With a career spanning over two decades, Hazard has consistently pushed the boundaries of the genre, delivering tracks that resonate deeply within the drum and bass community. His latest project, “Hazard’s Hospital EP,” marks his first release with the iconic Hospital Records, a collaboration that brings together his signature gritty jump up style with the label’s renowned melodic touch. The ‘exactly what it says on the tin’ titled EP came out last July to critical acclaim, having bridged the gap between the label’s liquid sound and Hazard’s classic jump up style perfectly.
Born and raised in Birmingham, DJ Hazard, whose real name is Scott Molloy, began his musical journey in the late 1990s, a time when drum and bass was still finding its feet in the UK. Inspired by the raw sounds of the genre’s pioneers, Hazard quickly developed his signature style—a blend of hard-hitting basslines, intricate drum patterns, and an unmistakable grit that has become synonymous with his name.
A few weeks abc we sat down for this exclusive Q&A with DJ Hazard. He breaks down his process of making of the EP, the decision to work with Hospital Records, and his views on the current state of electronic music production and the world of drum and bass. From the challenges of fine-tuning his production process to the importance of authenticity in a landscape filled with sample packs and ghost producers, Hazard offers candid insights into his creative journey and the principles that guide his work.
Whether you’re a long-time fan or new to his music, this conversation offers a rare glimpse into the mind of an artist who continues to shape the future of drum and bass while staying true to his roots.
So tell us, what is Hazard’s Hospital EP? How did the name come about; I wonder?
Basically, it just came about as a place holder when I was sending it over to them to listen to. It’s the first Hospital Records EP I’ve done so that’s just what it was. Exactly what it says in the tin.
When they asked me what the name of the EP was I just said Hazard’s Hospital EP. At first, they said yes, then they said no, then yes. I’m glad they went with it, It was just too funny.
Why did you decide to work with Hospital Records for this release?
I’m a big fan of them. Hospital has already given me bookings in the past for their Hospitality events. I wanted to work a new label and who better than the people who have supported me in the past?
Would you say Hospital generally have a younger audience going to their parties than the ones you’d usually play?
The DJs on the night generally play liquid or vocally stuff, and I play more up-tempo, harder-sounding tunes. When I get booked for their nights, they put me on near the end so that there’s more of a contrast. The crowd is a mix of ages and much of the night they’ve been vibing with the liquid. All the DJs before me keep that vibe going, so when I’m finally on, it’s all been set up for me sonically. It always goes down well. It’s always appreciated. It’s an easy night for me, if I’m honest.
Hazard’s Hospital EP has your signature sound throughout it, but there are more melodic than your previous well-known releases. Did you make this EP specifically to cater to the sound of Hospital Records?
These tunes weren’t made specifically for Hospital Records actually. Initially, I sent them over a couple of tracks that I thought would be more their thing. Two nice tunes. They were more vibey, and melodic. They came back to me saying basically ‘Yeah, they’re nice and all, but we’d really love some DJ Hazard-sounding stuff’.
I told them to leave it with me. I bought this house I’m in now about 9 or 10 years ago, and have had so many problems with it so every tune was coming out sounding rubbish. Normally I take months to make a tune, but because I had just treated the studio and was finally used to it, I was putting out tunes in a few days. I told them to leave it to me and by Christmas I had sent them 12 Hazard tunes and they picked four.
It’s funny, out of all the demos I’d sent them, they put the four tracks of the EP together and I never would have thought that those four tracks would work well. At first, I was a bit resistant, but then after a few listens, I thought, ‘Hang on, these complement each other quite well’.
It just shows you though, those guys at Hospital know what they are doing. It made me realise that they are some of the best to work with. They’ve got more knowledge when It comes to these things. It’s crazy, they’re amazing. They’ve got about 30 people working on this release. In terms of promotion, they’ve done such a sick job.
Can you breakdown the EP for us?
The first track, Behind The Mask is classic jump up and more along the lines of the Hazard sounding stuff that Hospital wanted. It’s got a swing and the bass is always moving. Drill Bit is more new sounding. It’s still got the swinging, but it’s 4 to the floor and a lot harder hitting. That one always goes off when I drop it. Cloud Drift is on the lighter side of things. It’s a real roller. It’s got some vocal chops in it and opens with lots of pads and atmosphere. Break The Silence is some hard-hitting drum and bass in your face. It’s got that screetchy jump up sounds that’s fresh sounding.
What’s your favourite track off Hazard’s Hospital EP?
Honestly it depends on how I’m feeling in the moment, but I have to say Cloud Drift. That’s the bigger tune. It’s got the longevity, in my opinion. It’s melodic and floaty. I was happy with the end result.
