Hi, Who are you?
Hello. My name is Thomas Davies. I’m originally from Hampshire, a little village called Hook near Basingstoke in the United Kingdom. I’m the founder of Transparent Audio which I have been running for the past 5 years on my own. The label focuses primarily on drum and bass, although I’ve recently started releasing some 140/dubstep sounds as well.
What’s your ethos?
The main ethos, aim, or concept behind Transparent Audio was to create a platform for up-and-coming producers. A space to release their music. These days, the drum and bass scene is growing rapidly, with more and more labels, producers, artists, singers, and songwriters entering the space. It can be really difficult to break through and get your music heard. Transparent was created to help those kinds of artists, to give them a chance. Personally, I know how hard it can be. Around 10 years ago, I used to make music myself, mostly within dubstep, that deep, minimal „dungeon” sound, as it was called. At the time, I found it tough not just to get my music released, but to find a label that felt like a home, one I felt truly a part of.
That experience shaped the ethos of Transparent Audio. It’s about more than just releasing tracks; it’s about building a family. I didn’t want artists to feel like they were just dropping a tune and moving on. I wanted them to feel involved- to be part of something. That’s why collaboration, idea-sharing, and mutual support are so important to us.
Tell us your origin story — was it a deep connection or a chat in a pub?
Going off what I said about the ethos, the origin story of Transparent Audio actually starts with a different label I used to run — a deep, minimal dubstep imprint called Instigate Recordings. This was quite a while back with that label being established in 2013. Instigate started as a university project — my best mate’s final dissertation was about launching a record label. We both were DJing and produced a lot together, so once we graduated, he asked me if I wanted to help run it. Eventually, his interests shifted and he handed over the reins to me. But even before that, I was always listening to drum and bass. That era of Andy C, Original Sin, Hazard, Clipz — that’s what really got me hooked. (Think everyones introduction into Drum & Bass started at Jump Up, haha) Then I discovered 140 through Digital Mystikz, Loefah , Skream, Benga… and of course, the iconic FabricLive 37 by Caspa and Rusko. That release really shifted my focus toward dubstep at the time. Thoughtout the time working on my own productions and running Instigate, I was still listening, djing and heading to events that were drum & bass. Most of the time it was clubs like Cable, Fabric, XOYO, and Plastic People for events such as Shogun Audio, Critical, Renegade Hardware, FWD, Dub Police, Tempa. So after running Instigate for a few years, my musical taste gradually shifted again — back towards drum and bass. During the COVID lockdown, with more time on my hands, I started brainstorming and preparing to launch a new label. After about five or six months of planning, Transparent Audio officially launched in October 2020.
The idea was to run Instigate & Transparent alongside each other, however this was not really possible being a one man band. I’ve been really lucky with the artists and collaborators who’ve supported the journey since then. From the start, I wanted to build something that felt like a family — unlike Instigate, which had good releases from names like Glume, Phossa, Opus, and Ourman (all of whom are now staple names with 140 scene), but Instigate never quite had that tight-knit identity. So I started scouting new artists — scouring SoundCloud, YouTube, anywhere I could find exciting music. I messaged people directly, not with the generic “Hey, want to release with us?” but with amore personal pitch: that I was starting a new label with a family ethos, where everyone could grow together. I was lucky that a few people took a chance on me early on. Artists like Dava, Felov, and Yannons were among the first, and we built great relationships from the beginning. After that, I worked on the label’s identity. I reached out to the same designer I used for Instigate, and we came up with a visual theme — including a signature coluor. We chose a lime, fluorescent green that would be instantly be recognisable. The idea was, if you saw that coluor in your inbox or on socials, you’d know straight away it was a Transparent Audio release. We kept the artwork consistent to reinforce that branding, and it’s something people still ask about today — “Where’s that green colorway gone?” I guess two years in running transparent audio, we kind of switched up the artwork style as the label was progressing, you know, getting a lot of support. We decided to switch it up and use a different designer, which happened to be a good friend of mine and the labels. Mr. Jamie Tucker aka Primitive Instinct, who’d actually done a couple of artworks previously for us. Our Refraction Various Artists Series. He mainly focuses on 3D imagery, which resonates with the label. It has that kind of clean minimal, vibrant vibe. And it’s very easy to work with him in general, just because he’s a very good friend of the label and a very talented. But I think it’s definitely given the label a new identity over the past 2 years.
