“I actually think rage rooms are a really healthy thing, and we should have more of them,” Sherelle muses as she leaves the venue. “People need to take time to reflect on how they feel. People have a right to be angry about things. There should be more spaces where its purpose is to just let it all out because, in the world that we live in, we’re not given enough space for release.”

Sherelle initially started working towards an album in 2021, but the timing wasn’t right: she needed more time to grow and figure out what she wanted to say. “I’m in a good place now. I have peace and serenity,” she tells NME. “To be able to unlock some of the sounds and themes in ‘With A Vengeance’, I had to really tap into some of my emotions and memories of things that had happened.”

Although this is her debut album, Sherelle is no newcomer. In 2019, her now-iconic Boiler Room set and its high-octane blend of jungle, footwork and bass music went viral and introduced her to the masses. She quit her day job and became a full-time DJ, playing everywhere from Glastonbury to Dekmantel.

“I actually have something to say now,” she explains. “Before, I never sat down [long] enough with my emotions to be able to actually translate them into something.”

Earlier this month, she surprise-released her debut album ‘With A Vengeance’, a punchy record packed with jungle and footwork that serves as a space for release for darker feelings of anger and betrayal. “I don’t want to make just an atypical jungle tune. I didn’t want to just use breaks for breaks’ sake.”

Partially recorded at Beautiful, the free London studio she opened in 2023 for Black and queer artists, ‘Freaky (Just My Type)’ reflects Sherelle’s broader mission. “My ex-station manager, Adrian, he put blood, sweat and tears into myself and others and essentially birthed emerging talent,” she says, emotional. “That’s the kind of legacy I want to carry on.”

On the one hand, a contemporary residential building with all the amenities and services essential for a modern lifestyle was needed. On the other hand, they are confronted with a complicated and divided structure that is challenging to integrate with a protected façade and volume from the 16th century.

“I don’t want to make just an atypical jungle tune. I didn’t want to just use breaks for breaks’ sake”

Sherelle’s inclusive vision also powers Sherelleland, a national event series where all tickets are just £10. “Clubbing is becoming a luxury, which it shouldn’t have to be,” she says. “People just can’t afford to go out anymore. But [with Sherelleland], you can tell a lot of people feel relieved that they had a really good night out.”