In the last All Crews International of 2024 we’re back to where it all started here in the UK.
We check in with some Jungle veterans and newcomers about all things Jungle Drum & Bass, read on for our second round of interviews…
Marc Mac
Which moniker of yours from the 90’s best represented your sound then and which moniker best represents your sound now?
It’s really hard to answer the question as it’s like choosing a favourite child, even the decade was broken up into eras. The very early part of the 90’s, Manix was more successful and was the moniker that I went on the road with, but 4hero evolved into the most important and significant one in the very late 90s. The 4hero sound is probably how most people recognise my productions today and then lastly, Visioneers has opened me up to a new audience, the alternative Hip Hop listener.
Please tell our All Crews readers two sources of inspiration in your life that fuel you to create music.
Ok this one is a lot easier, My two main inspirations are not from the usual sources like a particular genre or artist, it’s actually technology and record collecting. The best way to get me in the studio or making beats is to introduce me to a new bit of tech, drum machine, software, or synth. Finding records buried in dusty record shops and discovering amazing music, not known by many, is also a great inspiration to be creative.
You produce different styles of music, from a djing perspective, which styles are the most fun to play out?
Jungle and D&B is always exciting because of how powerful the sound can be on a big set, it’s like controlling light and dark fuelled by an intense tempo. Doing Manix style sets is all love and euphoria. Broken beat or Bruk is a different feeling, a very uplifting soulful affair, and the reactions are similar to D&B as the crowds tend to understand the drop, the dance factor tips it over the line. I love seeing how the dancers come out in force for the Broken Beat sets. I also love DJing on radio shows where I can dig deep into my record collection and play anything from Soul/Jazz to Progressive Rock.
Find Marc on Instagram and on Linktree
Dextrous
You run a great label, Subversive Recordings, please tell our All Crews audience all they need to know about it and if there is any forthcoming news on the horizon involving Subversive.
After a long hiatus, I feel it’s the right time to relaunch Subversive Recordings with fresh energy. Fans have been asking for such a long time for my unreleased material to get a vinyl release, so that’s the plan alongside re-pressings of some of the classic releases from the ‘90s, and making some of the back catalogue available digitally. I’ve also got exciting new material of my own coming, with plans to release fresh tracks from other talented artists.
You have been enmeshed in music for some time, how have you evolved as a DJ from when you first started DJing to now?
It’s been an incredible journey, starting back in the late ‘80s, spinning tunes at house parties with a selection that ranged from boogie, soul, reggae, funk, and hip hop, to rare groove. My taste in music has always been eclectic, and I’ve developed a sharp intuition for what moves a crowd. Where I’ve truly evolved is in understanding how the psychology of younger audiences have shifted, embracing those changes and adapting my sets to match today’s vibe, while staying true to my roots.
What do you feel your best 3 releases are?
It’s tough to narrow down, especially since I’ve released so much across various genres! But if I had to pick three within Jungle and Drum & Bass, for what they represent to me today, I’d say: Lovable, Klass of ’76’, and Moonlight. These tracks hold a special place, reflecting different moments in my journey and the evolution of the music itself. Ask me tomorrow, and the answer might change, but for today, these three resonate most.
Subject 13
We all know about Vibez Recordings, but I’m understanding that Vibez will be releasing music again, please tell our All Crews readers about it.
Well, it’s been well overdue and we’ve come back with that same rich quality in production and sound, that emotive feel of soul and vibe, both old school and nu school artists alike.
How would you like your peers to remember Subject 13 & Vibez Recordings?
I align both Subject 13 and Vibez with just creative craftsmanship and rich quality in sound, so would definitely like to be remembered this way.
As a successful producer, label owner, and dj, what are a few invaluable lessons you’ve learned along the way that remain useful to you now?
Always be yourself, follow your own trend and make sure you put in 100% and enjoy it, definitely.
Find Subject 13 on Instagram
Sonar’s Ghost
You have tons of releases under a lot of different monikers, which 3 releases are you most proud of?
So my first release as Static Imprints on Reinforced in 1996 represents how lucky we were to get a break, Domu save it in 2001 is my biggest record ever and am thankful for Dego’s input and guidance, and Sonar’s Ghost on Metalheadz for the pinnacle of my second chance at making the jungle I loved and not giving up on that milestone of recognition.
Please take us through your process of producing a track.
Nowadays I focus on the sound of a label and see how to interpret the tropes and expectations of that sound, and subvert, lean into or just disregard completely the expectations. I work to deadlines and goals, so more often when someone asks me for a track for their label, I already have all the drum breaks, keyboard plug ins, sounds and breadth of influence I will ever need to create any soundscape. For me as it has always been, drums and details for nerds are the most important aspects.
What are a few things outside of music that are important to you?
My family and maintaining a real job to support us and do the things we enjoy outside of work, staying healthy, walking, cooking, films and books. Being interested in the world, art, nature and people means you will never be bored! Finding a little time for music as a hobby and outlet is hard, but when I do, I make the most of it!