Beyond the music and artwork, I also looked into mastering. I did a lot of research and reached out to various engineers. Around that time, Haden from Ill Truth had just started his mastering company, Height Mastering (now Height Sonics). He shared his vision with me, and it aligned perfectly. I’ve worked with him ever since. Haden consistently delivers dynamic masters that retain the vibe of the original track while giving them the punch they need in the club. Massive shoutout to him for all his work and make sure to check him out.
Where are you based? Tell us about your local scene.
Like I mentioned before, I’m originally from a place called Hook in Hampshire, near Basingstoke. To be honest, when I was growing up there, there was no music scene at all. Luckily, I had places like Winchester nearby, which had more of a drum and bass or general music scene. But where I lived—in Hook near Basingstoke—there was nothing like that. That’s one of the reasons I moved to Southampton for university. There, I met a lot of like-minded people and some good names who were coming up in the scene at the time. They definitely helped shape my path as a producer and DJ. People like Gerra & Stone, Visionobi, Joe Raygun. After university, I moved to Bristol. A lot of people call it the home of drum and bass, and that definitely drew me in. I’d only been to Bristol once or twice before for festivals and such, but evenfrom the outside, you hear about it as a very creative city—whether it’s music, art, or anything else. So I made the move in 2015, mainly for music to progress as an producer, At that time, I wasn’t running Transparent Audio yet—I was doing Instigate. When I got here, I was going to a lot of 140 nights and, of course, drum and bass events too. I was really into the deep, minimal side of things—artists like Alix Perez, 1985 nights, Symmetry Recordings nights, Sofa Sound Bristol, and so on. Since then—so roughly ten years now—the scene has definitely changed, as most cities do over time. When I first arrived, there was a big presence of smaller promoters and more local, intimate gigs. I think about venues like Blue Mountain, Timbuk 2, Basement 45, Start The Bus, loads of small spaces where you could pay a fiver to get in, see one solid headliner and a couple of support acts. It felt like a real community—people helping and supporting each other. Back then it was really good—not to say the scene isn’t good now. We’re still lucky in many ways. Of course, a lot of venues have closed down over the years. One of them being Crofters Rights, which became my go-to spot in later years. Events like Collective and Breach were held there.
It was just a great space—a room that fit 100 to 200 people, a good sound system, and a nice social area to catch up with friends and connect with new people. The Bristol scene is still solid, but again, it’s changing. Maybe that’s just me getting older—who knows? But it feels similar to other places in the UK right now: more foucs on these big events with stacked lineups. The great thing about the drum and bass scene in Bristol is that everyone’s really supportive. It’s tight-knit, but not in a closed-off way—more in a friendly, open-minded way. You’ll always bump into people at events, catch up for a drink, talk about projects and bouce off one another. I’m lucky to have good relationships with other local labels and collectives—like Yamatai, Truth Hertz, and Stellar Audio. We chat often, link up, and support each other’s events. It’s refreshing to be around people who are open to collaborating and working on new ideas, especially at a time when it’s hard to stand out against the big labels. Many of us are still coming up, finding our way. For instance, with Yamatai, we’ve started a monthly event called Circular Sonics—a mid-week thing from 7 to 10 pm. It’s chilled, not too heavy on the next-day hangover, and brings in local talent from Bristol and the surrounding areas. It’s just a nice way to reconnect, listen to music, and see what people have been working on. We also teamed up with Stellar Audio and Yamatai last year—2024—for a summer party at Motion. That was sick. Again, it just shows how collaborative the scene is here. People aren’t closing themselves off; they’re keen to build something together. Another thing I love about Bristol is the overlap between scenes. I mentioned 140 and dubstep earlier, and there’s a lot of crossover. A lot of artists and producers know each other, and you’ll see people from one scene turning up at another’s events. Sometimes they even share lineups. It really does feel like one big family here. We’re lucky—not just in terms of music, but also the creative side of things. There’s so much talent in Bristol—promoters, artists, designers, graphic heads—it’s an inspiring place to be.
