Obskür

Raw 909, hip hop cuts and Irish pulse

909 beats, hip hop samples and a very physical take on club house have made Obskür one of the most visible recent exports of Irish electronic music. The Dublin duo formed by Lorcan McCarthy and Faustas Astrauskas began working as a joint project in 2019, after years of friendship, back-to-back sessions at youth parties and early gigs in local venues. Before growing beyond Ireland, they honed their craft in residencies and booths around the city, with appearances in spaces like Konspiracy and Meridian, and made their festival debut at Longitude in 2019.

Bayside as the trigger for a recognizable identity

The leap came with Bayside, a track that condensed their formula: house groove, dry punch, old school-flavored vocal fragments and immediate energy for social media and the dancefloor. From there, Obskür expanded their catalog with releases and remixes on labels linked to the international house circuit, including FFRR, Defected, Shall Not Fade, Disorder, Solid Grooves Raw and Warehouse Project Records. Pure Evil, The Dark, Twister, Rebel, I've Arrived with Tomike, Serious alongside Omar+ or Basic Instinct show an evolution that maintains the raw pulse of their early productions, but with writing increasingly oriented towards large sound systems.

From the Dublin circuit to global booths

Their progress has not relied solely on streaming. Obskür has been gaining weight as a booth act thanks to high-energy sessions, very close to tech house, minimal deep tech and 90s heritage house. They have received support from radio and club figures such as Annie Mac, Pete Tong, Danny Howard, Eats Everything, Ejeca or Gorgon City, and have performed on reference stages and clubs, from Longitude and Irish venues to Amnesia, Pacha Ibiza, Hï Ibiza, Warehouse Project, Club Space Miami and international programming in Europe and North America. In 2024 they signed an Essential Mix for BBC Radio 1, a symbolic milestone for any club producer, and also brought their language to reinterpretations of classic material, such as People Are Good by Depeche Mode or Beautiful People by Barbara Tucker.

The System and a phase of their own authorship

The recent stage places the duo in a position less dependent on viral success and more focused on building community, catalog and live narrative. Their concept The System, proposed as a tour and platform to share the booth with collaborators and new selectors, reinforces that idea of Obskür as a dancefloor project with curatorial ambition. Without abandoning the forcefulness that gave them visibility, their present combines functional productions, recognizable references from rave culture and an increasingly defined image within European house.