Hey, appreciate you taking the time to do this. I actually became a fan after hearing your Colour of Infinity EP on Danger Chamber Digital. That release really stood out to me and made me want to explore more of your work.
Thank you! It’s an honor on my part! It’s fantastic to know that release stood out as honestly it is one of my favorite works as of yet. The entire EP was written in dedication and mindful of my wife. I think of my DCD releases as a series in a way. It starts with Viatorem (which translates to traveler) and then the 5 Rivers EP which each track represents a river of the Underworld. Then from there to Ashes, Machines, and then Colour of Infinity. Expect a new release in the coming weeks on DCD titled ‘Dark Magick’. This one, my hope, will be well received.
You first started out under the name Illicit before transitioning into Antares. What inspired that change, and how do you see the difference between those two stages of your career?
When I started on this production journey, I felt Illicit was an excellent choice as I was doing a lot of Ragga-Jungle/Breakcore and thinking of ‘Ill’ as a positive term for skills. That was in the early 2000s if not 1999 when I was under that name. Doing a lot of vinyl releases at the time and shows, I fell into a lot of the ‘partying’ aspect of the scene and needed to take a break and step back…basically reset. It was a couple years that I came back in a different mindframe and sat down with Renoise to see what could become of it. I developed a different type of production and sound from my early years and it felt that I could not come back with the same name as it didn’t fit. While I do have a couple of newer tracks with the Illicit name (Hangry Records, Jungle Vibration Records), it was not my style, per se, anymore. Antares was chosen as I am a Scorpio and it is the brightest star within the Scorpius Constellation. I have always been fascinated with space and the universe. It felt appropriate given the new direction of sound design within my music. There are a lot of differences within these two timeframes…the largest being my focus on creating an atmosphere or rather a world with sound. Illicit was more so driven by militant drums and dancefloor ragga vocals. My focus now is on a lot of sound design as well as more complex elements. I have a passion for Scoring and working on Underscore and I think that is shown within the new music. I see a larger aspect now than I did in the early years, if that makes sense. I was very different then, focusing on simply hardcore ragga tunes and honestly would not have ventured outside of that had I kept on the same path.
Your journey with drum and bass goes back to discovering Law of the Jungle in the mid-90s. How did that first introduction to jungle and early drum and bass shape your approach to production?
Ahhhh that release is STILL a favorite go to of mine. I had no idea, really, what Jungle was or Drum and Bass at the time. I believe I was 14 or potentially 15 and found it in a beat up music shop. Once I heard an Amen break drop….while out skating…it changed me. I had to know more of what it was I just experienced. It was the same year I went to my first Rave in Wichita Kansas. It was an abandoned school downtown. I had no idea what I was walking into. There was DNB playing loud and the lights and dancing. It was a new world to me. I recall looking down and seeing a cassette on the ground. It was a Dune release. Honestly it just stuck with me in an indescribable way and when I moved to Florida and witnessed the rave scene here…I had to be part of it so I began learning.
Early on, you ran Ruffah-Ras Records and pressed a few vinyl releases under the Illicit name. What was that experience like, and what did it teach you about running a label and being independent?
It was definitely a learning experience. I had no idea what I was doing but it was kind of during a North American resurgence of Jungle and DNB at the time and I knew I needed to get something out there. I spent so much time on Ragga-Jungle.com which was a fantastic forum at the time. I met 16aj, Krinjah, Artbreaker, and so so many people on there (mind you we’ve all been connected ever since). That’s where I first discussed doing a release and starting the label. With a lot of people already doing what I was attempting to do, it worked out well as I was able to discuss it in depth with everyone and also find the proper plants and distributors. Being independent, I learned (and still do every day) is a matter of consistency and dedication to the work. You cannot let up on it. I definitely walked away with that knowledge. We did 3 vinyl releases and also ventured into Digital on Juno Records. The first two releases were all my tracks and then the 3rd I wanted to open it up to include artists that helped me along the way. The digital releases really consisted of the local Florida crew… Diode, JRyder, myself, and Truspin.