Do you have a specific sound or vibe?
This is a question I think about all the time. From my perspective—running Transparent Audio—it’s always tricky to define the label’s sound from the inside. I often wonder what other people perceive as the vibe or style of TA, because it’s hard to see that clearly when you’re the one behind it all. At the start, when I was reaching out to artists to build the roster and create that family vibe, my main focus was deep, minimal sounds—stripped-back drums, rolling basslines, and tight, techy grooves. That was the initial aim. But over time, the label’s sound has definitely evolved. I think it’s still seen as a deep and minimal label at its core, but there’s also this emotional, melodic element that’s emerged. It’s not just functional dancefloor stuff anymore—there’s a kind of feel-good energy that’s crept in, which gives it a more diverse, layered identity. If you look back at the early catalogue, especially in the first year, the music was very deep, minimal, techy—built for the dancefloor. But as time’s gone on, certain artists have joined with their own distinctive styles, and that’s really influenced the overall sound of the label. One that stands out is Geostatic. He blends those rolling, minimal drums with melodic elements—vocals, riffs, musicality—which has added a new dimension to our sound. I’d say his contributions have really helped shape the way people perceive Transparent Audio today. When I think about the sound now, it’s honestly just whatever I’m feeling at the time. I’ve always been drawn to the soulful side of things as well. Take Primitive Instinct for example—we released his debut EP, which was probably one of our first full-on soulful liquid projects, and is still being played today in the clubs. So when it comes to defining a “specific” sound… it’s hard to say definitively. It’s not about chasing trends or trying to follow what’s popular. If I get sent a demo—whether it’s from one of our core artists or someone new—and I feel it, I’ll put it out. Simple as that. That could be anything from deep, Bristol-style minimal rollers, to soulful, groovy liquid, to something with funky drums.
But I suppose if I had to pinpoint a core, it would still revolve around deep, minimal, underground dancefloor music—club-orientated sounds. That said, we are expanding. We’ve started to release more 140 / Dubstep stuff as well. Spektiv was the first to put out a 140 EP on the label a couple of years ago, and that one exploded, hitting number 1 in 24 hours. He’s followed it up with another one since, and now we’ve just signed Kaneki, who recently dropped a four-track 140 EP with us. So yeah, the sound can shift depending on what I’m into at the time—but at its heart, Transparent Audio will always be rooted in that minimal, underground club vibe. Where it goes from here… we’ll see.
Do you have a regular artist roster? Who can you see releasing with you?
So I guess this kind of follows on from the last question really, or from what I’ve been talking about regarding the sound and vibe of Transparent Audio. The sound of TA really depends on the artists—the core artists who are releasing—because I feel like a lot of them are known for a particular style. For example, like I mentioned with Geostatic, he’s got this deep, minimal, rolling kind of sound, but also uses vocals and melodic riffs to add more emotion and feeling. Then there’s Felov, who was involved from the very beginning. He’s definitely known for stripped- back, minimal, bass-heavy stuff, but he also produces a lot of emotional, stripped-back liquid. You’ve got Spektiv, who makes quite heavy dance floor-oriented tracks. Also, Morrow and Dubhead bring that Bristol roller sound. Yannons is also very stripped-back and minimal. So yeah, again, the sound of the label is really shaped by the artists themselves. Lately, we’ve had some new names joining the label to —like Acris and DubTen—who are bringing that newer, more energetic, jump-up, dancefloor vibe. As for the regular artist roster, like I mentioned earlier, when I started the label I sent out a lot of messages to artists explaining my vision and what I wanted to build. I was lucky enough to have a few people join from the very start—people like Felov, Dava, and Yannons were part of that initial group. After the first five or six releases, I got in contact with Geostatic, who’s now become the label assistant. He helps me with a lot of the workload, which has been a big help, especially in balancing life, work, and the label. (I am still in search of the perfect balance, haha) Another key artist is Spektiv. We actually met through a close friend of mine who happened to be working with him at the time. We met up one time—along with Primitive Instinct, Mason, (who used to run Surveillance), and a few others. At that point, Dan hadn’t released any music par some free downloads on this soundcloud, but he’d been producing for a while. I gave him his debut EP, and ever since then we’ve become really close mates and work together closely.
