BSEARL’s debut album NO MORE PAIN marks a monumental point in his music career. Since Echo The EP, this Reading-based artist has re-imagined his sound, both on stage and in the studio, to embrace his growing love for multigenre music.
Though rooted in drum and bass, he’s been venturing into the world of UKG, breaks, and all things 140, all while keeping his love for dance music close to his heart. One year in the making, BSEARL has crafted a catalogue of tunes inspired by personal hardship and self-exploration towards his new identity as an artist. For him, it’s been a cathartic process that’s encouraged him to merge light and shadows in a testament to his creativity. And the result? An 18-track album that does exactly what it says on the tin – NO MORE PAIN. It’s bold, it’s beautiful, yet it’s bittersweet.
With the album released in stages, it’s given fans a chance to catch a glimpse of what this new album is all about, while breaking BSEARL’s long-awaited insight about receptivity of his new sound. Now, the wait for the full collection is over.
Tracks like ‘BELIEVE ME’ with CA$PAR and ‘SOLD MY SOUL’ have not only been adored by his audience, but have been championed by some of the biggest driving forces of his career: Kettama, Fred Again.., Pola & Bryson, Camoufly, and Salute, to name a few. With these driving forces in mind, BSEARL’s journey into the making of NO MORE PAIN has also been sculpted by his time spent down under while on tour with PullUp Recordings. It was moments like these that consolidated his decision to turn a dream into a tangible album, especially with Australia showing unparalleled energy towards this new-style UKG music.
As each track was created with conviction and a new spin, NO MORE PAIN forms one of the most important chapters of BSEARL’s career to date. From experimentation to pure drive, he shows us that his music is about more than just dance floor appeal.
Today we’re sitting down with BSEARL to explore his new album NO MORE PAIN, marking not only his debut album but his first feature on UKF. Let’s hear what he has to say…
How are you feeling about your upcoming album release?
I’m really happy with it because it’s been a year in the making, and I feel like my whole life of producing has led to this moment of putting this out. So I’m absolutely gassed for it!
It’s such a moment when you realise you’re ready to release an album…
Definitely, and there’s so much prep work too. There were certain people who were saying “You’re too early on to be making an album”, because the normal rule is to release singles or EPs at my stage. But I’m like screw it- I’m just gonna put a massive album out.
‘GO’ recently dropped ahead of the full album launch – how has it been received by fans so far?
With ‘GO’, it was never going to be like a big viral hitter like ‘SOLD MY SOUL’ and ‘BELIEVE ME’, but it’s more …I want to say unique? It sounds like an old school deadmau5 tune in the intro, but also progresses into new school. It’s like a new school version of an old sound. I just wanted to show people a bit about my sound design, and it was just one to have for people to play out and listen to. I didn’t have any mad expectation for it, but I think it’s been received really well, considering this is a type of garage tune that I’ve never done before.
You’ve just come back from touring Australia with PullUp Recordings. Did you play any of your new album tracks out there?
It was all mental. There was one set where I played with a rapper called Nerve. I got to Section 8 at 5pm, bear in mind the event started at 3pm, and there was a massive queue outside and inside it was absolutely rammed. And I was like, this is mental. I was playing my first headline show in Melbourne, and the crowd were people that I’ve seen from previous shows I’ve done in Australia, plus their mates, plus more people! I had so many messages from people saying they were gassed to see me. And I was like, what is going on?
It must be such a feeling…
I was so nervous playing because that was the first time I felt like I had proper imposter syndrome…I was doing a headline show on the other side of the world. Crazy.
Comparing Australia to the UK, which crowd has given the best reaction towards the album so far?
My tunes go off harder in Australia than England. I think in England at the moment, with dance music, everyone is DJing for crowd reaction tunes. And obviously my music’s not really crowd reaction music. So I think when I play a lot of my unique stuff, I want to say people are taken aback by it. But I feel like, because it’s a new sound, they’re probably listening more and enjoying it, which is a sick thing, and I’m used to that in England. But when I play my music in Australia, like with ‘GO’, people have it off because that sound is Australia all over. That’s how I started building this album. It’s based off the sort of style and sound that people play over there compared to what you’d hear in the UK.
Do any of the songs on the album have any stories behind them?
When I made ‘SOLD MY SOUL’ I was going through quite a lot with life at home and stuff. There was a lot of stuff going on behind closed doors. I remember I was hitting a wall where I could see other people were doing bits on socials and everything, and I kept thinking all my music’s kind of terrible. I was really in my own head with it. I initially made the idea of ‘SOLD MY SOUL’ over drum and bass drums.
I knew I didn’t want to go down the route of just making drum and bass – I needed to switch it up. I ended up putting Flume-style drums over it and the track sounded completely different. I thought it was too weird to be releasing under my alias, but I needed that sort of boost. It’s what kick started everything that’s happening now, because that tune single handedly built this whole entire album up from the start. I stopped caring about my issues because this tune was doing so well for me and was growing me as an artist. I needed it at that time to then build the album off the back of it. Making ‘SOLD MY SOUL’ in the time when all the outside noise was happening made it powerful. It couldn’t have been timed better.
And what about the feedback in the making of ‘SOLD MY SOUL’?
