A hip hop DJ’s skills are on full display even before the first scratch. Having a good ear for song selection and blending them all seamlessly is essential to the craft. A DJ’s set takes on their personality as they choose which record to put on the turntable and when to move onto the next song. The same track can hit in an entirely different way depending on what songs sandwich it on either side.

That skill for picking, choosing, and mixing songs is a reflection of personal taste built up through plenty of exploring and listening to different music, along with an instinct for how the crowd reacts. And that’s certainly true for HOWL, a DJ born in 2013. The first thing you notice when you hear one of his sets is his music choice and how he links one song to the next

There’s a 46-minute video of a vinyl mix released on MIXMIX TV in April that provides a fascinating window into HOWL’s musical tastes. Manning two turntables and a mixer, he works 22 songs together back to back. He checks the next track in his headphones, adjusts the record’s speed by hand, and slides the fader at just the right moment. He’s relaxed, poised, without a single wasted move.

Even the setlist is extraordinary. Kicking things off with Mobb Deep’s “Shook Ones, Pt. II,” HOWL moves through Big L’s “MVP (Summer Smooth Mix)” and Group Home’s “Supa Star,” then circles back to Big L with “Put It On.” These are classics steeped in the heavy grit of 1990s New York hip hop, ones that anyone who was there to enjoy the music of the era will immediately recognize.

His collection of records runs deeper than you’d expect, though. Beyond the well-known hits are a string of far less familiar cuts: “Perfect Match” by Cella Dwellas, “Skillz In ’95” by Mad Skillz, “Uptown Shit” by Kurious, “Paperchase” by Mountain Brothers, a remix of “When I Flow” by Walkin’ Large. Even people who take pride in their knowledge of ’90s East Coast hip hop might have to look up a few of those. From the stars who defined the era to lesser-known underground artists, it’s clear HOWL’s curiosity has led him to places well beyond famous names and popular hits.

Experiencing all this music come together is a real pleasure. HOWL opens with a focus on boom bap, showcasing dry drums, heavy bass, and charismatic rapping. From there, he moves between lighter, more fluid sounds and rougher beats, then widens the scope of his selection halfway through to hip hop colored by jazz and soul. Heading into the final stretch, he adds gravity with a more composed, mature selection of tracks before bringing the energy back up with something bouncy. He brings the unique qualities of each song to life, and you can feel him itching to squeeze in just one more favorite.

HOWL’s technical chops received the recognition they deserve early on. In 2024, he entered BIGHIT MUSIC’s “HIT IT BASE 2024” program aimed at young people aspiring to a career in hip hop and took second place in the team finals. The following year, he won the hip hop division of DKBT (DJKOREA BATTLE TOURNAMENT) against a field of adult DJs. He outperformed grown adults despite being the youngest competitor and the only elementary schooler, and naturally, people got to talking. A technique like scratching requires precise coordination between the hand moving the record back and forth and the hand working the crossfader. It also demands a feel for which part of a track to use, which means a lot of practice and mastery.

Battles ask for a show of accuracy and originality in a restricted window of time, but in a long mix set, song selection and an ear for mixing become even more important. Which particular part of a song to pick, when to move on to the next record, whether to throw in a scratch—decisions like these mean the same music leaves a completely different impression. In that sense, the MIXMIX TV video shows a different side of HOWL’s skill than the battle stage does.

That ear for picking music ties into the range of music he’s always listening to on his own time. He names cosmic collective’s “every flower loves the sun” and Sunday Scaries’ “Back To You” among his favorite tracks, and his tastes stretch across soul, funk, and house. He says he was hooked on the first of those songs after seeing an Instagram video of them playing together on drums, bass, and piano, and that the latter won him over with a brief moment of quiet near the chorus.

The fact that that last part stands out so readily to him is quite notable. Sometimes a split second of silence stays with you longer than a showy melody, and same with a perfectly matched ensemble over flashy playing. HOWL describes the sounds and musical moments that grab him in surprisingly specific detail. It hints at exactly where he finds joy in music and what leads him to pick and connect the songs he does.

You can feel what’s unique about HOWL’s generation in the way he finds and handles music, too. He discovers new music on social media but also collects hip hop records released decades ago for use on the turntable. He swipes through screen after screen to find songs, then pulls out a record to put it on. There’s plenty of easier ways to do it, but for HOWL, the hands-on process seems to be part of the fun when it comes to music.

Another major interest for the DJ is street culture, encompassing everything from skateboarding to the fashion. Skateboarding and hip hop have long overlapped with music and fashion on the street, all aspects influencing one another. HOWL takes these two things he finds so appealing and ties them together into a single image: a “skater DJ.” Whether taking part in the DMZ Peace Train Music Festival or events for a range of fashion brands, he’s constantly widening the scope of his work.

Then, in the summer of 2026, he hit a major turning point in his career when he signed an exclusive contract with ScreaM Records, the dance music label under SM Entertainment. It’s notable that a label known mostly for electronic music signed a teenage DJ so absorbed by vinyl and turntablism. For HOWL, it’s a chance to explore his taste and talent in a much wider range of settings.

When we look at a young artist, we often take in the age before the music. When we say “they’re already doing this at their age,” that amazement hijacks the narrative and diminishes their accomplishments. HOWL receives the same kind of attention, but once you hear his set, what really sticks with you, more so than his age or anything he’s won, is how good he is on a turntable.

HOWL’s now at the stage where he’s expanding his musical vision. There will be countless songs ahead that hook him on the first listen, and countless records he’ll keep close by for years. That’s a lot of records still waiting their turn for the turntable.