10 years in the game, more than 20 years in the making. And Zombie Cats are not planning to slow it down any time soon.
Their Undead: 10-Year Anniversary LP, released on 31 October 2025, stands testament to a decade-long sonic evolution. What’s more: additional remixes from neurofunk frontrunners, like Audio and Vici, further add to the versatility of the German-Australian drum and bass music duo is known for.
As this milestone marks the end of a chapter with plenty of releases, it also signals a conscious return to roots: a homage to the more classic take on neurofunk. Tech Dreams will become a separate alias, while Zombie Cats continues – giving them the creative freedom to address both visions thoroughly without compromise.
We caught up with Rouven Fehr, 50 percent of the duo – his brother in arms being Ross Dechamp – to discuss their journey, the new LP, and the vision for the future of both projects. So enjoy plenty of insights in the longread below.
10 years of Zombie Cats, time flies. Congratulations. Tell us about the conception of Zombie Cats.
Rouven: Yeah, 2014, 2015 was the start. It was on a train ride from Szczecin, Poland to Berlin. We had a crazy and unique night before in Szczecin. On the train, Ross and I decided to end our previous project called Rregula & Dementia and start with a fresh name, aiming for more professionalism.
We wanted a name that appealed to both boys and girls. We initially threw out cheesy ideas, but after maybe 50 suggestions, we came up with Zombie for the boys and Cats for the girls. We later found out it works great the other way around, too.
I understand the appeal, Teddy Killerz actually shared a similar approach. Some more background: was Ross living in Germany back then?
No, Ross moved to Germany around 2018 and lived there for two years, until 2020. Before that, he would visit Europe every summer for festivals and gigs, a tradition since 2006. He moved back to Australia right before COVID really started.
How did the friendship initially develop?
We met through a German drum and bass label called Shadybrain around 2003 or 2004. It was one of the first MP3-only labels; Phace and Misanthrop had early releases there. We both released music on Shadybrain and connected. He remixed one of my tracks, and I later remixed one of his. That remix I did was signed by DJ Trace for DSCI4, an techstep pioneer label. Our friendship intensified after our first international release on DSCI4 in 2006. That led to more tracks and our first international gigs, all under Rregula & Dementia.
So yeah, our friendship started around 2005.
So 20 years of friendship to celebrate as well.
Looking back at that initial vision for Zombie Cats: which was more traditional neurofunk, did you guys have a certain vision for the project beyond the name?
When we started, we wanted to continue the neurofunk sound we loved from the 2000s. I originally came from breakbeat, and drum and bass felt a little two-step focused until artists like Konflict, Bad Company, Rascal & Klone or Stakka & Skynet arrived around 2000, that sound was exactly what I wanted to do.
With Zombie Cats, we wanted to carry on that tradition around 2015. But our vision has evolved over the years. The new album, Undead, reflects that journey: tracks like “Surface” capture the 2015 vibe, “Air” has a more 2019-style melodic and playful feel, while “Tik Tok Tik Tok” and “Fade Out” represent the new neurobounce direction we’ll be exploring next year. Talking about 2026 we will do a clear style separation.
On the one hand Zombie Cats will do neurobounce, a neuro core infused with dancefloor energy and melodic influence, designed for that bounce. On the other hand we will do the classic neurofunk sound with our new alias Tech Dreams, which will be more futuristic and artistic, not focused on typical track structure.
This gives us a clean vision for Zombie Cats and Tech Dreams.
I see, in that regard: definitely a very productive couple of months ahead release-wise. Almost every month there’s something coming out…
That’s true. We’re working with artists we like and respect. We have our idea called “Legend Run,” which began before our Undead: 10-Year Anniversary LP and is still ongoing. The idea is that we reach out to legendary producers like Noisia and ask if they’d be up for us remixing one of their tracks. Our remix of “Thursday” by the way was released recently.
The “Legend Run” continues with remixes for Crissy Criss and Dieselboy. We also had the chance to remix Pendulum, thanks to Renegade Hardware, who gave us the opportunity to remix “Trail of Sevens”.
Congratulations on that. So perhaps a bit about identity and stage persona. You guys champion the iconic cat masks. How did the idea come about to wear those?
