It has been ten years since Austrian drum and bass maestro Mefjus released his seminal debut album Emulation on Kasra’s Critical Music, a game-changing record that not only redefined the genre’s sonic landscape but also set a major benchmark for innovation and production.
Two key aspects cannot be overstated. First, this album fundamentally altered the trajectory of drum and bass for years to come. Second, it was Critical Music that provided the platform for such freedom in bold artistic expression.
Emulation, featuring a balance of Mefjus’ solo and collaborative work, melded the frantic intensity of neurofunk with intricate rhythms and experimental textures, challenging—and ultimately obliterating—existing boundaries, transforming neurofunk in the process. Together, Mefjus and Critical Music formed a dynamic partnership that produced a release that was bold, unapologetic, and ahead of its time. This creative synergy earned Emulation the title of ‘Best Album’ at the 2015 Drum&BassArena Awards.
Emulation solidified Mefjus’ place as one of the most innovative figures in drum and bass. Following its release, he continued to build on the album’s momentum with standout tracks like his electrifying remix of Ivy Lab’s ‘Sunday Crunk’, the ferocious ‘Reptilians’ with Noisia and Hybris, and the foot-stomper ‘Pulsation’ alongside InsideInfo to name a few.
However, the journey leading up to Emulation was equally significant in shaping Mefjus as an artist and laying the foundation for the album. His releases on T3K, Virus Recordings, and Neodigital hinted at the creative style that would soon come to define his work, something Mefjus himself attests to.
“It’s funny you point that out because everything before 2012, I don’t really have it on my professional radar anymore because back then, I didn’t really plan to go full time with music. But, looking back, yes, when I wrote stuff like ‘Far Too Close’ on Neodigital, it definitely changed my mindset and sort of led to Emulation, with the track being the first record of the album.”
“I think I quit my job and started making music full-time in 2013. That’s when I started writing the album. So, it was very much hand in hand, like the life decision and transitioning musically as well.”
Making it through a full-length album is no easy feat, let alone one of this magnitude. Yet, when Mefjus started working on the project, he had no predefined expectations of how he wanted the album to sound. The creativity just flowed, and from that organic process came the album’s formation which was driven purely by artistic freedom- free of any style or tempo boundaries.
“Back then I had no expectations about what my album could sound like, so I didn’t really put any expectations on the project. I was speaking to Kasra before for a while, I remixed stuff for Critical, did a single and then an EP. The next thing he says is, “Want to do an album?” Yes, of course!.”
When reflecting on the feeling of finishing Emulation, Mefjus spoke about the importance of staying true to what feels right creatively, rather than focusing on accolades or recognition during the writing process, and allowing his ideas to guide him without restriction.
“The album resonated with so many people, it was recognised, it won an award, and stuff like that, but that was never the end goal. When I finished writing the album, I didn’t feel like a huge weight had been lifted off my shoulders. I simply told myself, “Okay, this is over. What’s next?” I assume this applies to every person writing their debut album. You just do what you feel is right, and that’s it.”
Another key aspect of the conversation was how the approach to crafting an album has changed dramatically in response to the changing dynamics of drum and bass music. Mefjus emphasised that even with these changes, it is important to stay dedicated to one’s vision and creative instincts.
“If I would have to write my third album now, I would already be thinking “Oh God, there’s so many things I should do and so many that I shouldn’t.” Back then you didn’t think of these things. You just made music without any pressure and that’s it. It may sound weird, but it’s kind of like the more you know, the worse it gets.”
Before drum and bass became the defining force in Mefjus’ musical journey, hip-hop was the genre that captured his attention and shaped his early sound. However, as he delved into the realm of D&B, Mefjus intended to establish a unique space where the meticulousness of hip-hop production integrates with the relentless energy of drum and bass.
That’s when he found a perfect home with Critical Music; a label that not only embraced innovation but also fostered an environment where artists were motivated to challenge conventions and explore their creativity without restraint. Critical allowed Mefjus the creative freedom to merge his past and present, supporting his artistic vision as he created tracks that were rich with hip-hop influences while simultaneously pushing the limits of what drum and bass could be.
“I was afraid that there wouldn’t be any space for my hip-hop roots within drum and bass. But that was something that Critical took off my shoulders because they were so multi-genre and still are. They basically they told me, “Dude, it’s your playground. If you want to put like an 80 bpm thing on there, be our guest” which was really cool from them.”
That goes also hand in hand with the relationship with Maksim MC, who featured on the lead song Emulation. We still work together to this day and put out singles together and even have our own hip-hop side project. Critical really empowered me with that, and I’m super happy with the songs that made it on the record, some weren’t exactly drum bass.”
One quick glance at the tracklist of Emulation and it becomes immediately clear- these tunes aren’t just sound for the sake of sound, they are born from something deeper. They come from a place rich with life experiences and personal stories where moments of triumph, struggle, introspection, and growth are carefully woven into each offering on the album, and Mefjus fully resonates with it.