Find Sonar’s Ghost on Soundcloud and Bandcamp
CHEF
Please tell our All Crews readers what listeners can expect to hear from Emcee Recordings in 25′.
Legendary MC GQ’s imprint, Emcee has always been considered the sleeping giant of the scene, it’s a label that has spawned a host of producers putting out their first releases such as Mechanizm, Clipz, Breakage, Jubei, Melinki ,Mozey ,Symptom, JAG and Maverick Soul, alongside a host of newer artists making moves in the underground such as Science of Man, Hurrian, Fetus, Velocity, and The Music Therapist.
Emcee has always been about quality over quantity and not doing what everyone else is doing, we don’t watch anyone or follow any labels trending sounds of that moment in time. Emcee was established back in 1999 and will be turning 26 next year. We will be putting on a few events to coincide with MC GQ’s celebration of 35 years plus of dedication and love for the scene. We have more music from GQ and a second LP from Science of Man and a bunch of remixes we’ve been sitting on for a bit, along with some fresh ones being done as we speak. Lastly, we have our first various artists compilation on our sister label, JustNoyze.
I saw that you played Sun & Bass with the All Crews squad, give us the backstory, how did you link up with Brian Belle-Fortune and All Crews?
My History with All Crews goes back as far as the early 2000’s. I was a fan of the All Crews Must Buss book, getting to meet BBF (Brian Belle-Fortune) and ask him about his early days and his input on Radio 1, with the One In The Jungle Show. I talked with him about how important that was for the spread of our music genre in a global sense, before the days of the internet. Our friendship is built on our shared love of jungle.
I had been to Sun & Bass twice early in the 2000’s to run the live broadcasts for the Ministry of Sound Drum and Bass shows live broadcasts from Sardinia as the show’s producer, with Bailey as the host of the Intabeatz show alongside Fabs, Groove, Bryan, and Bailey. All crews have been playing at SNB for a few years at this point and I was always asked by the crew how come you’re not playing here for Ministry of Sound, as you are here every year. Through my good friends JB and Rampage, they solidified the link with All Crews.
The following year BBF asked me to be a part of their next event at SNB as a guest and it made all my SNB dreams come true playing on the beach at sunset with JB, BBF, STAUNCH with the Blood Moon sunset going down on the horizon, we were warming up the stage for Metalheadz with Randall & Goldie, an amazing moment I will never forget.
I have now been part of the All Crews lineup since 2016 and we have been fortunate enough to play at almost every SNB venue, Ambra Night, Gazebo, La Chinta Beach, and Bal Harbor Ambra Day, making memories for everyone.
What are a few things that you would tell a younger Chef about being a label owner, producer, and dj that you have learned, that would have made things easier for the younger version?
Don’t waste your time trying to bring people through with you at the start if they are not as passionate or hungry as you. Don’t second guess yourself. Take more opportunities if they don’t work out, you will learn lessons. Don’t be afraid of failure. Talk to more people and network with those who are as passionate as you. Believe in yourself more. Do what you are thinking of doing, don’t wait, just do it if you have the means.
Find Chef on Instagram and Linktree
Vinyl Junkie
Please tell our All Crews Readers about your labels, Ghetto Dub & Warehouse Wax.
Warehouse Wax was launched in 2003. There was a big OLD SKOOL revival going on in the UK at the time, which I was very lucky to be a part of and I was playing at a lot of OLD SKOOL events all over the country. The problem was there were not any new tunes. Don’t get me wrong I love all that old music to the bone, but something in me was just itching to have some new tunes to play. My mate and I, Darkus, decided to set up a label and start putting out some tunes that sounded like they were made in the early 90’s. Warehouse Wax was born. The label is still active today, although Darkus left after the second release to set up Hardcore Projektz. I still put out music with an old skool vibe whether it be Jungle or Hardcore.
In 2015 my DJ sets were edging more towards 175 Jungle/D&B, so I set up Ghetto Dub to cater for that kinda thing. Ghetto Dub is still going strong today and I am just about to drop release number 55.
I have heard you have a really cool forthcoming LP that you’re working on. Tell us about it.
Yes! So in 2005 we released an album on Warehouse Wax called “We’re Not Dead”. It featured some artists from the early 90’s who had made new tracks in the style of 1992 for this project. They included Phuture Assassins, Nebula 2, Orca, Sub Love and Austin. They also included some new artists that were making the same style.
Remember at the time nobody else was doing this. I know it’s very common these days and everyone is doing it, but back then, that wasn’t the case. So this album was the first. Volumes 1-3 were only available on CD, while Vol 4 was a digital only release. That brings us to Volume 5.
In 2025 we present WE’RE NOT DEAD Volume 5. The 20 year anniversary, a 12 track, triple vinyl release. Lots of heavy hitting artists from the realms of new hardcore / jungle. We will also include a digital release with lots more tracks. Estimated release date is May, although pre-orders will surface a bit before that. Be sure to follow me on my socials for live info as it drops!!
