Interview: Radicall about fierce new EP out this October

We’re looking forward to Radicall’s second release on Warm Ears Music, upcoming October 16th. ‘Lost in Time’ encompasses his signature style and we couldn’t love it more.

A perfect blend of melodic and lush stepping up to rolling and heavy, this EP is killing it from every angle. We had a quick chat with Radicall about this one, what he had to say? Find out below:

We really love your new EP. Tell us how would you describe ‘Lost in Time’

Radicall: Pleasure to hear this. “Lost in Time” is taken from famous “Blade Runner” monologue: “All those moments will be lost, in time, like tears in rain. Time to die.”. I’ve used a part of the monologue in one of the tracks.

What would you say was your favorite part about producing it?

Radicall: Every tune on the EP is really special for me. “Your Love” is more emotional one with chord progression inspired by disco track from ’80, it’s really unusual way of work in drum&bass I guess. I wrote “Lost in Time” just after one really great warehouse party and I wanted to catch the vibe of the night in this one. “When it’s Dark Out” is really special too, I used to open my sets with this one to take people into more atmospheric and mysterious areas. I always wanted to make my own remix of famous choir from “Ghost in the Shell” movie, so that’s idea behind “Reincarnation”, my intention was also to make long epic breakdown just before the first drop.

How long did it take to complete?

Radicall: I usually spent one week to finish a track, so the EP took me a month. Tracks were recorded in winter, I think it can be felt in nature of sound.

What do you have going on next we can look forward to?:)

Radicall: The next thing is my first gig in London with Warm Ears crew, I remember great label launch party in Romania and I’m looking forward to see and hear guys from Warm Ears again in club 512, London 27th of October – be there!


Catch the next Warm Ears Show with Radicall in the guestmix

This Sunday on the Warm Ears Show hosted by Elementrix we’ll be vibing to Radicall‘s sounds – fresh drum and bass yet to be released, for the second part of the show. Following the release of Amethyst E.P. earlier this year, we have upcoming this fall a brand new one titled Lost in Time. Radicall four-tracker beautifully crafted

Make sure you tune in on from 1-3pm (GMT) / 2-4pm (CET) tomorrow – Sunday, 16th of July.

Ready for another one?

Get ready for another live stream session of lush vibes, our signature ones, up on our Warm Ears Music page.

For 6 hours, we’ll be vibing to the sounds of September, Re-Adjust, Elementrix, D.E.D and PD. With our special guest, Zero T (Dispatch/Metalheadz) joining us down at the London Sound Academy studio in Soho.

Tune in on the 26th of July, from 5pm (GMT) and enjoy.

WEM mini-series | Drum and bass inner-views with Phil Tangent

Yes, people! The wait is almost over and we can finally celebrate this wicked past year. We grabbed a quick chat with Phil Tangent ahead of this. He’s been stunning us – and the drum and bass community, with his deeply soulful and influential music, and we couldn’t be happier he’s headlining our anniversary.

Phil has been around the bass block since 2000, with his first release seeing the light of day in 2010 on Marcus Intalex’s label Soul:R. For the past couple of years, he has been gaining momentum with many releases on renowned labels such as Samurai Music, Integral Records, Rubik Records. He opened the year in style, with “Bardarbunga” being the first Metalheadz Platinum track of 2017.

What would you say is your favorite drum and bass moment since you’ve entered the scene? 

Tough one! There have been many but one that sticks out in the mind is waking up to a voicemail from Goldie singing ‘Crossing The Rubicon’ down the phone and saying ‘gimme a shout you old bastard’.

What makes a set good in your opinion? 

If we’re talking from my perspective as a raver then it’s tune selection all the way. I like to hear a wide variety of Drum & Bass across the spectrum and that’s what I try to incorporate in my sets. I also like to hear one or two mistakes so that I know that there’s no sign of a sync button being used and that the DJ is actually human.

Is there a specific part of producing drum and bass you find most enjoyable? What about most challenging? 

I really enjoy the initial process of building a track from scratch and seeing which sounds work well with each other. I also love collaborating with other producers. You could have a project that you haven’t worked on for years, send them the parts and they might gain some inspiration from it. The part I find most challenging is actually completing tunes. I can be quite self-deprecating about my own stuff; I have to be happy with it so everything seems to take longer.

What would you like to see more of and less of in the drum and bass scene? 

I’d like to see more music talk and less politics. Everyone is entitled to their own opinion but some go too far.  Jungle/Drum & Bass is a community and I’d like to see it stay that way.

Catch Phil Tangent at our 1 year anniversary on the 1st of July @ London.

