INFEKT steps back into focus with “ORGANIC DUBSTEP,” a new EP released through his Port Zero label, at a point when his identity as a producer and curator feels fully established. The project follows the launch of Port Zero in 2025, and it continues that initial direction with a tighter grip on what defines his approach to dubstep. Across the EP, he draws on early dubstep references while refining his own approach to low-end design and rhythmic structure, and that combination gives the project a clear throughline without losing its range.
Collaborations with Barely Alive and Modal Nodes extend the palette without pulling the sound away from his core, and the result feels aligned with the direction he has been building toward over the past few years.
What gives this release additional context is how INFEKT approaches the current state of the industry, especially regarding visibility, reach, and the role of metrics in shaping opportunities. He speaks openly about how business decisions influence bookings, and he frames that reality without resistance, which lines up with how this EP is positioned.
There is awareness that large-scale exposure plays a role in growth, while he continues to prioritize output and consistency in the studio. That balance shows up in the EP’s structure and in how it connects to his broader rollout, including the Port Zero Tour, which brings the project into a live setting, with a focus on production design and audience experience.
At the center of it all, “ORGANIC DUBSTEP” reflects a long-term approach to building a catalog and a brand that connects directly with listeners. INFEKT references having produced hundreds of tracks over more than a decade, and that volume of work translates into a release that feels deliberate in its execution.
The “veggie man” identity and his interest in health culture continue to feed into the visual and thematic side of the project, which keeps the rollout consistent across music, branding, and live shows. As Port Zero continues to develop, this EP reinforces its direction while keeping INFEKT positioned as a key figure within modern dubstep, with a release cycle that ties together recorded output, touring, and a clear sense of identity.
Interview With INFEKT
Have you experienced moments where metrics played a noticeable role in booking decisions? How did you interpret that?
Of course yeah, metrics are a big part of how decisions are made. Not everyone working in the music industry is in it just because they’re passionate, there’s also businesses making decisions that make sense financially.
I think it’s a part of the game, but I always do my best to focus on having fun with music and sharing it with the people that are truly passionate.
How do you navigate the expectation to stay active online while remaining focused on your music?
I think a big part of building your world is to really think about what you would enjoy doing and what systems can work for you instead of looking at what everyone else is doing.
That way, you can figure out ways to stay active online that you actually enjoy. Whether that’s being on camera, making animations, showing your process, or whatever else it is. I, for example, have a lot of hobbies that I love talking about, so showing those online keeps it fun for me to be active on these platforms.
For my latest EP ‘ORGANIC DUBSTEP’ that just came out I incorporated the theme of organic veggies again because healthy food is a topic I’ve always been interested in.
From your perspective, how are promoters balancing instinct with data today?
Luckily, we still have a lot of people working as promoters that actually care about the music.
Lineups get stale if there’s no new talent, so the passionate people that know what to look for are a key part of the future of the industry, so I think that’s what balances metrics vs potential.
Have you observed a gap between what feels artistically exciting and what gets programmed on lineups?
Of course sometimes promoters will go with what they know will sell tickets, not always what’s artistically exciting. Again, it’s a business, so both sides are necessary!
In your view, how has reach influenced the kinds of risks promoters are willing to take?
I guess because of social media music isn’t the only thing that can help someone get big in the music industry.
So I think promoters have other metrics they can look at now and might be more likely to book someone that also has good reach online rather than just having good music.
How do you stay centered on your craft knowing visibility often factors into opportunities?
I’ve made around 500 tracks in the last 14 years, and to me that’s always been something I love doing regardless of what else it takes to get my name out there. It’s just what I do! Everything else comes after. It doesn’t really take any effort to stay focused on it because it’s kind of like an escape from the world and everything else.
Can you share a moment when someone without much online presence delivered a set that shifted the room?
Recently I was watching a B2B2B set from 3 openers in Lawrence, KS at my show there and they had the room on lock and crushed it. I’m sure they have a lot of potential to grow if they focus more on their online presence!
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
