Interview: ENiGMA Dubz brings the Vibes on his atmospheric new mixtape

Polymath and global DJ, ENiGMA Dubz, is fast becoming one of the most influential producers in modern bass music – flexing from punishing sub-fuelled drops to cinematic electronic soundscapes.

Out now on his burgeoning imprint Morii Records, ENiGMA Dubz moves from the bass-heavy bangers on lasy year’s #Heaters to exploring the euphoric, melodic and emotional side to dance and electronic music on new mixtape #Vibes – all while retaining his world-renowned production quality and club appeal. 

Featuring collaborations with some of the top vocalists in modern UK bass music including Lauren L’aimant and Leo Wood, #Vibes flexes from future garage and electronica, to trap and melodic breakbeat – hitting the listener right in the feels – while the tunes will still pack a punch when played out on a big system. 

With the mixtape currently doing damage – and focus single Free Ur Mind featuring one of the hottest properties in UK bass music right now, Lauren L’aiman – recently added to UK radio KISS Dance‘s playlist – we caught up with ENiGMA Dubz to get the lowdown. 

Over your extensive career, how have your musical influences evolved, and how has this evolution shaped the distinct sound of ENiGMA Dubz?

My influences have certainly evolved in many ways over the years, but at the core of everything is my passion for UK garage and its influence on me has always been there. As a 15 year old getting into production, with 10 years of classical music training before that, I started making beats and writing music with such a big variety of influences. I’m always on the lookout for new producers, alongside watching lots of films and listening to their soundtracks. I just never stop soaking in the music around me to be honest. I feel it’s important to stay up to date with new musical directions and production styles, while always holding on to my true artistic feelings and never forcing anything. If it feels right and hits me whilst I’m making it, I’m there for the ride and can’t see that ever changing.

Reflecting on your journey, are there specific artists or genres that have had a significant impact on your music at different stages?

From an early stage, I was very much influenced by the dark side of UK garage around 2003 – 2005, artists like Wookie, Jaimeson, Sticky and Zinc, Youngstar etc. I also loved the more soulful and melodic side of garage, people like MJ Cole and Todd Edwards. Then, I discovered Burial and the world of more abstract, deep and moody garage/dubstep. Alongside that, I was really getting into dubstep and the early sounds from 2007 onwards. This collection of various styles and sounds all helped morph where my mind goes when making music. Fast forward to today, I’m still loving the garage scene and where it’s evolved too, I’d say garage and breaks are in such a good place at the moment, whilst dubstep still excites me and drives my creativity too. 

Given your ability to navigate between genres from dubstep to drum & bass, what challenges and rewards do you find in such versatility, especially in the creation of your new mixtape “Vibes”?

The only challenge I find is promoting the music after making it. On the creative side, I just dive into where my heads at, and also take influence from the new music I’m discovering at the time too. Navigating the industry is the challenge when you’re an electronic artist that likes to make such a variety of moods and vibes. The rewards are being able to work alongside amazing artists like Lauren L’aimant and Leo Wood, and also being able to express myself fully, rather than staying in one lane that can end up becoming creatively stale or losing that excitement creativity provides.

Can you share insights into the creative process behind “Vibes”? How did you decide on the tracks and the overall direction for this mixtape?

With the #Mixtape series, it’s all about a collection of tracks from different chapters and moments coming together as one project. Some of the tracks, like ‘We Can Go’ especially, have been in the locker for some time. Whereas the two vocal feature tracks were written with the Mixtape in mind. Ultimately I let my mind take me where I should be and having the project in focus gave me a good opportunity to explore that energy and mood. My mindset when making the more melodic and soulful tracks is so much different to when I’m making more bass heavy bangers. My vibey side is basically therapy, then I have to feed the beast in between with something harder.

In previous interviews, you’ve mentioned integrating live guitar tracks into your music. Are there any live instruments featured in “Vibes”, and if so how do they contribute to the mixtape’s sound?

There aren’t any live instruments in this project actually, although I’ve used various instrument samples in the tracks – which I love to do. Most of the sounds though are from synths as I’m a sucker for retro sounding pads and keys. Arturia in particular and a great plugin called ‘Spire’ have been heavily used, alongside a wide variety of vocal and instrument samples that I’ve manipulated etc. 

Who were your main collaborators on this latest release and how have they influenced the mixtape’s development?