That’s kind of how I see the TA roster—it’s not just about artists, it’s about friendships. Most of the core artists I’ve met over the last five years have become my best friends. We don’t just talk about music all the time—it’s a genuine connection, and that helps a lot with running the label. Early on, we also had people join from Austria—like Ferice, Geostatic, and Healian—and more recently Acris and Dub Ten as well. I don’t know what’s going on in Austria, but there’s clearly something in the water producing great talent. But yeah, from the outside I think it’s clear that there’s a core group within the label. Someone like Koax, for example, who’s Bristol-based—he’s someone I’ve grown close to as well, and I think being a similar age helps that. (So I am not stuck in my old ways). And then you’ve got the Exeter crew. Morrow and Stokka—who’ve since become core artists on the label too. Again, it’s not just about a roster, it’s more like a group of close friends, and that really shapes the label’s identity. We’ve definitely built a strong foundation with the original core artists, and it’s expanded over the years. Recently, I’ve been trying to bring in more Bristol-based artists to help push the scene here and keep those local connections strong.
So yeah, we’ve just signed Dubruvvas, Dubhead and Kaneki. That had been a long time coming. Dubruvvas have both been doing great things over the past couple of years, and whenever we bumped into each other at events, we’d always say, “When’s this release happening?” And finally, that came to life this February with their debut EP. They’ll be working closely with TA moving forward. Both Dubhead and Kaneki are Bristol-based, and they really get the vision for TA. It’s great to have them on board, especially as the label continues to grow. Ephyra has also played a huge role within the TA core roster, being one of the many DJ’s spreading the TA sound in her sets and hopefully we will see the debut EP from her on TA in the next few months.
So many more core artists that I need to put in the lime light, such as Yannons, Subdue, Ferice which all have their own identities on the label. Another latest signing is the very talented singer and songwriter Lauren Walton. Actually first meeting through our daytime jobs and our music interests aligned which resulted in Lauren working very closely with the label.
Tell us about your A&R process.
Well, I guess at the beginning—like I’ve said a few times—it was right at the start. I was just messaging people on SoundCloud, Facebook Messenger, anywhere I could get in touch with them to see where they were at with their music. I’d ask if they’d like to come on board to start this new label and grow with it. As time has gone on, I’ve reached out to a lot of artists whose music I enjoy or who seem to be semi-established. I would drop them a message to see if they were interested. The A&R process has definitely evolved over the last year or two. I’m trying to keep the family tight, you know? It’s become harder to bring in new artists as core members of the label. Of course, we’ll still release music from certain artists within the scene. They may have one or two releases, but they might not be seen as a core artist, if that makes sense. Again, they send me tunes I really like, and I want to release them. But now, with a bigger roster, I’ve become more selective when adding new core artists. So, for example, when I first interact with an artist, I ask, “What have you got going on for the foreseeable future? Are you already part of a core label family?
I’m not asking for exclusivity, but I want them to think about where they’re releasing their music. Maybe they could focus on one or two other labels they’re closely aligned with. That’s the process I go through when talking to artists—understanding their future plans, which labels they’re associated with, and whether there’s a connection between us and if there is anything I can do to help elevate them as an artist. And that’s the thing for me: the connection. I really prefer to work with artists who I get along with, like friends. There are artists I’ve spoken to before where there’s just no connection, and it feels a bit separate. It’s hard to explain, but for me, a lot of the artists on the label are one of my best friends now. We talk about more than just music. This connection definitely helps during the A&Rprocess. Can I get along with them? Can we have fun together? Can we meet up and not just talk about music? For example, with Kaneki, he sent me some tunes. I liked them, but I didn’t know much about him. Then, I met him for the first time at the party we did with Yamatai and Stella Audio at Motion. Instantly, I knew we clicked. We got along right away, and since then, we’ve become really good friends in a short amount of time.