You’ve worked with labels like Mos-Hi, Top Ranking, Nuff Stylez, and Hum-Fi Drum Digital. How did those early collaborations help you develop your sound?
These early labels really did shape how I approached drum programming. I mean in those days songs were 180-190bpm and meant to be hefty. That was my ‘soundclash’ style era. I loved having tunes sound like you were in the clash itself. The tune drops, generally talking against the others and then boom, rewind, crowd cheer, etc. and into another dub. I still do enjoy those type of tunes. I can say it also shaped how I viewed the Amen and other breaks not only as drums but instruments, if that makes sense. I’ve carried over much of that same approach to my drum edits now, however, in a tracker versus a typical DAW. As Antares, your music leans dark, atmospheric, and break-heavy with a cinematic edge. What drew you toward that deeper and moodier side of drum and bass? I think a large aspect of why my sound has changed is just expanding my knowledge of music as a whole. Also making the connections I have made with other producers, dj’s, and labels, has allowed me to gain knowledge in what we do. Getting into actual sound design with analog synthesizers and modular gear has definitely changed how I approach writing music as well. It’s expanded what I can create or imagine I can create. In the early years as Illicit I tended to just want to churn out tunes after tune and never really thought of the longevity of the music. “Would it hold up 10-20 years from now?” Is something I’ve learned to stop and process. I want to write these tunes as Antares from actually writing the music itself, rather than rely on samples or loops. Not saying there is not a place for that and fantastic things have been created from loops, however, it feels different to me with a finished product that was crafted from the heart and mind.
What tools or setup are you using these days, and how does it compare to what you worked with during your Illicit era?
I have quite a bit of tools these days to explore and work with. I use Renoise as my DAW/Tracker or the RS-9 Sequencer in my modular and also the Polyend Tracker. These are my preferred methods of writing. I also have the Hydrasynth, Neutron, Proton, Edge, Crave, TD3, Pro-1, Model D, CAT, and K2 synthesizers as well as my modular racks that I’ve been building. A lot of what I craft now comes from the Analog synthesizers which help me get into it deeper as I like the hands on approach. I like the feel of twisting the lfo rate knob. Initially as Illicit all I had was Sony Acid 4.0 and a 41-key midi controller. It was basic BASIC. I think that it shows, however, you can create with ANYTHING. If you have the idea and the where with all to put the work in, you can create on just a laptop and have it sound like it came from a multi-million dollar studio.
The Dark Magick EP on Danger Chamber Digital includes tracks like The Sound Theorem and Motives. What was your creative mindset while putting that release together?
This release was born of listening to A LOT of experimental breakcore and ambient work. I always start the process with the intro…which means I’m starting with one sound. Once I find that sound I’m looking for it writes quickly. Paul (NoLightNoShadow) is a great and amazing friend of mine and he did the vocals for The Sound Theorum. He is always recording his spoken words and they never cease to grab me. He did a particular series of voice notes and it birthed The Sound Theorum. I wanted something a bit mellow with the intro of that, something that pulls you in. The beat initially consists of beat box samples from an OLD sample disk (3.5” Floppy no less). Then bringing in the vocals and just the pads…building an atmosphere, if you will, and into the breakcore like drumwork. Motives was initially a cinematic ambient piece alone. I was working with the Amen through my Sample Drum module and sequencing with the RS-9 and applying effects from another module and was getting crazy effects on the amen. I recorded those and used them in the final tune. I wanted it to sound like a dream…or a hallucination. When I’m producing I almost see the world I’m trying to build through sound…if that makes any sense at all (lol) but I could see these amens just in the form of fireworks bursting and fading out into a night’s sky. I wanted to attempt to capture what my imagination saw and produce that in the form of these tunes. I want the entire release to be evocative.