“We can talk about this in-depth, but it was so different from writing this album back then compared to writing music now. Back then, it was a different mindset all along. Not even me, but the whole scene, I think. I just remember not thinking about the bigger picture of the music industry or how an album should sound or which songs do I need to playlist? Because it wasn’t a thing back then. I literally sat down and thought “Okay, today I’m going write a song for the album.” Then I would work on the song until it got to a certain stage and then the next one. Literally just track by track, working how I felt in that moment.
The track names, of course, come from experiences or just things that were still in my head. Like the whole theme of Emulation was a transitioning phase from coming from a full time job into creative work full time. But also my job back then was programming. So programming also has some sort of involvement in Emulation. You can still hear a mix of personalities in the album I guess.”
Writing your first album is often one of the most challenging milestones in an artist’s career. It’s a creative undertaking that comes with immense pressure, not just to produce something cohesive and impactful, but to lay down a sonic foundation that could define your musical identity for years to come.
The discussion around Emulation highlights not merely a compilation of tracks, but a daring redefinition of the genre that defied norms and brought forth innovative textures, all executed with a level of technical precision that captivated the scene.
Looking back, the lessons learned, the creative risks taken, and the boundaries pushed likely provide Mefjus with a profound sense of accomplishment. Yet, as with any artist, hindsight also brings a critical eye, and he reflected on how he views the project with a more nuanced perspective today.
“Now with the 10 year anniversary of the album coming up, I listened to the whole thing again in the car and I haven’t listened to the full album in forever, and I remember my first thoughts were, wow, this is very aggressive and very angry.
Back then and even now, one of my primary responsibilities as a producer has always been to strive for the highest quality of sound. And I always looked up to people like Noisia in terms of how forward-thinking they always have been. When I first heard Noisia’s music from 2005/06, my initial thought was, “How does their sound stand out so much?” This always served as my inspiration to create a unique, powerful, and energetic sound. With Emulation, my goal was to make each song sonically as good as possible. I also strive to write with the utmost quality and authenticity.
No half-baked efforts. Every song has to be 100%. I wouldn’t like making music if I just took Splice samples and presets and stuff like that because that takes out the most fun thing about making music. So for me the most fun thing about making music is being in the studio with a blank page and figuring things out, trying new techniques, talking to friends about new plugins, you know, what have you heard? Try this, try that, and see what sticks.”
Then came a particularly inspiring moment in the conversation when Mefjus spoke about his relentless drive to keep learning. From experimenting with innovative synths to uncovering distinctive sound design techniques, or even discovering fresh inspiration in the most unexpected places, he remains dedicated to ensuring his music stays dynamic and continually evolves.
“I’m 36, I’ve been making music for 20 years, and I’m still learning. That’s the most fun thing for me about making music. I wouldn’t able to make tunes with splice. I mean, I would, but it would take all the fun out of it. When I make music, I just want to find new things that drive me to make music, and that was a big driving force behind emulation as well. Trying to get better at music production.”
Emulation has now reached its 10 year milestone, and to celebrate this momentous occasion and honour an album that redefined drum and bass with its groundbreaking production and forward-thinking approach, Mefjus and Critical Music are giving it a fresh new life.
A curated selection of tracks from the album are being reinterpreted by prominent figures in the drum and bass scene, with the man himself remixing a ‘Emulation’. Calyx and Enei, both celebrated for their groundbreaking soundscapes and impactful production techniques, have taken the initiative to present their distinctive takes on Mefjus’ creations. Joining them are two of Critical Music’s brightest rising stars, SMG and VISLA, who embody the label’s forward-thinking spirit. They present their daring and modern interpretations of Mefjus’ classic tracks, seamlessly integrating the legacy of the past with the promise of the future.
“I think the remixes that we picked, that we had the honour to work with, they embody what I’m all about, but also what Critical is all about. It is amazing that there is another generation of producers who do what we did back then, just have fun with it and just don’t give a damn. SMG and VISLA, I love their sound, and I’m really happy they’re part of the project.
Then we got Enei, who has been a friend and a colleague since I started making music. So, we have known each other for 14 years now. We’ve toured together, travelled the world together, we’ve made songs together. I featured on his album, and he’s just such a lovely dude, and he has remixed ‘Suicide Baseline.’ The remix is insane, and I’m just so happy he’s on board because to me Enei is like Kasra. He’s part of the family!
Speaking of Calyx, who for me personally is one of the artists I look up to. He’s such an idol to me. His debut album on Moving Shadow, ‘No Turning Back’, in 2005; I can remember, that was one of my most influential records I’ve heard. So having him on board remixing one of my tunes, it’s just amazing. He was killing himself over this remix, and he asked me if I liked the remix, I was like, dude, I’m already stoked you’re on board, and he also smashed his remix.”