WEM mini-series | Paul T and Edward Oberon about the scene that caters for everybody’s taste

We’re very excited to be hosting Paul T and Edward Oberon at our 1 year anniversary. We’ve been hooked on their sound for quite some time now and we thought we’d have a quick catch-up with them before the party.

Paul Trivett and Edward Oberon have stepped into the spotlight back in 2015, having signed with the mighty V Recordings. They describe their emblematic blend of soulfulness and dirty drum and bass as coming from ‘a shared love for Bristol bass, Brazilian flair and the classic sound of Jungle’.

Before Paul and Edward joined forces more than six years ago, they already had an impressive discography; releasing on respected labels like Spearhead, Dispatch, and Goodlooking as solo artists. The duo aim to “bring together visual, arts and music as a whole,” and it’s a theme that has continued throughout their production for Bryan Gee’s label. Tracks like Tempt, Somebody Else and Infamous show the versatility, talent and ability of the duo, but also hint at the sheer momentum and quality they’ve come to be known for.

Your production duo is now in its 7th year, what would you say were the highlights so far?

Paul Trivett: To be honest there have been quite a few. With the first song we wrote together, then to our first performance together at Plan B in London, to our most memorable signing an Exclusive deal with V Recordings.

What are some things you have going on at the moment?

Edward Oberon: At the moment we are working on a new EP for V and also doing more collaborations with Serum, after the success of the last single.

Paul Trivett: We have also been performing quite a lot lately, from place like L.A. to Crete to Chicago to Switzerland and places in between.

What makes a good DJ in your opinion, when it comes to technology, technique and music?

 Paul Trivett: For me, it has to be song selection and, of course moving the crowd. I like to do quick mixes and long mixes depending on the style of the track. I have heard some DJs playing continuous 32 bar loops of songs and I just don’t feel it. Each to their own, but I think from being around this music in the early 90’s, that style has shaped me into what I am today.

What would you like to see more of and less of in the dnb scene?

Edward Oberon: To be honest we have always thought the scene caters for everybody’s taste and that’s what makes this music so interesting and timeless. Being from the Rupture crowd liking their beats fierce, to innerSoul liking their music with a soul lining, to V nights liking their percussive jungle basslines…

What more could a listener want.



WEM mini-series | September about why he chose Warm Ears, sound design and the scene

Josh Tighe, known as September, is one of our dearest producers and DJs. He traveled through his drum and bass journey alongside Re-Adjust, pushing each other for the better, exploring various producing techniques and styles and collaborating. The result? September released his first E.P. with us – Straight Bass. A beautiful piece of work that received a lot of praise from people across the industry.

september warm ears music

September’s passion for drum and bass lit up when he was only 14 years old, digging through his older brother’s vinyls. He went behind the decks for the first time in 2006 at a festival in Shoreham. Naming a few DJs and producers who have inspired him, he noted Break, Hazard, Spectrasoul, Alix Perez, Skeptical and Calibre.

What do you usually start with when preparing for a set?

I usually start by selecting a combination of brand new and classic tracks, from the dark all the way to the liquid side of it. I try to combine them as methodically as I can for an enjoyable set across the full dnb spectrum.

Why Warm Ears Music?

I love the whole ethos of Warm Ears Music – good people coming together to create good music and support the scene. I resonate with the music being released, the nights they organize and the versatility of everyone in it.

Great group of people running it and contributing towards it (producers, dj’s etc).

What are some of the most important tools and instruments you’re using when producing?

My most important tool would be Sylenth Nice Sunth for creating just about anything on, followed closely by the Stacker and Sample Magic. It’s a perfect tool for layering drum hits and synthetic noises. There are a lot of programmable options that help me decide what plugin I should use.

In terms of creative process, I usually have an idea in my head and recreate it within the DAW, normally starting with sound design and writing the music part first, then building drums and mixing the track.

I mix it as a whole while progressing the tune along. Sometimes I have entire sessions of sound design, drum building etc and use the result at a later date.

What would you like to see more of and less of in the dnb scene?

I’d like to see more of a combination of different genres of dnb, especially in the production side of it.

I’d like to see less indifference in style and quite frankly, snobbery from “some” people in the scene who are always opinionated. The scene is small as it is…

We should be setting aside our differences and combining the incredible amount of talent from all sides of our culture.

Catch September spinning some vibes at our anniversary on the 1st of July @ London.

Join us on our 1 year anniversary!

We’re getting super excited about our 1 year anniversary upcoming in July.