What’s your production process likes?
I always try to make everything from scratch. I don’t use samples at all really. I think Cloud Drift uses a sample break and that’s about it. I’d usually make them on drum programmes like Superior Drummer or Addictive Drums. That’s why there’s a lot of swing in my drums because I can programme it how I want.
Then once I’ve them programmed, I bounce out the stems of the drums so they’re all on separate channels. Then I process them all individually through the desk. I get everything on the desk then put it back into the DAW. I find computer and software fix problems you create when you use hardware and vice versa. We’d all love a perfect set of ears but unfortunately, we haven’t got that. Even if it’s going through the desk and you’re vibing, it might not work sonically in the mix. With software, you can fine-tune everything, cut out any mistakes. We’re not as good engineers as we’d like to be so I don’t mind using software to clean things up a bit.
There’s definitely two sides of producing music. The creative and the technical. Would you say you’d fall under the second category? How long have you been engineering for?
Personally, I wouldn’t call myself an engineer. I’m still winging it. I probably know more than most people in the business. And I’m not just an arranger. There are some acts out there that are basically just sample arrangers. They just make the same tune over and over again. Sure, they’re successful, but they’re not improving. In my opinion, you should make a new tune and make new mistakes repeatedly so you can keep learning. That’s what impresses me and those are the people I respect in the industry.
It sounds like your music-making process is long and arduous. Do you feel any competitive pressure to just grab a few sample packs together and start releasing more consistently? It seems to me that that kind of release strategy is being rewarded.
No, and I think that’s exactly what the problem is with a lot of the tracks coming out these days. I don’t think there’s competition at the moment. They might look like they are, they might get paid to be one, but they’re not. At the end of the day, if they come into a studio, they’re going to be confused and use the desk as a laptop stand. If you just lump a few samples together than you’re not a producer, you’re an arranger.
There’s only a handful of producers out there that I really respect. Guys like Break, Noisia, Heist, Benny L just to name but a few are absolutely killing it and pushing boundaries. Too many people faking it out there in electronic music, a lot of new acts using ghost producers and whatnot. We can be on the same line up but don’t think I’m going to respect you for it. I’ve done it the proper way, the hard way.
Is this a new phenomenon?
I think it’s worse now but there’s always but people faking it. It was a lot of the DJs I wanted to be like when was getting into it all. Here’s me trying to study everything, thinking that I needed to know all this information to make music just like my idols. I was heartbroken when I found out they didn’t make their own music. It can drive you crazy sometimes, navigating through all of the fake-ness, but as long as I’m true to myself I’m good with that. I’m here, always trying to improve, do new things, and explore this art form as much as I can.
Are there any up-and-coming artists or producers in drum and bass that you are particularly excited about or listening to at the moment?
There are some newer producers that are making stuff I’m liking. A producer called Enta. But if I’m honest, I’m finding more of the older producer’s new stuff is what I’m really vibing with. TC, Heist, Benny L, they’re just killing it.
I think it’s because they’re making tunes and not just making drops. Most of the new lot are sample pack producers and too many people are using the same samples and pre-sets. Every tune’s got that bloody frog sound. I’m not feeling it at all. Then they have the cheek to call it jump up! Rubbish. It’s not a genre, it’s just laziness. Who’s going to be playing that in ten years? No one. They can all do something about it. If they want to book me for the same line ups, then go on, but don’t look me in the eye and tell me we’re on the same level. Don’t mention us in the same breath as me.
This is the problem with kids these days: they want to be bigger, not better. As long as you realise that social media is not real, you’ll be fine.
What would you say to new producers who are getting signings through using sample packs?
Don’t get me wrong, there’s no shame in throwing together a few sample packs, but just don’t expect me to think of you as a producer. Be honest about it. Don’t pretend you’re something you’re not. I’m fortunate enough to be able to make music for a living, and I think when you’re in that position, you should really be trying your best to be an actual music maker, to perfect your craft, expand what you know and push boundaries.
There’s been a few tunes I’ve just made recently that I’m feeling that way, that they push the boundaries. In all my years of producing, I’ve only accomplished that with a few tunes.
What can people expect from this new release?
You can expect your timeline to be full of me. If I’m honest, I just wanted them to do social media promotion. They’ve gone above and beyond with the vinyl release, I’m so happy to be working with them. Everything else is just bonus.
Hazard’s Hospital EP is out now on, you guessed it, Hospital Records. It’s available to download and as a 12” vinyl on the Hospital Store.
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