Already with a bulky catalogue and razor-sharp sound, En:vy is set for a standout year in 2026.
Emerging via releases on Flexout Audio and Trust Audio at the turn of the decade, the Viennese producer came in hot, and hasn’t stopped since. From the outset he’s carried a dynamic range of styles – whether it’s dark and soaked in reese bass, or full of bright textures and vocals to charge up emotion.
With releases across drum & bass’ most respected labels like Shogun, Must Make, Overview, and Gemini Gemini to name a few – he’s always had a solid home on Kasra’s Critical Music roster. The label suits him well – allowing for that yin-yang flexibility to shine, with tracks like ‘You’ giving vibrancy and energy, to ‘Sinister Life’ pulling you to the depths.
Recent experimentation on Critical Music has scratched a big itch for En:vy, as it has for his listeners. ‘Damaio’ sits at the top of his Beatport chart and Spotify streams as of today – and it’s a 140bpm wobbler.
Leaning further into this, he’s been filling his DJ sets with more music of this flavour, including a now infamous back-to-back with his former Bristol housemate Azifm. Inspired by others’ sets that week at Outlook, En:vy decided on a whim to drop a work-in-progress titled ‘Medieval’. It worked so well, he’s kicking off his brand new label, Dial 1, with the track.
Now leaning further into dubstep and adjacent styles, En:vy is energised, and carrying serious momentum. We sat down with the young producer to hear more about this direction and discuss a big 2026 to come…
You’ve got a lot of music landing across this year. How are you feeling about your career at the moment?
It’s probably the best it’s ever been to be honest. I’ve been making music since around 2016, so basically ten years now, and it feels like things are really clicking.
I’m just trying to make the most of the moment. Attention spans are so short now – everything moves quickly – so when things are working, you have to capitalise on it. Timing plays a big role in all of this, and right now it feels like things are lining up.
Creatively, are you feeling quite fresh at the moment?
Yeah, especially with the 130–140 BPM stuff. That’s where everything feels natural right now.
I’ve been making drum & bass for years, and I’ve really tried to push that – released on loads of labels, put a lot into it – but at the moment I’m just really feeling this lower tempo, bass-heavy sound. It’s just flowing a lot more easily.
I think it’s natural though. If you do one thing for long enough, you start to feel boxed in. And there are some artists in drum & bass who are incredible at what they do – Skeptical, Simula, Skantia, Waeys, Molecular… guys like that. It can be a little challenging to find a lane in that world. With the 140 stuff, it just feels like I’ve found something that fits me better right now.
I feel like there’s bit of a shift at the moment – more artists moving between genres again. Is that how you see it for yourself?
Yeah, definitely. I don’t want to be put in a box. I really look up to DJs like Ben UFO or Lou Nour – people who can play across styles and still have a clear identity. You go to their sets and you know it’s going to be sick, but you don’t know exactly what you’re going to get.
That’s what I want to be. Someone who can move between sounds – dubstep, garage, drum & bass, 4×4 – and still have it feel cohesive.
I’m definitely not abandoning drum & bass completely, but I do want to step away from it a bit. I want to get to the point where I actually miss making it again, rather than forcing it. That’s when the best ideas come.
Your Alert VIP recently dropped on Critical. It feels like it taps into that older, almost Caspa & Rusko type of sound – was that intentional?
Yeah for sure. When I was at Outlook last year, seeing Rareman & Truant, they were playing a set of this type of sound – and I was like yeah, this is it, this is sick.
But this is actually the kind of dubstep I missed out on when I was growing up. I got into dubstep really young, but by that point it was the Skrillex era – so I missed those earlier days of Caspa & Rusko, and that more raw, stripped-back sound. But I feel like that’s coming back around now, or at least being reinterpreted.
I don’t actually listen to loads of modern electronic music, because I don’t want to subconsciously copy things. But when I hear sets – like at Outlook, for example – and I hear that sound played properly, it’s super inspirational.
