As Nigeria's electronic music scene continues to grow, more artists are carving out spaces beyond the country's dominant sounds and building communities around the rave scene. One of the latest to join that movement is THRPY HRSE, whose debut EP, THRPY HRSE(Collection 1), marks his first full-length introduction to that world.

Across five tracks, the project explores different corners of electronic music while remaining cohesive, moving from the hypnotic pull of Trance Dance to the abrupt finality of Marilla.

We spoke with THRPY HRSE about rediscovering his love for music through EDM, the transitioning from Afrobeat to electronic music, and why Collection 1 is only the beginning.

First of all, congratulations on your debut EP, THRPY HRSE (Collection 1). It's a very solid project.

THRPY HRSE: Thank you so much.

Before we get into the music, I want to start with you. What's the story behind your name, THRPY HRSE?

THRPY HRSE: I was expecting that question. I got it from a character in a show I really like, BoJack Horseman. The lead character has a therapist, and the therapist is a horse. For some reason, I really connected with that character.

Your name comes from a therapist character. Has electronic music played that therapeutic role in your own life?

THRPY HRSE: To be honest, EDM is one of the few genres I listen to and actually feel something.  I've been doing music for a long time, and at some point it started to feel like a job. I wasn't listening for enjoyment anymore.

But with EDM, no matter how much I listen, I genuinely enjoy it and find sounds I can connect with.

How long has that relationship with EDM been there? Were there any artists or producers who shaped your love for the genre?

THRPY HRSE: I've been listening to EDM for as long as I can remember, probably since secondary school. Zedd was one of my biggest influences because you can tell he's a musician. His music is very melodic and he knows how to play with chords in a way I really connected with. I also listened to Skrillex quite a bit.

You mentioned getting burned out as a musician before finding your way into EDM. Looking back, what was that transition like, and what surprised you most about making electronic music compared to producing Afrobeats?

THRPY HRSE: It's gotten a little easier than it was in the beginning. I didn't start off as a DJ. I was fully into production before I started DJing EDM in 2024.

It was a slow transition because the soundscapes are so different, and I wanted to really understand the sound before putting anything out. Even this EP is just an introduction. I'm still trying to find my sound, my own small corner where I can do my own thing.

One of the biggest things I realized though, was that I didn't know as much about production as I thought I did. Afrobeats doesn't require a lot to get people dancing. As long as the groove is right and the kick hits hard, you've got a solid track. It's very minimalistic. Electronic music taught me so much more. If I made an Afrobeats song now, it would be better than anything I made before simply because of what I've learned from EDM.

After spending so much time learning the sound, what made you feel ready to finally put your own music out?

THRPY HRSE: Honestly, it was an impulsive decision. About a month ago, I just decided that's what I wanted to do, and I started.

What did ‘starting’ actually look like? Were some of the songs already there?

THRPY HRSE: I already had three of the songs before I decided to do an EP, and I built the concept around those three tracks.

Once those three songs were in place, how quickly did the rest of the project come together?

THRPY HRSE: Equine Therapy only took me about a week from production to mixing and mastering.

Which track changed the most while you were shaping the project?

THRPY HRSE: Enter, the first song I made, gave me real issues. I think I have at least ten versions of it. I kept changing things. I'd play it out and think, "this needs to change," or, "that needs to change." That's why it means a lot that people enjoy that song now.

The opening track, Trance Dance, has this disorienting melody; it feels almost unfamiliar at first, but by the end you're hooked. What's the story behind it?

THRPY HRSE: That track was me flexing my musicianship.

The percussion isn't the usual 1-2-3-4, 1-2-3-4.  I added a bounce, and that became the centerpiece of the song. I built everything around it, with the intention of slowly, progressively putting the listener into a trance; hence the name.

It was a fun song to make, to be honest.

Every track feels distinct, but the EP still holds together as a whole. Trance Dance has that disorienting quality, Marilla leans into Mara, Ewo has its syncopated drums, yet it's all cohesive. How did you pull that off?

THRPY HRSE: I've been making music for a long time, so I leaned on that experience to arrange it. Curating a project that flows is one of my strengths.

What do you hope listeners feel after hearing Collection 1?

THRPY HRSE: Honestly, I don't expect anything specific.

I like music to be subjective. Everybody has their own view, their own experiences and memories to tie to the songs.

As long as they like it, that's enough for me.

Speaking of people experiencing the music, there has to be at least one track you're especially excited to play for a crowd. Which one is it, and why?

THRPY HRSE: Trance Dance, because it's a tricky one to fit into a set. I'm excited to play it out and see how it works with the crowd.

One thing I noticed listening to the EP was how Marilla, the closing track, ends without warning. Was that intentional?

THRPY HRSE: It was. It's an incentive to go back to the beginning. I don't really see the need to slowly let people go. Think of it like playing a set: sometimes it's better to leave people wanting more. Like, "wait, why'd the DJ stop?"

Now that Collection 1 is out in the world, what does releasing it mean to you personally?

THRPY HRSE: It means a lot because I've been in the background of the rave scene for a long time. Most of my friends are DJs and producers, so finally releasing my own project feels really special.

The EDM space—especially the rave scene—feels like a genuine community. Unlike Afrobeats, which is oversaturated with people competing to be seen, the rave scene is still growing. That makes it easier to connect with people who genuinely love the music.

And beyond that, I'm simply doing what I love.

Collection 1 covers a lot of ground sonically. Any other directions you're excited to explore?

THRPY HRSE: Afro-tech. I've got some Afro-tech tracks that could make up Collection 2.

Speaking of the future, what's next for THRPY HRSE?

THRPY HRSE: Maybe Collection 2. I don't want to waste time because there's no time to waste. I just want to keep putting out music for people to dance to.

Before then, though, I want to release some collaborations, songs I've worked on with other artists, before moving on to the next collection.

If his final answer is anything to go by, THRPY HRSE has no intention of slowing down anytime soon. Throughout our conversation, one idea surfaced again and again: curiosity.

Whether he was talking about spending time understanding electronic music before releasing it, reworking Enter through multiple versions, or admitting he's still searching for his own corner of the genre, there was little interest in presenting himself as a finished product.

Instead, Collection 1 presents an artist who seems comfortable treating experimentation as part of the process. And if that mindset carries into future releases, his evolution may prove just as interesting as the music itself.