So with #Vibes, I worked with two vocalists, Lauren L’aimant and Leo Wood. The rest was written without any collaboration on this project, unlike the #Heaters mixtape – where every track was a collaboration. Working with both vocalists has been class too, both amazing singers and artists in their own right. As soon as I heard both acapellas, I was immersed in the creative side of both tracks until they were finished. They really got under my skin because the vocals are so strong..

Are there any dream collaborations you’d like to pursue in the future?

I’d say Burial would be unreal, also Board of Canada. Love both of their styles and the way I get lost in their music. James Blake would be unreal too, love his music and voice. On a more bass heavy or grimey side, I’d love to work with D Double E, one of, if not the best MCs to ever do it. Another vocalist I’d love to work with is CASISDEAD, absolutely sick.

How do you perceive the evolution of bass music, particularly in the context of your own music? Where do you see the genre heading?

I see the overall sound of bass music getting more and more polished, which is both something I like and also something I’m mindful of. I’ve got a real love for the older, more retro and raw sound of dubstep and garage when I first got into it, sometimes I just prefer music that has that edge to it. However, I also really love the new and modern approaches to bass music, and to be totally honest, I’m spoiled for choice with the huge amount of amazing music coming out weekly. 

UK garage is in a really strong place at the moment and there’s a tonne of sick new music and producers coming through. That really excites me that the genre is getting a lot of traction recently.

Your expertise in sound engineering and production is evident across your discography. Could you share your approach to mixing and mastering…

Mixing and mastering has been the side of my music and career that’s evolved the most. I’ve realised over the years that it’s almost a separate entity to the creative side and I’ve learned to approach them differently. I never used to overthink my mixdowns – in the early ENiGMA Dubz days, I’d finish a track and get it online as soon as possible. However, I’ve learned over the years to be patient and sit on tracks for at least a week, allowing my ears to recover after initially making them and giving them a once over several days after the first session. I do however work very quickly and I find my best tracks are the ones that flow this way. As soon as a track starts to get drawn out too long, I start to overthink it and it can often be a bad thing for me.

On the mixing and mastering side, there are a few key things that have massively helped. The first being my speaker upgrade I did about 3 years ago when I finally saved up enough to invest in my Genelec 8050s. Absolute game changer. Then my new studio has made a massive difference, having a treated room has been both a blessing and a curse, having to learn it but then enjoying it now I know it well. Lastly would be investing in various software and VSTs. I love the fab filter mastering plugins, they’re my go to alongside some Native Instrument stuff and a variety of others. 

With the release of “Vibes”, how do you plan to integrate these new tracks into your live sets? Or is this one more suited to home listening?

I’ve been playing some of them over the last 12 months and I can’t wait to incorporate the others in future shows when the vibe is right. I approached all of the tracks with both the listener and the club in mind. Having that certain energy in there still allows me to play them out in sets and I tend to go on a journey with most sets, starting off vibey and then progressing to the darker side. All depends on the event, though.

How do you engage with your audience to gather feedback on your releases?

I’m pretty active on the various socials and always try to respond to as many messages as possible. I also do things like listening parties, which is a cool way of interacting and getting feedback on music. Every comment from a new listener or a longtime fan really means a lot to me. Ultimately though, as long as I’m happy and vibing with the music, that’s the main part. That’s what keeps me creative and keeps my ideas flowing. I couldn’t imagine making music for the audience and not for myself too.

Having been a part of the bass music scene for over a decade, what major changes have you observed within the industry, both in terms of music production and the business side?

Well the industry has changed massively. When I first started producing and releasing music, before I started ENiGMA Dubz in fact, I’d make a great return on vinyl releases and CD packs. Fast forward to now, it’s all about streaming really. Granted the online stores are very valuable, and also some vinyl runs too, but streaming is key to earning a living in this industry. 

In regards to producing, I’d say it’s a LOT easier now to make music that hits the bar of sound quality etc. Platforms like Splice have made sounds so readily available and the AI that’s now built-in to the various software and sample platforms aids it even more. However, I still use sample packs and plugins that I’ve had for 10 plus years, whilst utilizing the new tech and software out there, too.

Beyond “Vibes”, are there any new directions or projects you’re exploring?

I’ve got a load of music in the pipeline yeah, got a couple of more bass heavy dubstep and grimey projects to come this year, alongside new DnB, garage and everything in between sat in the locker. Watch this space!

Also, thanks for the chat guys, appreciate it.

ENiGMA Dubz – #Vibes is out now on Morii Records