The same thing happens with many of the artists on the label. The A&R process is all about that connection for me. When it comes to the music itself, at the beginning, I was always looking for new artists, mainly online, through social media. Social media is a huge tool for discovering talent now, so it’s easy to find new artists. But when it comes to the listening process, I focus on both the vibe and the quality. There are lots of people out there who can make great tracks that sound really clean, but sometimes the vibe is missing. I need to feel connected to the track. When I listen to it, does it resonate with me? Is there a good vibe? Can I imagine other people liking it and hearing the same vision as me. We’re running a label, so it’s not just about what I like; I need to think about whether the audience will like it too. Will DJs play it? Will our fans connect with it? There’s a lot that goes into the A&R process. I always try to give feedback to people who send me demos. Also, I think about whether the audience and other DJs will appreciate the track the way I do. I don’t DJ out much, so sometimes I’ll send tracks over to core artists on the label to get their feedback. I think it’s important to involve the artists because one of the main aspects of TA is being a big family.
It’s nice to have other people’s opinions on what I’m doing with the label, the releases, and any ideas we have for EPs. Sometimes, I’ll send tracks over to the guys and girls to see what they think too.
What makes you different from other labels?
I guess, I’ve said this a lot about the family aspect. I feel like a lot of people who follow TA or have discovered it recently appreciate the fact that we have a very family-oriented, core- based label. Many of the artists have been with us from the beginning, and I think people enjoy seeing the progression of those artists as they continue to release more and more with the label. Of course, there are always going to be new and exciting producers doing something different. But I feel like, by staying true to our craft and sound—while still evolving with the times—we’ve definitely managed to stand out from other labels. For me personally, and for TA, the amount of connections I’ve made by starting this label really sets us apart. A lot of people who’ve joined TA have become my best friends. For example, in the first couple of years, I hadn’t even met some of the European artists like Dava, Geostatic and Yannons. They met each other through TA, and now they’re friends too, meeting up in places like Germany, Austria, and the Netherlands.
From an artist’s perspective, I think what makes TA stand out is the fact that we’re all creating it together. You’re not just joining a label—you’re making friends, building relationships, and having that personal connection. Of course, we also try to find newer artists doing something different,whether it’s through their unique production style or by experimenting with different elements. We look for artists who are doing something fresh, not just following the traditional track structure and trends. When I release music from an artist, I give them a lot of creative freedom as well. For example, when I started with the green color and similar artworks, this definitely evolved in the past couple of years. Jamie (Primitiv Instintic), the artist behind the new 3D animation style artwork for TA, has been amazing. Working closely with someone who’s not only a close friend but also an artist in his own right has been great for shaping the look of the label. Jamie’s minimalistic 3D style has really defined the last few years for us. If artists have ideas for artwork, they can send over mood boards, and Jamie helps craft the artwork based on their vision.
I also talk to the other artists on the label regularly, and they often give me ideas for the direction of TA. We’re all involved in the process, and I think that collaboration helps TA stand out. For example, with Davas “Invisible Patterns” mini LP, he had a clear vision for how he wanted it to be, including the artwork and even some merchandise. I gave him the space to bring that vision to life, while still keeping within the label’s framework. Allowing artists the freedom to create has really helped TA stand out in terms of originality Another example is with Spektiv on his “Pressure EP.” He came to me with the tracks and said, “I’ve got these—what do you think?” And I told him, “If you want to run with it, let’s go for it.” It worked really well for him, and he’s definitely grown as a 140 artist. Another example is Swiss- based producer Switch/Case, she even made her own artwork for her release. So, I think standing out for us is definitely about giving artists the freedom to express their creativity. They have the space to shape their projects as they see fit. I try to put myself in the artists shoes and figure out what they want from this release, if they are putting all this effort and time into making music and I need to be putting the same work load in as they are. Another aspect of standing out is the sound of TA. I feel like I’m open to releasing different styles and genres of music. Take Rotate’s recent EP, for example—he came out with a multi-genre release at the start of this year, with one drum & bass track, one garage track, and a dubstep track. I’m open to releasing all kinds of different styles, but I’d say our core sound is deep, minimal drum & bass. At the same time, we’ve got Bristol rollers, soulful tracks, and more. We’re not just pushing one sound; we’re aiming to give our audience a variety of styles and subgenres within the drum & bass scene.