The Critical roster has always been known to dabble outside of drum & bass. Has that been empowering for you in this newer sound you’re developing?
For sure. I’ve been releasing on Critical Music for about five years now, and they’ve always been super supportive.
Kasra has always given me a lot of freedom to do what I want. Like with ‘Alert’, I could’ve released this on another label – a more dubstep specific label – but there’s a loyalty I have with Critical. When someone invests in you and backs you early on, it feels right to give back to that.
It actually feels like family on that label. Every time we link up at events, it’s just good energy, they’re asking me how I am and checking in. They’ve also helped me a lot behind the scenes with what I’m building now – which is the launch of my own label. So yeah, it’s a really important connection for me.
What’s the thinking behind launching your own label?
At the start, it’s mainly going to be for my own releases. I just wanted a platform where I can put music out exactly how I want to, without overthinking where it fits.
But longer term, I’d love to build it into something bigger – bring other artists through, create a proper identity around it. That’s why I didn’t name it directly after myself – like ‘En:vy beats’ or something. I want it to grow beyond just me, so I landed on Dial 1 Music.
I’m doing everything pretty much myself at the moment, so it’s early days, but the goal is to build something that feels like a movement – something people connect with beyond just the music.
Also a big shout out to Amy Jayne from LabelWorx who’s been helping me out too – and Badger from Critical who’s given me a lot of advice and help too.
Nice. Tell me about the first release then…
Yeah, it’s called ‘Medieval’ – and it just came out at the end of March.
It got loads of attention after I played it at an Outlook boat party, back-to-back with Azifm. I posted a clip online and f**king Shaquille O’Neal commented.
And it came from a really spontaneous moment actually – I almost didn’t play it because I thought it might be a bit too ‘brosteppy’ for the set. But I’d just heard that Rareman & Truant set the night before and it inspired me to think, alright, let’s try it.
And it went absolutely off. Which really surprised me. After that, people kept asking for it, so it just made sense to make it the first release on the label.
How do you intend for your sets to go as you introduce more dubstep and 140 to your catalogue? A 120-174 type of journey?
I would love to do more strictly 140 sets – dubstep, UKG, and all the stuff in that range. I’ve got a booking in May in Vienna where I’ll get to do that. And then I’m doing an Asia tour this year – which is insane – and I think they really enjoy this sound over there.
So yeah I’m trying to switch it over a bit. If you see me playing out you’ll notice when I’m playing this type of music I’m really enjoying it – and I think that’s a good experience for the crowd as well to see the DJ loving it.
If I’m booked for a drum & bass event – it’s about reading the crowd and seeing what feels right. But I like to sometimes push the boundaries in these shows as well, and generally crowds are up for it.
You’ve got a Gemini Gemini EP coming up too – which is very suited to what we’ve been discussing. What are you showing on that release?
It’s basically about showing both sides of what I’m doing right now. There’ll be two 140 and two drum & bass.
I’ve then got a bit of a future garage tune coming soon on Deadbeats. And then I’ll be putting out quite a bit of new music on my own label – because at the moment the hype is there and you need to make the most of it. Oh – and a collab with Jaz Imsky is on the way, and some more remixes as well. Busy times.
Are you feeling a bit of pressure right now to hold momentum?
Yeah, but it’s good pressure.
If people are expecting something from you, that’s a privileged position to be in. It means they’re paying attention and they’re enjoying it. So for me it’s just about staying focused and making the most of this period.
Kasra told me at the end of last year, at a party in Vienna, that I need to use this year (2026) as much as I can. Lock in, and get the most out of it. So that’s what I’m doing.
I’m also working on getting a US visa sorted, because there’s a lot of interest there. It’s a big step, but it feels like the right time to push things further.
The US would be all over this sound. Looking ahead, what are you most excited for people to hear?
Definitely the new label stuff.
There’s a lot more coming, and I think it’s going to show a fuller picture of where I’m heading musically. Right now it’s just about building that and keeping the momentum going.