Mefjus has also stepped into the role of label owner, a move that reflects his broader vision for the genre and his desire to nurture the next wave of talent. His label, Modus Music, has quickly built a reputation for releasing music that embodies both his and Camo & Krooked’s boundary-pushing ethos. We were curious about the driving force behind the creation of Modus Music. What inspired him to start his own label, and what vision does he and Camo & Krooked have for its future?
“Well, it was after Camo & Krooked and I put out ‘No Tomorrow’ and ‘Sientelo’. That was a time when we wrote a lot of music together because it was COVID where there was no touring. But in terms of, what we created in that period, it was insane. Every day I just drove to the studio, hung out on Skype, and it was the only social interaction. Even when we’re not in the studio, we call each other, and ask “have you seen this film? Or have you seen this artwork or this book or whatever?”
Anyway, we always hired the same graphic designer, a friend of ours who did the artworks for tracks like ‘No Tomorrow’ and ‘Sientelo’, so everything came from our end anyways. The vision, the music, the artwork, the storyline. And I felt like, so we’re giving away 50% of our share just for a label to push the upload button basically.
So, we said to each other, you know what, we can do it ourselves as well, this is the last missing step. I’ve been playing with the idea of starting my own label since Manifest, but I looked into it and very quickly decided for me as a one-man army, I can’t pull this off. It’s like starting a new company from scratch. You need the whole finance side of it, the whole accounting side of it, then the whole distribution side of it.
Then it became more concrete and we started to see the benefits of what we could do with it, because other than bringing artists under our wings, the label could also be for our solo career, the next right step to manifest ourselves into the scene by having our own look, our own sound, our own label. That merger was transformed into MODUS, and that is kind of our sound; very sleek, very clean, minimal. We just all like that. And it feels nice to have that as your home playground.”
A lot has happened for Mefjus in the decade since Emulation. His life’s work has been revolutionary, marked by watershed moments in his career and an unquenchable thirst for more of the same. His capacity to continually innovate while captivating has been on full display throughout his career, as evidenced by the abundance of groundbreaking songs he has released.
Whether it’s through his high-profile collaborations with esteemed figures in the business or the release of Manifest, another groundbreaking album that solidified his position as a forward-thinking producer, Mefjus has consistently demonstrated that he’s a drum and bass visionary. Naturally, we were eager to hear Mefjus’ reflections on the past ten years. How does he view this incredible journey, and what lessons has he taken away from it?
“Sometimes I wish I could go back 15 years and have a conversation with my younger self—it’s interesting to think about how much has changed, both in my personal life and in the music world. The industry itself has gone through massive shifts, especially with things like COVID, which changed everything.
For me, it’s all about progression. As we get older, our perspective shifts, and I’ve noticed how trends in music and culture tend to recycle. My tastes and the kind of music I want to make change over time too. Lately, I’ve felt drawn back to darker, more technical sounds, which I hadn’t focused on for a while. After years of doing that, I explored more melodic, musical styles to keep things fresh and learn new aspects of production. But now, maybe because of the Emulation anniversary, I’m revisiting that heavier, technical side—it just resonates with me again.
I think it’s important to keep things exciting, both for myself and for my listeners. One thing I always admired about Noisia was that you never knew what to expect from them, and that’s something I aim for too. I don’t want to be predictable, I want people to be curious about what’s next. That unpredictability keeps the creative process alive and engaging.”
We simply couldn’t have closed our conversation without addressing if there’s a third album on the way. He acknowledged that the thought of another album is always there in some form, lingering at the edges of his creative process, but he also mentioned how the entire landscape of making an album has changed in the last ten years; and how he would approach it if he were to make one now.
“If I were to do another album, it would mean spending at least three years focusing solely on those tracks, with minimal output during that time. Then, once it’s released, say in 2027, after a week, people might move on—it’s a tactical decision not to go that route. Instead, I treat singles like album tracks, releasing them as soon as they’re ready rather than letting them sit on a hard drive for years. In a way, the singles I’ve put out over the past couple of years could be seen as an album, just released differently.
I do see the value in albums, though, and while I’m not sure if I’ll ever make a third one, the idea has been creeping into my mind lately. That said, I keep reminding myself of the drawbacks: holding back music for years, only to have it quickly forgotten after release. It’s a lot of effort for such a fleeting impact.”Whether through game-changing albums, groundbreaking singles, or his role as a label head, Mefjus is an artist who thrives on evolution and innovation. His reflections on the past decade, combined with a careful consideration of what lies ahead, showcase a producer who harmonises creativity with deep contemplation. The future of a third album may be in question, but one fact stands out Mefjus’ journey is continuing, and whatever lies ahead is sure to influence the genre in bold and unexpected ways.
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