I actually asked some of the artists on the label the same question what do think makes TA stand out and here are some of the responses:
“For me the level of care for every release/artist, the freedom of creativity and most important: everyone thats part of the label”
“I think the ease of working – you take the pressure off the promo, do a shit tonne of extra work behind the scenes. And versatility is a huge thing, it’s nice to know for most style that they can fit. Just the care that goes into it all”
“The amount of support and encouragement I’ve received while releasing with TA feels different than with other labels to be honest”
“I think the support from TA compared to other labels is insane. I’ve never been pushed or supported by a label so much. Had so many opportunities to do different things and as a vocalist you just don’t see that sort of commitment with other labels. They’re usually just bothered about the producers lol so thats one thing I think is different about TA.”
“In Short, We just love Tom”
What does it take to run a bass music label in 2025?
So, I guess, you know, from my perspective, running the label from the very beginning, one thing I’ve realized is that sometimes there isn’t a lot of immediate return on music. There’s that common question—when you’re releasing music for a label and considering the royalties aspect, depending on what level you’re at as a label, there might not be much return, especially when you’re just starting out. My mindset was always: as long as I’m putting in as much effort and time as the artist is in making their music, then I’m doing my job right. The artist is putting time into the production, second-guessing mixes, and going over the tracks again and again. I’ve seen artists sit on a mixdown for a year and still not be happy with it! My approach has always been: as long as I’m putting in the time and effort to get the release out to the best standard I can for the artist, that’s my main goal Running a bass music or drum and bass label is definitely tricky now. Like I said earlier, there’s so much new talent out there, and a lot of people are starting labels. Dedication is key. If you have the passion and the energy for it, then you can make it work. It can be full-on at times, especially if you have a full-time job or other commitments in your life, such as hobbies or other projects.
You really need to set aside enough time to put towards the label. We release a lot, and sometimes it can get stressful. Other labels might not release as frequently, so they can afford to give themselves more breathing room. You have to put yourself in the artist’s shoes and think, “What do I want for this release?” Whether it’s the promo side, the graphics, or making sure it gets into the right hands for DJ support—everything needs to be considered. Getting the right promotion is crucial. Whether it’s through social media, premieres on channels like UKF, Skank & Bass or Forbidden Frequencies, or even some of the older ones that have kind of slowed down, like District Bass—these things really help to get the music out there. Putting yourself in the artist’s shoes and asking, “What can I do to help make this release succeed?” is essential.
With labels, there’s not just the music and release side, but also the events and your presence within the scene. Doing events can definitely help, especially if you have a core of artists. We’ve been lucky in Bristol, where some of the smaller venues, like The Crown and The Exchange, are really paving the way for smaller labels, up-and-coming artists, and promoters. We’ve got a great community here, and being part of that network is invaluable. In Bristol, we’re fortunate to have a lot of people in the scene, so you can always meet up, show your face, and have a chat with others in the industry.Running a record label in today’s world requires having a set goal. Everyone needs a vision, and I’m not talking about the typical “Where do you see yourself in five years?” question. But it’s about looking to the future and believing in the music you’re releasing. You’ve got to trust in what’s coming in the next few months and keep bouncing around ideas. Personally, random ideas often pop into my head while I’m at work or walking down the street, and I always jot them down.