You also released Control Your Mind / My Darkness on Tuff Love Dubs. What was your process behind those tunes, both technically and emotionally? That release is special to me because, as mentioned, in my early Florida rave days I was witness to State Side Collective and then Force Recordings. Control Your Mind, I wanted to sound like just a proper old school drum funk(ish) type tune. I love working with breaks and the particular break and keeping it in the original pitch of it’s original form was a lot of fun. The Amen, in my opinion, kind of sets it all off. Nothing too elaborate, but intentional so to speak. My Darkness was a completey different approach. It was a darker mental time for me and I needed to simply purge those feelings somehow. That is how that song was born. It’s a journey…the darker more melancholic aspect of it’s beginning and then into a more joyous section…hopeful. I feel music, even electronic music, can be deep and expressive.. To have labels understand that and want to release it on a physical medium is special.
Your catalog spans respected labels like Force Recordings, Ballpark Recordings, Locked Up Music, and Cause 4 Concern LTD. What did it mean to have your work appear on Cause 4 Concern LTD, considering their influence in tech-driven drum and bass?
That was a pivotal moment for me. I’ve always listened, purchased, and loved C4C and the releases on C4C LTD. Abstract Drumz really brought that opportunity simply by tagging Mark in a video post of a work in progress and that started the discussions. I was honestly in shock. Mark was fantastic to work with and I feel that release is really heavy and amen forward. It was, in my opinion, much different than what is released on C4C LTD. and the fact he believed in it and wanted to release it was and is a huge opportunity and honor.
You’ve had tracks chart on SoundClick and regular exposure through The Underground Lair mix series. Has that kind of recognition changed how you approach your work or view your progress as an artist?
I think it’s good to honestly just keep doing exactly what I’m doing. As in keeping up with the process and the work. Consistency is always key. The Underground Lair has been a huge part of my growth in production as well as Dj’ing and approaching Dj’ing. It has allowed me to express through music and not just through jungle or drum and bass, but breakcore, ambient, idm, and many different genres which I think is important to overall growth as an artist.
Looking back, how do you feel your sound has evolved from the Illicit years to where Antares is now?
My sound has become more serious. And what I mean by that is I take my craft a lot more seriously than I previously did. I realize, in my opinion, that this is what I’ve been meant to do (production/song writing/sound design) and have applied that since feeling the confidence of that. Instead of remixes or bootlegs, I focus on the whole process, sound design, song writing, and hopefully providing something that isn’t a generic sound.
Is there one track or release that you feel best represents who you are as a producer right now? Right now, it is Motives which is coming on the ‘Dark Magick EP’. That and ‘Late Nights’ on the Late Nights EP on Wicked Jungle Records. I believe the Late Nights EP was a forward moment for me, if that makes sense. A leveling up moment, if you will. The synth work that I’ve been crafting and learning really wrote that EP easily. The Dark Magick EP takes that further with more sound design on hardware/analog synths as well as Amen edits through modular gear.
Coming from the Midwest rave scene, how do you feel drum and bass has evolved since you first got involved?
Oh it’s definitely changed a lot. It’s more widely accepted and heard in places. I remember in the midwest at the time, there really wasn’t a lot of dnb and definitely jungle. There was still a love for it, however, not like it is now. I also think that is the natural growth of it though, right? I do miss the really hardcore raves though. The truly underground stuff which doesn’t appear to happen as often as it did. Those call the day of and head out to the ranches type raves.
What do you think keeps the underground side of drum and bass strong even as trends come and go?
The love of the music at it’s fundamental core is what drives the underground to continue momentum. It’s the producers and dj’s that truly have a love for it as the artform it is. The expression of it. I still think it’s one of the only music that truly represents the speed and sometimes chaoticness of the present times.
Are there any new producers or labels that have caught your attention recently?