I messed about with it a bit, rejigged it. I really liked the Flume-sounding stuff, but I wanted it to sound different. Other people I spoke to said they backed the drum and bass version and I pushed back and said no, I back this new version. I know when I’ve just made something special. It was the same with ‘BELIEVE ME’. I had no viral backing at the time, but when I made it I sat in my room, and was like, what the hell is this? As an artist, you cannot let other people influence you on your own judgment. You can take inspiration and you can look up to people, but you always have to make choices based on your own gut feeling.
That’s good advice for someone in similar shoes to you.
One other thing is that ‘SOLD MY SOUL’ soul was one of the tunes that separated me from generic dance music. I feel like that tune might have put me in a different lane completely. That’s another reason why I think this is such a sick tune.
Last year your track ‘BELIEVE ME’ was used commercially by ASOS. How did that make you feel?
The thing is, I don’t even want to go mainstream. I went to work, looked at my phone and there’s this message from ASOS. I thought it was probably a glitch. I opened the message and it’s ASOS sending me a DM on Instagram telling me they’ve used my tune ‘BELIEVE ME’ in an advert. Loads of people tagged me too.
My first thought was…surely give me a discount! But honestly, it just made me feel like I was doing something right. Like the music I’m making is actually good music. All sorts of people listen to it, not just those heavily into dance music, but those who enjoy rap as well, especially with CA$PAR on this track. It’s an all-rounder tune. I’m still waiting on my discount!
How did you know it was time to release your first album?
There were so many tunes we had to actually narrow it down. I think the reason why I know I’m ready to put an album out is because of this new sound that I’ve been pushing in my tunes like ‘SIESTA’ and ‘RIDE OR DIE’. 2025 was the year I started putting tunes out with that unique sound that people recognise me for, and I thought an album was the best way to showcase this.
It’s like one of those milestones, and if I wanted to rebrand and go into this new sound that inspired me, like Overmono, I’ve now got a catalogue of 18 tracks showcasing this. The whole album makes sense too. The track list flows in key from one track to another and it’s been really well crafted over this last year. We pushed it back from November to February but I knew I had to finish it now and get it out, but I guess for a project like this, you’re never 100% ready. I could make all the tweaks in the world, but honestly? It’s time to just get it out.
You mentioned Overmono, can you tell us more about your inspirations behind this album?
Overmono is a massive, massive inspiration. I love how the breakdowns are structured in their tunes, and how their tunes make you feel compared to other genres of music. There’s also Muru Masa with tunes like ‘Love Sick’ featuring A$AP Rocky that influenced ‘SOLD MY SOUL’ with their drum pattern and style. And you’ve got Flume and Kettama, they’re all using these synths and chords. Even with the drum and bass, like Polar & Bryson, they were also a massive influence. ‘SIESTA’ was actually based on some of their music. A tune called ‘Wind Rises’, which they actually sent me the VIP for the legends, is what I based my sound on to start with, which is crazy. I love all genres and music, even stuff like Barry Can’t Swim from the house world.
It’s great you draw on all genres. How have your DJ sets evolved with this new sound we can hear in your album?
I started with predominantly drum and bass, nothing else. I think, like two to three years ago, I played a bit of UKG in the last 10 minutes of my sets, and knew I wanted to get more into it. I went to Australia, created this new sound, and started the album. In Australia, the garage used to be a bit more like your generic UKG with sing along tunes, like the ones that everyone knows. But now I play like 140, break-beat stuff, loads of my own music and everything sort of gels. The vocals go in key to the next tune. It’s like nostalgic dance music. When I play in Australia I do an hour set of this new style that I’m making along with all the new music that I’m listening to, and then in the last 30 minutes I’ll have an MC come on and play disgusting grime rhythms. I want to do more of this with rappers at the end of my sets.
What about the title of the album? How did you come up with NO MORE PAIN?
Do you know what? I said to Sam [PullUp Recordings] that I wanted to have a really cool idea for this name, like it means X, Y, and Z. It does now, but at the time the first tune in the album just had the vocal sample saying it so that became the track name and album title. It’s a weird one because I chose that as a name with no intention back then, but it ended up linking with what happened last year in my own personal life when making these tunes. The album is about, especially referring to lyrics from ‘BELIEVE ME’, pain in relationships and mental struggle. It’s all meant to basically correlate. It’s like listening to music to get over stuff. So at the end, there’s no more pain. It’s meant to be dark, but with a positive message. I’ve had some people say before that my music is a nice blend of dark stuff with good vibes.
It’s almost like therapy in the form of music…
That’s the thing, though, it is for me. People listen to it and they have an emotional connection to it. It’s the best message that I can receive, because I use my music as therapy for my own life. It’s a hobby as well as therapy. I’ve had people listen to ‘BELIEVE ME’ and they tell me they listened to it whilst going through a breakup and it really helped them, because the lyrics are deep. I like to have a tune like that go into an album called NO MORE PAIN. And that’s exactly why I’m making music. I’m not making it to have crowd reactions. I’m making music for people to listen to and get goosebumps from. Picture a late night drive with the windows down with the tune playing.
Where do you reckon you’ll take your sound next?
I think my end goal now is I want to make more sick rap beats. I want to be like a new school Sir Spyro, and make instrumentals for rappers like Songer and people like that. Sometimes I’m sitting there making tunes thinking I could probably try and spit over it, but I wouldn’t want to embarrass myself. I need a rapper on this. I want that to be like another big thing that I venture into, as well as the dance music.
Follow BSEARL: Instagram / Soundcloud / Spotify