I run them by the people involved with the label. It’s important to remember that no idea is too small or stupid. If it works, you go with it. Thinking outside the box is crucial, but also having faith in your core artists to deliver the best music is key. After that, it’s about doing everything you can to get it out there. Having a good schedule helps a lot, too. I try to keep a plan in place for when to release each artist’s work, considering what works best at certain times of the year. It’s all about planning and organizing. And of course, you have to enjoy it too. I’ve had moments where I’ve treated running a label more like a job than something I enjoy doing, and maybe that’s part of the reason I lost interest in Instigate. But I definitely feel much more passion for Transparent Audio. I think it’s because of the people around me—the artists, the people in Bristol, and the online community. It’s a great space to be in. It’s important to remember to enjoy it while doing all the behind-the-scenes work. Keeping things exciting with new ideas and projects helps to maintain that spark.
What have you got coming up that we should look out for?
Leading on from the last question about new projects, creativity, and new ideas… This October we start celebrating five years of Transparent Audio, which is crazy to think about. It doesn’t feel like it’s been that long since I met everyone, and we always joke about how crazy it is that we’ve known each other for five years now. I’ve probably annoyed them for that long, asking for more music! But yeah, so we’ve got the five-year anniversary of TA coming up. We’re releasing a two-part series to celebrate. Part one will come out in October, and it’s going to be a various artist compilation LP featuring tracks from our core artists as well as new emerging talent on the label. It’s going to span different sounds and vibes—everything from deep techy minimal, Bristol rollers, to soulful liquid tracks. Then part two will come out in November, and it will be a remix project featuring tracks that have previously been released on the label. We’ve got artists like Zero T, Molecular, Rueben, Crystal Clear, and Circumference, just to name a few, who will be involved. So, that’s going to be our main focus for the rest of this year and probably into early 2026, alongside a couple of events in places like Groningen, Berlin, Bristol, as well as Graz in Austria. Things are coming together nicely on that front. Beyond that, we’re keeping an eye out for new artists who want to get involved.
We’ve got a few new artists working on tracks right now, and of course, we’ll have more music coming out in the next couple of years from both core and new artists. There are also plans for more collaborations with other labels in the near future, especially for events and joint projects. I work quite closely with Yamatai, and we have a new project, which I don’t want to speak about too much yet, but we’ve got something exciting going on behind the scenes that hopefully will come out in 2026. Also, as I mentioned before, Yamatai and I have Circular Sonics, which is our monthly live stream and social event. We’re planning to continue that into the new year, though we might scale it back alittle from monthly to bi-monthly to give more focus to local talent and help give back to the Bristol scene. On top of that, I’ve got a new label in the works, which should be out and launched by the time this article is published. I can talk about it now since it will be live. The label is called Carbon Cuts, and t’s something I’m starting with Yamatai and Fred, who previously went by the name Blind Carbon and had releases on Yamatai. This new label will focus on the Dubplate culture, specifically releasing short runs of 30 or 50 ten-inch white label vinyls. It’ll cater to artists known for their main genre, in this case, drum and bass, but also offer them a platform to release more experimental work in different genres, like dubstep, downtempo, or whatever else they’re feeling. It’s meant to be a space for them to express and experiment with different styles they might not necessarily want to release on other labels.
We’re thinking we’ll release around three to four records a year, so if anyone out there is making music in different tempos or genres, they should hit us up for that.
I I also want to extend a massive thank you to everyone who’s been involved with the label—whether you’re an artist, a music producer, a designer creating artwork, an event promoter, or someone handling mastering. I think most of you will know who you are, but again, thank you. A special shoutout to all the core artists who’ve been part of the journey—Jamie Tucker, for the endless work on the visuals and for keeping the Transparent theme alive. Also, a huge thank you to Haden White at Height Sonics for all his mastering over the years.
And of course, to all of you—the supporters, the fans, the DJs—everyone who’s been listening, streaming, downloading: a massive thank you. We wouldn’t be here without your support.
Big up to each and every one of you.
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