What better way to celebrate than with a wicked line-up (although we hope you heard!). Phil Tangent (Soul:R), Paul T and MC Conrad (Liquid V) and Artificial Intelligence (Metalheadz) will join our Warm Ears family and friends, including Elementrix, Re-Adjust, September, D.E.D, PD Overt1 and Mozey, for an all-nighter at Bar512, in Dalston Junction, London.

Facebook event

Tickets link


WEM mini-series | Re-Adjust: it’s all about ensuring the best possible sound for the crowd

UK born producer and DJ, Re-Adjust was among the first names to join the Warm Ears family. He fell in love with the art of DJing after a friend showed him the basics. From there on, Justin perfected his skills, leading to production. His first release – “Hotspot” on Cosmic Funk Recordings, came shortly after.

Following drum and bass DJs and producers such as Random Movement (rated as ‘number 1 in his eyes’), Calibre, Makoto, Tokyo Prose, Hugh Hardie, Zero T, Lenzman, Malaky, LSB, Redeyes, Marky, Total Science or Nu:Tone, Re-Adjust has defined a sound of his own, blending just the right amount of smooth with just the right amount of heavy.

His first release on Warm Ears Music – ‘Lost Moments’ features 4 tracks packed with good vibes, carefully selected from a collection we have yet to discover. Right now, we’re all really excited for his new EP, ‘Deeper Meanings’ which will be released on the 17th of July, on Warm Ears Music.  Have a sneak peak at it:

What do you usually start with when preparing for a set?

I like to create playlists for each set I do to ensure the best possible sound experience for crowd. Starting with a slower softer style and gradually working along track by track to a more rolling pace and always including a peak track that always goes off!

Why Warm Ears Music?

They are a great bunch of dnb enthusiasts with a passion for the same music and style that I love. Not to mention the opportunities they have given me along the way. I hope to be part for many years to come!

What were your main compositional- and production-challenges in the beginning and how have they changed over time?

The challenges never stop. It’s a journey where I keep learning with every new track I start, and every new track I finish. Each time I find the next track slightly improving from the last. Whether this be through enhancing my ears over time or learning new techniques, I feel I have come a long way from the early days when I first started. I hope to progress as time moves along and my experience grows, while pleasing more listeners as I continue the journey.

WEM mini-series | PD explains why good drum and bass should feel like home

Peter Matthews aka PD (a nickname acquired from friends and family) is new to the scene and hungry to make a name for himself. Born and raised in Johannesburg – South Africa, He spent most of his time skateboarding the streets and listening to multiple genres of music, mainly Cypress Hill, Korn, and Genesis. Back in 2004 PD’s family relocated to a Newbury, UK, where he discovered and fell in love with Drum & Bass/Jungle.

He met Davide Manzoni aka DJ Manza, an Old Skool Industrial/Minimal Tech DJ who taught him how to DJ, in 2008, after moving to London. He spent the next 3 years as a bedroom DJ mixing Drum & Bass, House, Minimal Tech, Hip-Hop, Old Skool Industrial, Psych Trance, and anything he enjoyed listening to.

In 2011, PD joined the Rythmixz crew where over the next 4 years he discovered Old skool breakbeat and learned about the history of the UK rave scene, playing at social gatherings with the crew. Among the names he follows, he noted Marky, Incident, Jam thieves, Phil Tangent, Skeptical, Horrific James, Subsets, Tom Small, dBridge, Random Movement, Command Strange or The Vanguard Project, as his source of inspiration.

Two years ago, he decided to get right down to business and kick start his DJing career with a course at London Sound Academy (LSA). Since then, PD’s journey has been progressing quickly. He started hosting a weekly Drum and Bass show every Thursday on Exposed Beats, he joined the Warm Ears family, played multiple gigs in and outside of London and – we remember this one very clearly – he startled the dancefloor at our launch party in Romania, when he premiered his very own Drum and Bass track.

pdWhat do you usually start with when preparing for a set?

I usually have a good dig for some new tracks, then go through my current library and select a few from there, and make a couple of playlists. Other than that, I practice and experiment with as many different tracks as I can leading up to the set.

What are currently your main challenges as a D&B DJ?

For me it’s trying to find a healthy balance between family, work and DJing. A lot of people don’t realise the time and effort it takes to be a professional DJ (I didn’t before I started). Going through hundreds, if not thousands, of tracks to find what you feel is your style/sound. Since I’ve started working on my own tracks finding that balance and keeping it has become even harder. But I love what I do, and all the support that I get from family and friends has helped a lot, I believe that good things come from hard work and determination.

What do you think are your responsibilities as a DJ and upcoming producer towards the D&B scene?

