JDB has been active in the Balkan regions of eastern Europe for decades now, and Greece to the south is no exception!
The Everyday Junglist Podcast introduced us to a few of the sound’s biggest appreciators in the land of the gods…
MSDOS
Please tell our All Crews readers about your label, Liquid Drops.
Initially, I created Liquid Drops to release my own tracks. Over time, that changed, Liquid Drops is dedicated to D&B, but not for hard sounds or extremely “cheesy” liquid. I don’t care about the popularity of new artists, that is why I give the opportunities to newcomers. I am happy that I have “discovered” some big names.
You’ve released on Good Looking Records and Skeleton Recordings, please tell us how those releases came together.
Everything started when LTJ Bukem started supporting my music. Then we released 5 vinyls on Good Looking Records and that helped me a lot. Even the remix of Razors Edge was supported exclusively by Danny and he brought me into contact with Steve C & Monita. So, I would say I owe it all to him.
What can listeners expect to hear for MSDOS for the balance of 2025 leading into 2026?
I have quite a lot of Jazz and Brass inspired tunes – dancefloor killers I would say. I have also signed 2 x 12″ vinyls with old school stuff and hopefully will finish a collaboration with a really huge artist one of my “heroes”. Finally, I will release some future garage under the name DOSIAN 🙂
FLeCK
Tell us about your releases on some iconic labels, like Dread and Congo Natty.
I had the honour to release an EP on Dread called “Resilience” a few years ago. Before that I was asked by Ray Keith to make some dubs for him and then create a D&B/Jungle sample pack for the Loopmasters Dread Recordings Series, that’s when our collaboration started.
I also had the chance to release a few tracks on Congo Natty’s label Rekovery and then I was invited to get in the studio with him and write some music for his latest album “Ancestorz”.
Working alongside these two artists who have been my heroes since I was a child was an amazing experience that taught me a lot about our music and scene, and it was really humbling to see my music on their record labels.
What are a couple of your most memorable moments when DJing at festivals?
I will always remember playing the opening day at the Hidden Woods in Boomtown alongside my brother Selectah J-Man. When we arrived, the place was full of mud and we didn’t know if our set would take place or not, the queues outside the festival where so long, but in the end, we managed to play a last moment. It was a wicked set with an excited crowd dancing in the woods, and I was so happy to have managed to be there!
I will also never forget my sets at Glastonbury and Outlook Festival in Croatia where I got to play my music alongside some of my favourite DJ’s in front of thousands of people, I still get the goosebumps when I think about it!
What can listeners expect to hear from FLeCK for the remainder of 2025 going into 2026?
I have some nice projects going on, I am working on my album for Dread Recordings and I am also working with the legendary Egyptian Empire, we have dug up some original studio recordings from 1991 and we are working on a remake of the iconic “Horn Track” and some new tracks that will be included in a double EP vinyl record. I also have a forthcoming release on Kniteforce’s sister label Influential Records on a nice 12-inch vinyl record to which I am so looking forward to, plus some more music coming on Jungle Mania and Nicky Blackmarket’s label Kartoon as well as some more stuff on Congo Natty’s label.
Greekboy
You’re a great producer who has been releasing music for quite some time. How has your sound evolved or changed?
As a seasoned producer, my sound has definitely evolved over time, both naturally and intentionally. In the early days, I was heavily influenced by the genres and tools I had immediate access to, maybe it was gritty boom-bap, garage band synths, or raw sample chops. Back then, it was more about capturing a vibe than chasing polish.
Over time, as I matured both creatively and technically, I started to explore more complex sound design, cleaner mixing, and more intentional arrangements. I stopped relying solely on presets and started designing my own sounds, playing with textures, space, and dynamics. Collaboration also shaped my sound, working with vocalists, instrumentalists, and other producers pushed me out of my comfort zone and into new genres or workflows.
I’d say my evolution has been about moving from instinct-driven production to a balance of intuition and precision, while still keeping the emotional core, but now delivering it in a more refined and sonically impactful way. That said, I try not to lose the rawness that made my early stuff feel alive.
How has producing enhanced your skills as a Dj and vice versa?
Producing and DJing are deeply connected, and each discipline can significantly enhance the other. Here’s a breakdown of how producing has enhanced DJ skills and how DJing improves production. Producing sharpens the technical and creative edge of DJing, while DJing gives practical, real-world insight that shapes better, more impactful productions. Each discipline feeds the other, creating a loop of constant improvement.
Has Greek culture affected the music you make?
Living in Greece and being immersed in its culture has had a deep, often subtle influence on the music I create, especially within the atmospheric drum and bass space. Greece is a place of contrasts: ancient and modern, chaotic and peaceful, raw and poetic. That balance naturally seeps into my sound. Greece isn’t a global hub for drum and bass, which creates a kind of isolation, but that’s also freeing. It forces you to dig deeper, find your own voice, and create something that isn’t chasing trends. That isolation often leads to more introspective, immersive productions which is the essence of atmospheric DNB. Greece influences my music in ways that are more emotional than literal. It’s less about traditional instruments and more about feeling the sense of space, the contrast between beauty and struggle, and the rhythm of everyday life. All of that finds its way into the atmosphere, depth, and emotional weight of my music.