We had the idea to use masks for a long time since our logo was a cat skull. We first used a mask at Imagination Festival in the Czech Republic around 2017, handing out our logo to people. We were honored that people wore it, but we were not 100% sure about the look.
We had to play around more. Jade gave me the idea to use a ski mask underneath for a cleaner look. The final decision came when a friend sent us the current mask. It reminded me of Skeletor from He-Man, and Skeletor was always cool.
It looked serious, but not too serious, that’s what we wanted, to still have fun. A great side effect is that every photo or video now looks professional. We don’t have the problem anymore where the angle isn’t perfect, or your eyes are closed.
How does your previous album Mutation relate to the direction you have been taking in the recent years?
I’m still very happy with our first album Mutation because it’s the essence of what we wanted to achieve with Zombie Cats, the dark, driving neurofunk sound. Our third album aka Undead showcases a wider range of sounds and sets the future for Zombie Cats.
In between came our second album, Tech Dreams. The album represents the classic neurofunk sound and inspired the idea of continuing Tech Dreams as an artist name.
After 10 years, we set our next goals. We can continue the Mutation & Undead sound, but it will evolve into neurobounce, more dance-oriented, melodic, but still neurofunk-focused. Tech Dreams will be timeless drum & bass music.
Ross is the mind behind Tech Dreams. He’s breathing these dreamy, futuristic synth sounds. I will focus on the more dance-oriented neurobounce sound.
It makes sense, being able to express different styles under separate aliases. Too many people are stuck in a box. At some point, when your interests mature, it’s better to split it into a new project.
Exactly. During COVID, I produced hip-hop as Zombie Cats, collaborating with artists like Young Buck and The Game from G-Unit, as well as Eko Fresh from Germany. Zombie Cats has always experimented with different styles, but from now on we want listeners to know what to expect: pure Neurofunk with dancefloor energy. In 2026, we’ll be playing a massive Neurofunk vs. neurobounce set with Neonlight, which will perfectly showcase what we’re all about.
A question about living on two different continents: Ross is in Australia most of the time, right? How does working together across continents go? Is it like working around the clock, picking up where the other left off?
Yeah, basically. One of us starts the idea, we discuss it, and then they send it over. If Ross starts, he sends me the stems. I do all the arrangement and mixdown. Then we add any final sounds. We’ve known each other for so long that we really understand each other’s strengths. He’s amazing at coming up with ideas quickly, especially when it comes to futuristic drum and bass. I focus more on building the tracks — handling drums, arrangement, mixing, and whatever else is needed. It’s a process that often goes back and forth.
There aren’t any strict rules, but Ross is a powerhouse when it comes to creating melodies and vibes. We could probably be more disciplined, though; we’ve started over a hundred tracks and often get sidetracked by new ideas.
Maybe it’s better when you let it rest and breathe in such a back-and-forth process.
That distance is a big plus. If you listen to your idea the next day or better a week later, you know if it’s good. You need that time between production and finalization.
Are young people generally too eager to quickly make a banger?
I would say the best results come if you let the track or idea rest, if you don’t rush it. I’ve often thought a track was done, but when I leave it for a couple of weeks, then listen again, or play it out, you get distance and can judge it much better.
That first time you open a project again and listen again is the most important, because that’s when you can judge it like someone else would.
Interesting point. About releasing music though: when you make a track, do you decide upfront that this one’s for that label, or do you just trust the process and see where it fits later?
Basically, after maybe 50 percent of a track, we already know which label should check it out first. We send it to those labels and see if they like it. We usually know which labels fit our sound. So once the first version is finished, we send it to the label.
Is it more natural than more or less forcing it to sound a certain way for a specific label?
Yeah, 100 percent. But it’s different nowadays, you can self-release a lot, which gives artists more freedom since they don’t have to work toward a certain label sound. That’s great, but there’s too much material out there now.
We’d like to work more closely with the labels Zombie Cats grew up with, like Eatbrain. Classic labels like Dispatch are now for the Tech Dreams idea. For Zombie Cats, there are a couple of labels we like to work with, for instance Neuroheadz, Blackout, or Hanzom Music.
What is the number one lesson from the last decade that really transformed your approach as a producer or artist in general?
