In Conversation with A.way & Thez: The Making of Half Life 3

As the drum & bass scene continues to evolve, A.way and Thez are carving out their own lane with Half Life 3—a track that fuses intricate sound design, polyrhythmic structure, and a deep-rooted appreciation for one of gaming’s most iconic franchises. Following the success of their debut release Heaven’s Gate, the duo have returned with a fresh approach, seamlessly blending broken beat call sections with straight-beat responses. With heavyweight support from the likes of Andy C, A.M.C, Koven, and more, Half Life 3 is already making waves. We sat down with A.way and Thez to discuss the creative process, their influences, and where their sound is heading next.

Your new track Half, Life 3, brings together broken beat call sections with straight-beat responses. How did you develop this approach, and what made you decide to structure the track this way?

Thez: For me, it has always been important to leave my own mark and, most importantly, to bring something innovative—whether compositionally, sonically, or both at the same time. It seems to me that these polyrhythmic structures are becoming less common in drum & bass… the genre is dying for conformity.

A.way: Hmm, I started implementing this structure a long time ago. I like to call it a "question and answer" structure. I think it's still quite popular today—it’s just the best way for me to create an impact or introduce a surprise drop. In the context of this track, it felt like it was appropriate.

There are some subtle yet unmistakable nods to the Half-Life franchise woven into the track. How did you go about incorporating elements of the game’s sound design while keeping the production fresh and original?

A.way: We created the track while playing through the first episode of Half-Life 2, and we thought—what if we incorporated some original sounds straight from the game into a track? We even used the opening theme from the game’s menu as an ambient layer.

Thez: It seems to me that a track like this can only truly come together when one person focuses on composition and arrangement while the other brings in their strengths. Martin is highly skilled in songwriting, which gives the track a well-defined structure. I’ve been doing sound design since I was a kid, so for me, it’s natural to build everything from scratch—like when making a pizza but starting with your own wheat. That’s what drum & bass composition represents for me. We’re both huge fans of Valve games.

You’ve both been collaborating closely since moving in together in Prague last year. How has working in the same space influenced your creative process

Thez: Haha, yes, it was a special operation—helping each other move forward. Right now, Martin is back in his home country (Slovakia), while I live in Prague but occasionally visit my parents in the Highlands. Alongside preparing new music, I’m also developing my own business. We’ve worked on a special educational project together, along with a few more tracks that we’ll be releasing together soon. After that, you won’t hear from us as a duo for a while, as we both have individual projects to focus on—yes, still within music. I’d recommend a similar approach to anyone looking to make a radical change in their life.

A.way: As I write this, I’m back in my hometown. But in my experience, the drive to create music and take over the scene is always strongest when two artists are crammed into a tiny 2x2 apartment.

Heaven’s Gate was a big moment for you both. How do you feel Half Life 3 builds on the sound and ideas you explored in that track?

Thez: It’s interesting—sometimes I feel like these tracks together hint at something bigger. But in reality, they were created independently. They definitely have depth, not just musically but also spiritually. There’s a lot happening in the world right now, and I’d love for our music to serve as a glimpse of God's light.

A.way: I see them as two separate entities, both structurally and conceptually distinct. But sonically, there are some connections—you can hear clues like the Reese bass and certain samples that I tend to use in every track.

The track has already been getting support from some major names—Andy C, A.M.C, Koven, and more. What’s it like knowing some of the biggest artists in the scene are championing your music?

Thez: There are no words that can truly capture how special this moment is. But I believe this is just the beginning.

A.way: It feels great. Though for me, the focus now is on maintaining this momentum and finding a way to channel the growing attention in a meaningful and healthy way.

A.way, you recently won Best Newcomer at the 2024 DNB Awards in Germany. How has that recognition impacted your career, and has it changed how you approach making music?

A.way: To be honest, I didn’t feel a significant change. I appreciate the recognition, though—it’s at least an encouraging sign on this long and winding road to the Drum & bass Hall of Fame.

You’ve released on labels like MODUS, No Copyright Sounds, Neksus Sound, C4C, and Neu. What drew you to releasing Half Life 3 on Evolution Chamber?

Thez: Haha, those were my first breaths. I like looking back on the time when I started releasing music properly, though I wasn’t mature or fully ready back then. Now, I’m just excited to see what’s next. Communicating with EC is exactly how I always imagined it would be. Back in the day, labels were the pillars of the community—everything was exciting, from the music to the way the scene was structured. Things are different now, but we have no choice but to keep pushing forward, and I appreciate every interesting opportunity. I really enjoy working with the team. 

A.way: For me, it’s mostly about the communication with the label team—especially James, who really gives producers the attention their tracks deserve. It feels more personal, and I really appreciate that.

Drum & bass is constantly evolving. Where do you see your sound fitting into the scene, and how do you see it progressing in the future?

Thez: It’s really cool to see how subgenres are gradually disappearing. What used to define them was mainly sound and technical difficulty, but today, different subgenres have all reached a high production level and influence each other in parallel. This is exactly what I was discussing with Simula at Let It Roll 2024—modern drum & bass has become a true hybrid. So why not call it Hybrid Drum & Bass? I really like the name!

A.way: Especially in this modern era of drum & bass, sound design is probably the biggest draw. Simula and his signature sounds have taken over the scene like a tornado. But it makes sense—drum & bass is one of the most evolved genres, and anything fresh and high-quality will catch on quickly. That’s exactly where I see my own potential. I’m always experimenting with new crossovers and surprises, and if I keep this groove going, I believe it will break soon.

For listeners who might be discovering you for the first time, how would you describe your sound, and what makes your collaboration unique?

Thez: What I admire most about this track is its emotional depth—it creates a striking contrast with the sheer aggressiveness of the sound.

A.way: If you’re into emotion, but with a heavy-hitting payoff, powerful transitions, and weighty sound design, you’re in the right place. The same applies to Half-Life 3—just the concept and title alone set it apart from a typical drum & bass release.

Finally, what’s next for you both? Any upcoming releases, collabs, or projects we should keep an eye out for?

Thez: I’ve got some pretty big plans for this year—there’s definitely a larger project in the works, something beyond just singles. If everything goes according to plan, it’ll likely be released on some worldwide imprints, or better said, across several worldwide imprints. Additionally, the educational project I’ve been working on with Martin is a significant part of my workflow. Since I’m a huge fan of hardware and have hardware at my disposal, people can expect to see that in action. But as they say… Man plans, God laughs. 😆

A.way: I’m currently working on a Masterclass for producers like myself who are still looking for guidance on how to navigate this wild industry. That’s the main focus for me right now. As for collaborations, I’m definitely planning to bring some unexpected twists to the table this year, and I’m personally excited about them. I’ve also started experimenting more with my own vocals and the unique signature I want to leave in my music, so time will render most things beautifully.

A huge thanks to A.way and Thez for taking the time to break down the making of Half Life 3 and sharing their thoughts on the ever-evolving drum & bass scene. With an exciting year ahead—filled with new projects, collaborations, and even an educational initiative—this duo is one to watch. Half Life 3 drops on 14th March 2025 via Evolution Chamber—don’t sleep on it!