Insom
Does your classical violin music training influence your productions?
I grew up surrounded by music. I started learning violin at the age of eight and eventually graduated from a music-focused high school. Having a strong foundation in music theory has been invaluable for music production. My classical training still shapes my work today, mainly through the melodic elements I try to incorporate, especially in a genre where sound design often takes precedence over the kind of thematic journey a piece can offer.
What are some releases that listeners should check out to get a good feel for your music?
My *Lost Dreams EP*, released on Close 2 Death in 2012, was essentially my breakthrough, putting me on the Neurofunk map. Then came *Red Invasion* in 2014 on Disturbed, which I’d say is one of the most polished EPs I’ve made in the past decade. More recently, I’d recommend checking out *Minimal Cut*, a self-released single with a deeper, more minimal vibe and *Distant Reality* (2023) on Overclockin, which represents the classic Insom sound.
Who are some of your musical influences?
As for influences, in Drum & Bass I have to go with the classics: Noisia, Cause 4 Concern, Black Sun Empire, Ed Rush & Optical. Outside the genre, I draw inspiration from Infected Mushroom and other artists from the Psy scene, Pink Floyd from rock, and Dream Theater from metal.
Shy Nee
You’ve been a part of the Jungle/Drum’n’Bass scene in Greece since ’92. How have you seen it evolve from then to now?
The evolution of Jungle music, broadly speaking, is mainly tied to changes in music production. Back in the day, there was a lot of creativity, especially in sampling techniques. That’s part of why Jungle was often seen as the UK’s version of hip hop.
Many of those early tracks have been remixed over the years, which shows that the core of the music didn’t really change drastically. The only clear shift I’ve noticed is the move towards Drum’n’Bass with a faster tempo (from about 168 bpm in Jungle to around 174 bpm in D&B). Honestly, the original structure was so strong that it didn’t need much change. Just evolution through passion.
Please tell our readers about INFADAERZ Crew.
The INFADAERZ CREW has always been one of our brightest and most cherished projects like that timeless vinyl record you never get tired of spinning.
From the very beginning until today, it’s stayed close to our hearts and a vivid reminder of all those wild parties we never wanted to end.. So, how did it all begin?
It started as a spontaneous get-together between friends from the neighborhood to downtown united by our passion for music and our obsession with DJing. We’d say things like, “Hey man, let’s throw a party at some bar, spin some vinyl, and flood the city with Jungle, even if the bass keeps the neighbors up all night!”
Our first events were small bars, student venues, yet sometimes we packed 1,500 people who danced like there was no tomorrow. We were proud to be the first to push Jungle in Thessaloniki (and yeah, others followed, but we were already in the spotlight!).
Later we blended it with Drum’n’Bass, which gave our sets an even stronger energy.
“Video from the latest INFADERZ party”
That momentum led us to bigger things, more parties, and international guests. We were the first to bring names like Mikey Finn, Aphrodite and more to Thessaloniki.
The crew stayed active for 20 years. And even though things evolved, the friendship and the vibe behind it all still lives on strong, especially through what we’re doing now with Jungle Massive SKG.
Who are some artists in Greece that you love to play with at parties and why?
I’ve already played with most of the DJ’s I admire, but there are still a few that I’d love to share the decks with. MSDOS, Greekboy, and Funxion, that’s my dream team! If I ever get to play alongside them, I think I’ll have completed the circle.
Find Shy Nee on: Instagram
Bass Delight
Give us some background, how long have you been playing Jungle/Drum n’ Bass and how did you get hooked on the music?
I’ve been playing Jungle and Drum & Bass since 1993. My first real spark, though, came a bit earlier back in ’91, when I bought Charly by The Prodigy on vinyl. That track completely drew me in and set me on a path: I started off playing old skool hardcore, and very naturally followed the evolution of the sound as it grew into jungle and then Drum & Bass. Ever since, I’ve been hooked, the raw energy and constant innovation of this music have kept me inspired from day one.
Tell us the 3 most memorable parties you played at.
My first official event was in a basement back in 1993, and it ended up drawing a huge crowd. Then in 2013, one of my best parties was when I brought Kenny Ken to Patras, he was the DJ I admired the most when I was younger. In 2016, I had the chance to play together with my friend FLeCK in front of 1,500 people.
What are your top 5 tunes at the moment?
1. Turn down the Lights – Benny Page
2. Circles – Adam F
3. Original Nuttah – Shy FX
4.Rudeboy – Sigma
5. Ganja Smuggling – Ed Solo
