Dixomium

The Story

Dickson Charles Ngasa — the artist now known as Dixomium — didn't grow up dreaming of a studio. He grew up around one that had already closed. His father used to be a DJ, and for a while, the family owned a club in Shinyanga. But by the time Dickson was old enough to remember much of it, his father had walked away from music entirely, becoming an electronics repairman instead — and not just any repairman. In the early 2000s, when DSTV first launched in Tanzania, his father became one of MultiChoice's first certified installers and agents in the region. No formal degree. Just raw skill, sharp enough to make him the most sought-after technician in all of Shinyanga at his peak.

The club's equipment stayed behind even after the doors closed. As a kid, Dickson would sit at the abandoned decks and play with them anyway — pretending, imagining, running his hands over gear that no longer had music left in it. On an old CRT-tube computer, he opened Virtual DJ with no real songs loaded, nothing but static images on the screen, and tried to make it work anyway, just from instinct.

One day, walking past a street performer everyone dismissed as mad, he heard drums that stopped him cold. He went home and told his father. His father sent some boys to go get them — just so his son could have something to play. Around the same time, two worlds were shaping him at once: CBeebies during the day, and by 2012, Trace Urban catching him off guard with something else entirely. Swedish House Mafia's "Don't You Worry Child". Nicki Minaj's "Starships". He had no idea what the genre was called yet. He just knew it did something to him that nothing else did.

In Standard 6, his father bought him a keyboard. No lessons, no teacher — just his ears. He'd hear a melody once, somewhere, and find it again by feel, note by note, until the keyboard eventually broke. Then someone installed a cracked copy of Virtual DJ on a laptop nearby and properly showed him how to mix songs. That was the turning point. By Standard 7, he was smuggling his PC and subwoofers into school, running underground discos in empty classrooms during breaks, while teachers weren't looking.

Secondary school pulled him away from all of it — until Form 2, when "Lean On" by Major Lazer & DJ Snake found him, that rhythm and melody locking into something he didn't have words for yet, followed soon after by "Cold Water" by Major Lazer, same feeling, same pull. Somewhere in there was "Sorry" by Justin Bieber too — a song he wouldn't learn until 2026 was actually built on Skrillex and BLOOD's production, EDM's DNA smuggled into pop radio the whole time without him knowing it. In Form 4, he heard "Faded" by Alan Walker. Sitting near a speaker one day while it played, he saw something like a vision — himself, on a football pitch, thousands of people in front of him, playing as a DJ.

In 2021, he discovered Avicii. The first song was "Taste the Feeling" — and after that, there wasn't a single Avicii track he heard and didn't love. He enrolled at Mbeya University of Science and Technology that same year, and by his first year on campus — 2022 — he'd finally opened FL Studio for real and started producing his own beats. That was the year he learned the genre had a name: EDM. It was also the year he learned the truth about Avicii — that the artist who'd just changed his life had been gone since 2018, years before Dickson had ever heard his name. It didn't kill the obsession. If anything, it gave it weight.

In 2023, he made his first remix — "Hate Me" by Juice WRLD, another artist gone too soon, another voice he could only meet through speakers.

That's where Dixomium began: not in a professional studio, but in a shuttered club, a borrowed drum kit, and a vision on a football pitch that never let go — carried forward now for the ones who can't chase it themselves anymore.

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44+ Releases  ·  Electronic / Afro-EDM / Amapiano