Ah, there are SO many. Of course all the labels I release with regularly and non-regularly are always go to choices of mine as the other artists are always on point. Wicked Jungle Records is doing great things as well bringing out the art to physical medium as well as Danger Chamber who is doing the same. Hangry Records is constantly releasing fantastic work as well. Offish is fantastic. Forgiven Soul, Suicide Audio, Kurrupt, there are honestly far too many to be able to list.
When you hit a creative block, what helps you get back into the flow?
You’re going to laugh, however, gardening. I’ve been venturing into gardening and growing in the earth which has honestly inspired quite a bit. I feel it’s giving back to the earth in a way that we all take and maybe don’t realize. Sitting with the butterflies, the plants and flowers, and observing, grounds me and allows the creative flow to start. Sound design is always a go to when I’m not working on full tunes as well. Building an arsenal for future tunes and such keeps things flowing as well.
Do you listen to music outside of drum and bass to stay inspired or refresh your ideas?
My music love spans quite a bit. From Ambient work, Spoken word, Metal, Shoegaze, Industrial, Pop, Punk, Post-Hardcore and more. I think it’s important to acknowledge other forms of music and expand your world through sound. It has definitely allowed me to think differently about the writing process and even what can be created in dnb/jungle/breakcore/etc. I also study quite a bit of composition and movie score as that is definitely an aspiration of mine. I think that really inspires a lot of what I do now. How do you balance producing, personal life, and staying connected to the community? It’s difficult as I’ve got 2 kids at home and a wife as well as a daytime job. I think it’s important, however, if you want to be part of that community (in this case dnb/jungle/etc) you have to also make time for it. I don’t get out to a lot of shows, however, I do when I can locally to support. Right now Refuge is doing great things in the St. Pete area of Florida and that’s important as it’s keeping the music here alive. I’m also lucky that my Wife, Nikki, does not mind if I spend hours in the studio in the evening (she more than likely enjoys it lol) and my kids are older that they’re not really interested in what’s going on outside their rooms. That definitely gives me the freedom and time to create. With Social Media, I think it’s also brought the world of drum and bass closer and more available, which has been an excellent thing in my opinion. It’s much easier to stay connected that way to the community.
If you could collaborate with any artist from any era or genre, who would it be and why?
Honestly, Enduser. Enduser’s production has done a lot to inspire me in the way I write music and approach it. His music pulls me in and is equal parts destruction and beauty. What’s next for Antares and Illicit as we move into 2025? Wicked Jungle Records just landed distribution with Kniteforce with my Antares “Late Nights EP” as of last week. Danger Chamber Digital is gearing up to release my “Dark Magick EP”. I’m also working on a couple of Collabs with Kurrupt and a solo EP in the works for Hangry as well. I’m doing a lot more Ambient work as well that will be showing up on my personal bandcamp page.
Are there any upcoming projects or collaborations you can talk about?
Kurrupt and myself have a few collaborations finished and a few that are currently being worked on. The Dark Magick EP on DCD will be out shortly as well as that is in Mastering. 2 tracks forthcoming on Hangry Records (2 different compilations) as well as a solo EP that I’ve started writing.
What goals have you set for yourself this year, both personally and musically?
I’ve set quite a few goals for myself this year and for into the future years. I’m doing a lot of music theory to help with composition as I’d like to lean into that more. Definitely need to put out a few more EPs and begin another ‘Windows’ series for my personal bandcamp. I’d definitely like to play out a bit more moving forward. Personally, I’d like to continue growing as a human being and being more active aiding in creating a better society. Continue growing with my family and friends.
Finally, what advice would you give to new producers who are trying to find their sound and identity in drum and bass?
Experiment and just be consistent on that. It’s something that’s developed over time as it’s a learned skill. Take it seriously, learn the music, learn the instruments and sound design. Don’t aim to sound like someone else and allow it flow naturally from your soul and you’ll find your sound. It’s like a ‘a-ha!’ moment. You’ll know it when it happens. Also have FUN with it. Express with it.