I feel it’s important to keep the history of the scene alive through the music I select and tracks I produce. I try not to bite on anyone else’s style and ensure people are enjoying what they hear and it’s something new, yet at the same time it feels like home. I want to make sure I stay true to my own sound as an individual but give back the emotion, clarity and calmness the scene has given me.

What would you like to see more of and less of in the D&B scene?

I would like to see more labels getting together to create joint events and support each other showing unity, love and admiration. I want to see less demeaning comments on social media and in general towards DJ’s who make use and explore new technology. We need to embrace the generation that’s breaking through and try to understand them as we can learn as much from them as they can from us.

WEM mini-series | D.E.D talks then, now and prospective

D.E.D aka Darren Dedman caught the drum and bass fever back in 1997, wearing out his LTJ Bukem – Logical Progression tape or wholeheartedly playing his first drum and bass record – Omni Trio – Skeleton Keys [Moving Shadow] – for the first time.  He started playing around with Traktor, Virtual DJ and Technics, about 10 years ago. Following influential DJs and producers, such as Break, S.P.Y, Total Science, Zero T, SCAR, Silent Witness, Dom & Roland, Digital & Spirit, DLR, Command Strange, Satl, Spectrasoul, Bungle, Calibre or Blu Mar Ten, D.E.D laid the foundation of his own sound, deep liquid and dark rolling breaks.

In 2014, he created the Fat Badger Podcast, alongside PD and R1C0, a channel where they could play their music and as well host various guest drum and bass DJs. He joined the Warm Ears Music family a year ago, about the time he started hosting his own show on RudeFM.


How did it all start?

Before the masses of raves nights available now, we used to go to a mixture of illegal free parties and outdoor raves in the South West, which as a late teenager was just wicked fun.  In the early 2000’s I would often go to clubs like the Opera House in Bournemouth, The Manor outside of Ringwood and a couple in Bristol; Trinity, Blue Mountain & Creation. Once I moved up to Cambridge I used to go to Warning for a while, and of course Fabric.

Around 3 years ago I returned from traveling and decided to create the Fat Badger Podcast with best mate R1C0. It was a lot of fun but really it was a formalised outlet for our need to mix. Once we got a following we started having guest DJs as well. The popularity of the podcast lead to me starting a monthly radio show on MREG web radio and later that year I met Gabriel at the London Sound Academy where he offered me to be a resident of the Warm Ears Music Label. The rest is history…

What do you usually start with when preparing for a set?

It depends if it’s a recorded or live set really. I spent a long time only doing recorded sets for the podcast without many live performances. I have a system I’m happy with but it doesn’t work for a set in front of an audience, not really.

For recorded sets I always try to think about the flow throughout the whole mix, as if it’s all one piece. I think about the mood at the beginning, middle and ending when putting my playlist together. Sasha was a big influence on me when I was younger and I remember how his sets made me feel and apply that when I can.

For live sets you can’t script it like that, you don’t know what the energy of crowd will be like. You could come off the back of a high energy set but have a deep & emotional beginning planned and kill the vibe. I tend to mix new tracks with old classics and lean on the experience I’ve gained from all the recorded sets to work out my flow on the fly.

I usually think about 2 tracks ahead of where I am and work out how I will get there. My goal when playing live is to create those moments you will remember. I spent a long time on the dancefloor before I started DJ’ing and I always try to remember those feelings when I’m putting either type of set together.

Many people might find it difficult to understand that a DJ does so much more than just hit the play button. What are your thoughts regarding the relationship between technology and DJing?

This is a pretty hot topic in the community and has been really since the invention of CDJ’s. There’s a lot to talk about here (and I want to stay clear of the tired vinyl vs digital debate) so to answer the question specifically, I’ll just say that the hardest part of DJ’ing is done at home, out of sight from the audience. Discovering tracks, organising your library and practising techniques takes hours upon hours of time.

Technology like Rekordbox, CDJ’s and controllers enable you to organise and prepare yourself in ways that weren’t available to DJs years ago, making it easier to find the right track for the right moment, in a few seconds. It’s not a golden ticket though, it still requires a lot of work. I’m borderline addicted to organising my library! Basically if you see a DJ effortlessly rinsing out a technically amazing set that’s just right for the crowd, then it’s not the technology doing it for them – they are skilled and very well prepared.

What would you like to see more of and less of in the dnb scene?

I’d like to see more people supporting each other’s mixes and tracks on social media & streaming services, whether it be likes, reposts or comments instead of just cat videos haha (I do love a cat video though).

I’d like to see less £5 makeshift Facebook live videos from people with £5000 DJ setups.