The most important thing is to find your own sound, but also to stick to it. Changing too much confuses the listener. We are so open-minded to every style of drum and bass, which is an advantage but also a small problem.
I’d say nowadays it makes sense to decide your journey, but always keep an eye open for something fresh. Just don’t confuse the listener too much. If you want to do something new, start a new project.
For Zombie Cats, we started mainly with neurofunk, and that’s still what people expect. I don’t want to confuse people anymore, that’s the main lesson.
Yeah, that makes sense. People go out to parties expecting a certain feeling, and when you capture that once, it’s tricky to provide the same thing again if you completely change direction.
Exactly. I wouldn’t tell new producers to stick to one style, but if you’re open-minded, show your range from the start, not later. If you’ve already built your identity around a specific sound like we did with neurofunk, it makes more sense to launch a side project. That’s easier than ever now thanks to self-releasing. But if you begin your journey as a multi-style producer, that’s the best approach.
And yes, having the fundamentals right comes down to repetition, too. Before you try something new, get good at what you’re doing now and work from there. Otherwise, you don’t have a base to build from.
Exactly, 100 percent. You have to do the fundamentals right, and then you can slowly change your style or better start a new project.
The market is so saturated now, and listeners don’t always follow your journey continuously. I saw that with Zombie Cats. People who stopped listening to us after 2016 and came back in 2021 were surprised when we released “Make Me Move” on Liquicity. During those five years, we experimented a lot and evolved our sound. Naturally, some people wondered: “Why are Zombie Cats doing this?” – they just didn’t see the full picture. So, in my opinion, you have to be a bit more mindful. That’s the advice I’d give to any new producer.
How do you deal with creative blocks or even burnouts? After years of releasing, do you have a certain way to approach that?
I’m lucky that I never really had writer’s block, because Zombie Cats isn’t just one person. If I struggle with an idea, Ross has one, and vice versa. That’s a big advantage of being a team. I also feed myself with influences outside of drum and bass, like my background in breakbeat, jungle, hip-hop, and even dance pop music I made around 2010.
Makes sense, yet people can overexert themselves creatively. Is that ever a problem for you, or do you just love what you do so much?
I’m glad I never had that problem. Even though I have less time in the studio these days, I enjoy every second of it. Back in the day, I always had something outside of drum and bass—I studied sports, German, and politics, and now I work as a teacher. That balance keeps me from burning out; I can focus on something completely different and return to music with a fresh mind. And it works the other way around, too.
After so many years, how has your idea of success changed since you started?
Back then, my biggest goal was for other producers to love my tracks, that was the biggest checkmark. Nowadays, I still want that respect, but it’s also great to get positive feedback directly from listeners.
When someone at a party says, “I grew up with your music, it gave me so much energy through a hard time,” that’s the biggest compliment.
I felt the same way as a teenager, listening to local-hero DJs or big acts like The Prodigy. So when people say similar things about Zombie Cats—especially in places like the Czech Republic — that’s what success means to me.
It really comes full circle like that.
In the end, my personal wish is to create music that connects. We all make dancefloor music, but sometimes a track just clicks with the audience in a way that they keep it in their heart. That’s emotional, but it’s worth more than a well-paid gig.
All about the love.
With the upcoming album and all the collaborations and remixes, how do you go about providing feedback or curating these tracks? Is it back and forth with those artists, or do you just give them full trust?
We trust them, of course, everyone was picked for a reason. For instance, Audio was already in the game when I started with Neurofunk.
Audio is a true legend, and we’re honored to work with him. Right now, we’re remixing one of his tracks called “Glasshouse.” Let’s see if he likes our interpretation, it’s still in progress. Audio has been a huge influence on the neurobounce sound: powerful and dance-oriented. The main difference is that we add more melodic elements in the intros.
PRDK, from the Czech Republic, represents the new generation, straightforward, pure modern-neurofunk. We want to stay connected with the new generation because we’re kind of in the middle, the mid-child.
Speaking of the new generation, VICI is also part of the LP. When I listen to his tracks, he’s got this distinctive stab sound that reminds me of early Mefjus productions. Mefjus is a good friend of mine, we’ve known each other for about 12 or 13 years and often chat about the scene. Maybe that’s why I connect with those stab sounds so much.