As a label owner, what are some elements that you look for, when signing music to your labels?
This is a really simple one, If I FEEL IT, then I will release it. It’s all about the vibe man. So I guess both my labels are just a reflection of my own musical taste.
Find Vinyl Junkie/Ghetto Dubs on Bandcamp and Linktree
Phineus II
Please tell our All Crews readers what gear you use to make your tunes.
I’ve used a wide range of hardware and software over the years. The ones that get consistently used are, My beloved Commodore Amiga 1200,
Akai s950 and Akai s2000. Other gear I used and somtimes still use, are the Mackie cr1604 , various Spirit Folio mixer products, Allen & Heath GL3, Akai s1000, Akai s2800, Ensoniq eps16+, Roland Alpha Juno II, Roland jv1080, Yamaha tg500, Roland d50, Yamaha dx7 mk2, Korg m1r, Kawai k4r, Alesis Quadraverb and Microverbs. I could go on and on!
The software I use are the OctaMED 4, Atari Cubase v3, Protracker 2.3, Renoise, many VSTi’s, and Audacity.
XSM is you and so is Phineus II, is there a difference or similarities when it comes to production?
So XSM [xtra spice mikey] is more so my online Amiga-DJ and protracker mods name that I’ve been using since 2020, but I’m more known as [the previous name] Phineus II. I still use that name and that’s more focused on strictly jungle and jungle-techno made with back-in-the-day outboard MIDI gear. I have no idea how the name came about, but it sort of robs the name off Amazon II. There’s only 1 of me though. A bit confusing I know, but I thought it looked cool.
Musically, tell us 3 or less people who’ve had the biggest influence on your sound.
Liam Howlette (experience, jilted era), Jack Smooth, and LTJ Bukem.
Find XSM on Instagram, Youtube
Andy Foundations
Please tell our All Crews readers all about Foundations Series & the offshoot Foundations Records & F-Bombs Records.
Foundations Series was conceptualised during lockdown in 2021 as an event to celebrate the UK dance story with a particular focus on early rave right through to today. The idea was to also introduce a new generation of clubbers to the sounds of then & now. Foundations Records is a label we’re launching focusing on hardcore & jungle, F-BOMBS Records will be focused on UKG & bass.
Tell our readers about your show on Eruption Radio UK.
I was invited to join Eruption Radio in 2023, one of London’s earliest pirate stations focusing on hardcore & jungle, founded in 1993. My shows mainly focus on new hardcore & jungle, but I also do oldskool spotlights.
We’re going to hit the way back machine for this one, give me your top hardcore, darkside, or jungle techno tunes from 92′-94′.
This changes on a regular basis but, let’s do one from each year currently peaking my interest:
’92 Bad Influence – Sudden Impact – BI Records. Epitomises the underground rave era of the time. Hardcore breakbeat with that haunting vocal breakdown and some raggo rave stabs. From early Pascal & crew.
‘93 DJ Terroreyes & Mr Mix – Darkness – Dove Recordings. You’ve got it all here, the 1993 intersect of darkside hardcore / jungle techno at its most formidable.
‘94 Chaos & Julia Set – Natural High (Parts 1 & 2) – Recoil Records. Perhaps the conclusion of the darkside jungle era before the emergent shift to intelligent. Epic piece of production on this.
Find Foundations on Instagram and Linktree
DJ Doubt
Please tell our All Crews readers about your night in Bristol, Way of the Future.
The purpose of my event, Way Of The Future, is to honour the sounds of young contemporary DJs and producers alongside the timeless sounds of 90s rave music. When I book DJs for Way Of The Future, I ask them to dig into their collections to showcase the most unique and innovative tunes they can offer on the night. The events have been an opportunity for me to play alongside some of my personal heroes in the dance music scene, and I’ve had a lot of fun running them. I’ve scheduled my biggest and baddest night to date in late November, and I expect it will only grow from here!
How has your production evolved since you first started making tracks?
When I began producing jungle and hardcore, I think I showed my cards a bit too obviously in terms of the musical influences contributing to them. Most of my early tracks probably won’t ever see a release, as I was still working towards finding my ‘sound’. Now, I think there’s a lot more personal intention behind the way I produce, if I can’t hear the way I want the finished tune to sound within a couple of hours, I usually drop it and move on to something else. These days, I can mostly see the end goal for a tune quite early on.
What can listeners expect to hear from you for the rest of 2024 and into 2025?
I have an EP out now on TufStuf Records, with remixes on the B side by 2 producers I’ve admired for quite some time. In the last few months I’ve been collaborating as much as possible with other artists, and I think quite a few of those tracks will be released towards the end of the year, on various labels. I’m also working with Tokyo-based Soul Night Recordings on a small project at the moment. After sitting on a lot of tracks for months and months, it’s been exhilarating to see positive reactions to my music from friends and strangers alike.
