for 24” series. We bring together 24 station DJs to play 24 hours straight. I had the 6am slot, which was a really special experience.
As for Portland, the scene is very homegrown, which can be cool in some ways, there’s a strong sense of identity and DIY culture. But for me personally, I didn’t fully mesh with it. A lot of communities, outside of Samewave Radio, felt pretty insular, almost “locals only.” I also noticed that many of the same artists were getting booked repeatedly, which felt limiting, especially for a smaller city with so much potential. That was a big part of why I decided to move to New Orleans. I was looking for something more open and diverse in terms of collaboration and opportunities.”
If you had one super power what would it be?
“Only person who can be late to something they scheduled. Notorious. Hahaha”
What do you see as one of the bigger rivalries or competitions in the world today?
“I don’t really move in terms of competition or rivalry. What I pay attention to are artists whose work ethic, vision, and consistency create a kind of pressure, in a good way. The ones I keep an eye on right now: Nicole Fiallo — out of Miami. Simon Kidzoo — from the Netherlands. Shauna Dee — out of Ireland.”
