"Do chains and whips excite you? Did FKA Twigs' latest album awaken your '24hr Dog' and submissive fantasies? Or do Oklou's Choke Enough and Lady Gaga's Mayhem have you fiending for more EDM-infused pop music? If you answered yes to any of these questions, you probably would've been lobotomized in the '50s — and HVXLII has a hot, raunchy new track for you!"— Arthur Diaz, SLUG Magazine

There is a version of electronic pop that plays it safe — polished, palatable, and perfectly forgettable. HVXLII (pronounced "Huxley") is not that. The Salt Lake City-based producer, songwriter, and vocalist operates in a space where power and surrender coexist, where the aesthetics of queer kink culture collide head-on with the clinical precision of avant-garde pop production. It is music built for people who have always lived loudly on the outside of the mainstream.

Equal parts provocateur and craftsman, HVXLII brings the raw, commanding vocal presence of Bill Kaulitz and the fearless theatricality of Adam Lambert to a sonic world built from the industrial tension of Nine Inch Nails, the hypnotic precision of FKA Twigs, the delicate electronic minimalism of oklou, and the architectural pop intelligence of Max Martin. The result is music that lives on the edge of transgression without ever losing its grip on melody — it’s dark, immersive, and almost impossible to look away from.

That sound has already made waves well beyond Salt Lake City. In 2026, HVXLII was selected as one of just fifteen global runner-ups in Kesha and Smash Music's international Open Verse Competition for Kesha's "ATTENTION!" — earning a feature across Smash Music's official platforms and introducing his artistry to a worldwide audience. His international profile was built well before that: in 2018, the collaboration "Dear Gravity (Denis Sender Radio Edit)" with DJ Xquizit — released under the alias OSITO — surpassed one million streams on Spotify and topped Dance Charts worldwide. In 2021, "Paradise," a joint effort with DoubleV and DJ Xquizit, crossed the same milestone on Sony Music imprint disco:Wax. He has also appeared on Roman Messer's album Ambition (2017) with the track "Empire of Our Own," cementing his credibility across trance, dance, and electronic crossover spaces.

HVXLII's most personal work arrives Summer 2026 in the form of his debut EP — a seven-track body of work that moves through queer love, kink, heartbreak, and the ache of feeling like an outsider even within your own communities. Sonically, the EP draws from the emotive, oceanic sweep of Rüfüs du Sol and the intimate melodic depth of Ben Böhmer, wrapping deeply personal narratives in productions that are as expansive as they are catchy.

Accompanying this new era is a live show unlike anything in his catalog: a fully realized performance built around the MiMU Gloves — the world's most advanced wearable musical instrument — transforming his body into the instrument itself and bringing his electronic universe to life in real time. The gloves are not a gimmick or a one-off spectacle; they are a permanent feature of the HVXLII live experience, a natural extension of an artist for whom performance has always been inseparable from identity.

HVXLII's path to the stage was anything but accidental. An early and obsessive relationship with the keyboard gave way to years of dedicated study — through private instruction, relentless self-teaching, and formal training at the Salt Lake High School for the Performing Arts — before he threw himself into music production and audio engineering with the same intensity. But it is in songwriting where HVXLII has truly come into his own: the architecture of a lyric, the emotional logic of a hook, and the precision of saying something true through song. It is the thread that runs through everything he touches — his own material and the records he builds for others alike. Such as fellow Utah indie act The Departure where he contributed writing, programming, and sound design to their 2015 EP Gateways — notably with the track "The Sea Part II." His production and songwriting work has since spanned Portland-based artist Toño and international acts DJ Xquizit and DoubleV, building a discography that is as eclectic as it is intentional.

His influences are worn openly and without apology: from the artists previously mentioned (Nine Inch Nails, oklou, FKA Twigs, Max Martin) to Imogen Heap's otherworldly vocal experimentation, the infectious, euphoric pop instincts of Betty Who, the chaotic, forward-leaning cultural edge of Charli XCX, the spectral electronic intimacy of Zhone, and the arena-sized emotional grandeur of Loreen — his creative DNA is a constellation of artists who, like HVXLII himself, have never been particularly interested in being easy to categorize.

Rooted in queer BDSM culture not as provocation but as honest artistic language, his work invites the listener to sit with love, discomfort, desire, and ultimately, themselves.