Feed the Fire is Philipp from Hamburg, Germany. He’s known for his melodic, dancefloor-driven approach and catchy hooks, which Ross really likes. I met Philipp at a pop-up rave. His catchy hook sounds are in the direction of our track, “Make Me Move” so it was a clear click. He’s also a great guy, and we’re happy he remixed us.
And there’s Joe Ford, he’s from the same generation as us, constantly delivering high-quality tracks. Besides the remix on Undead LP we’re releasing a single with him called “Torn Apart” on Evolution Chamber. It’s a fusion of our classic styles, a golden 2016 neurofunk track, you could say.
And the last one is Nemean. He’s a friend of Ross from the Australian New Zealand crew. Our connection started through the “Legend Run” project. We first remixed a track I did with The Game, “Put Your Mask On.” After that, we asked TC to rework “Tap Ho”, and he liked the idea. That’s basically how Nemean became part of the concept; asking legends to revisit their classic tracks for potential remixes.
Then came the opportunity to remix Pendulum, he’s part of that remix, as well as the Crissy Criss and Dieselboy remixes. So, he’s basically part of the “Legend Run”, with some exceptions like the Noisia remix we did on our own.
I see you also being technically the bridge here between those older and the younger generations. Talking about leaving a legacy.
We really wanted to be the bridge between the legends and the new generation, because that’s what we are right now. I like the fact that I can be a bridge, just like I am when I teach students.
It’s all about tradition in the end. Especially in this day and age, I think you should not underestimate the importance of such bridges.
Yeah, very true. The album also features NATT, who’s part of the new generation and highly active on social media as a drum and bass influencer and a dope DJ. The older you get, the more you have to stay open-minded about what the new generation is doing—because they’ll always approach things differently. Maybe that’s also why I stay open to new ideas; I teach young people at school, and that definitely helps keep me young.
What does it take these days to make it as an upcoming artist?
The scene itself changed drastically from the time when I started. Nowadays it’s all about consistency, especially with the social media thing.
This is something I have to put more focus on, because NATT is doing it very well, putting out so much social media content keeps her in people’s minds. Back in the days, just the music did the talking. But nowadays, the formula changed because so much music content is out there.
You have to be consistent on so many levels now, which makes it even harder to be successful. You have to be top-notch on social media, top-notch in production, and keep yourself motivated. That’s what younger producers have to do, keep stepping up their social media game, but always connected to the music.
Obviously you still have to network, get out there, and talk with people as well.
You’re absolutely right, people need to get out and connect with other producers and DJs at parties. Unfortunately, that’s becoming harder these days as more clubs are closing. I think we’ll see more pop-up events instead, less of the classic club nights and more spontaneous parties, maybe even something like a rave in a supermarket planned just a few days in advance. I remember the older generation talking about raves in creative spaces — maybe that spirit will make a comeback.
The mindset from being so long in the game, like the longevity. What would your advice be on maintaining that?
I think what’s super important is to have a close group of real friends in the scene. If you feel down, you can talk to those people and they give you motivation, or you give them motivation.
I think we wouldn’t be so long in the game if we didn’t have a group of real friends in the drum and bass scene, basically five people.One of those friends is Redemptive. Otherwise, you can easily get lost, because there are so many opinions, paths, and ups and downs — it’s easy to lose yourself in the process.
Are there any more points for 2026? Like performance-wise, any plans to expand on the already great performances?
Yeah, in 2026, we’ll release tracks with people we’ve known for a long time but never collaborated with, like Neonlight. We’ll also continue the “Legend Run”, so you can expect some official yet surprising remixes.
Of course, our live performance is something I also want to step up. We are developing new visuals now, influenced by a chat I had with ESKEi83. I never focused on visuals before, but now I think there’s enough space to step up the game with fitting visuals and mask design.
I also want to bring a bit more fun into my sets. ESKEi83 reminded me of my hip-hop influences and DJ roots. It will just add a little bit of a playful vibe. And if you’re listening to this neurobounce style, it makes sense to scratch sometimes because it has the space to do it.
People should, when they see Zombie Cats on the flyer, expect a fun, neurobounce-driven, performance. Nice visuals, slick stage look. I’m really, super excited because it feels like a brand new & fresh start. 2026: We are ready!
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