In Conversation with Quantum Mechanix: The Tech-Step Revivalists Pushing Forward

Manchester’s Quantum Mechanix are keeping the spirit of classic tech-step alive while pushing the sound forward with cutting-edge production. The duo, made up of Jim Kennedy and Jim Wheatley, have been immersed in drum & bass since the genre’s formative years, drawing influence from the deep, menacing textures of the late 90s while injecting modern production techniques and fresh energy into their sound.

With their latest release, the Human Mechanix EP on Dispatch Recordings, Quantum Mechanix deliver a heavyweight selection of stripped-back, atmospheric, and club-ready tracks that nod to their roots while standing firmly in the present. We caught up with the duo to talk about their love for tech-step, their journey through Manchester’s underground scene, and where they see the genre heading next.

Your music is deeply rooted in the tech-step tradition, but it also sounds incredibly forward-thinking. What draws you to that era of drum & bass, and how do you go about modernising it? 

Jim W: Well, we’re old, frankly! So that’s the sound we grew up with. And it’s the inspiration for our name, taken from the album with that title (though we made an intentional change to the spelling for some reason that seemed a good idea at the time). Modernising it is about some obvious things like contemporary production techniques and digital tools, but also modern approaches to arrangement and the use of sounds that nod to more recent periods. 

Jim K: Yeah, I mean, my first drum and bass record release was in 1996, I think, so I’ve always loved that period, as I grew up with it, Metalheadz and Prototype and early Virus. Before that, what’s now called old school and Jungle.

They were amazing times, with amazing music.

The Human Mechanix EP delivers serious weight while keeping a raw, stripped-back approach. What was the vision behind these tracks, and how did you approach their production?

We generally try to have one eye on the dancefloor, but we’re usually harking back to those memories we have of dark, edgy nights out on the Manchester scene. It always felt like the air had an element of menace to it. That’s reflected in our tunes. Production nearly always starts with the fundamentals - drums and bass, obviously. Sometimes hours and hours to get those right and build a groove. The rest is there to compliment those key elements and provide ear candy. 

From deep rolling textures to stepping breaks, this EP covers a lot of ground while keeping a cohesive sound. How do you strike that balance between variation and consistency?

Having two sets of ears helps to vary the creative approach, but we’ve been producing together for over ten years now, so we’ve developed a style and a sound. Also knowing when just to cut a bit of the track. “Sorry that bit, that was the whole idea for the tune, it’s gone, it didn’t work…” and the other guy just saying “Yeah, you’re probably right”, rather than taking offence… that’s a big thing.

Manchester has a strong history in underground music. How has the city’s drum & bass scene influenced your sound and approach? We mentioned this a bit earlier, but it was key. 

Jim W: Nights at Marcus and Jamac’s night “Guidance” especially were pivotal in getting us excited about the dark, techy side of dnb and Manchester as a city reflects that vibe perfectly. Or at least it did in the nineties - it’s cleaned itself up a bit recently. 

Jim K: Yes, you don’t hear about people being taxed in the toilets as much as you used to.

There’s an undeniable precision in your drum programming and low-end work. What’s your approach to sound design, and how do you ensure your tracks hit with maximum impact?

There are many important factors, but mostly, it’s about choosing high-quality sounds to start with, making good use of processors that you know well—especially compression, EQ, distortion, and transient control/shaping—and taking the time to check what you are doing on several systems to ensure things are hitting as they should be. 

This release is coming out on Dispatch, a label known for its deep, tech-driven aesthetic. How did the connection with the label come about, and what does this release mean to you?

Jim K: So, We met Ant a long time ago in Leeds. We used to live there together at one point as students, and we went to nights at Nato, The Think Tank and Event Horizon, where Ant used to DJ a lot; we did occasionally, too, but recently, I’ve been pestering him for a while to be honest.

Dispatch is an amazing label; I could go by just listening to only Dispatch and Metalheadz. Their releases are of such good quality, and Ant runs them both. He must be doing something right.

Tech-step has seen a resurgence in recent years, with more producers looking back to the late 90s and early 2000s for inspiration. Where do you see the movement heading, and how do you hope to contribute to it?

Jim W: We’re lovers of most dnb and jungle so any interesting directions the scene takes are exciting for us. But it’s especially cool to hear new producers approaching that classic sound with fresh ears and creativity. We just hope that enjoyers of dark dnb will have some fun dancing to our tunes!

Jim K: There is definitely a lot of Drum and Bass that I don’t like, but there’s so much good stuff out there at the moment, loads to listen to. 

When you say ‘Tech Step’, I think of tracks like ‘The Locust’ and ‘Sniper’ … are we Tech Step? Honestly, I had no idea… we just make tunes as they come out. I would like to do a tune like Sniper or The Locust. Use that Tramen break.

I’ve been re-listening to loads of LTJ Bukem recently, and that’s starting to show in the new tunes a bit.

Every release comes with its own challenges and surprises. Was there a particular moment during the making of this EP where things just clicked—whether it was a breakthrough in the studio, a creative spark, or even a happy accident?

I think we did the more dancefloor-oriented ones first, then came the more atmospheric pieces. It honestly just sort of came together. We did more tracks, but I think they are put aside for a later release. To be continued… 

For those new to Quantum Mechanix, how would you define your sound in one sentence?

Jim W: Retrospective futurism with a stripped-back ethos and heavyweight dark side.

Jim K: Intelligent drum and bass.

Just to get them at it.

Finally, if you could press a dubplate of just one drum & bass track to take with you on a deserted island, what would it be and why?

Jim W: Ed Rush & Optical - Medicine, but specifically the Matrix remix.

Jim K: Adam F - Metropolis. It just has everything. Can I not take the full album? I kept an old iPod just for listening to that, as it was never on Spotify… I really like what Adam has done with the re-imagined version of it. Nice one to him.

Quantum Mechanix are proving that the raw essence of tech-step is alive and well, blending past and future to create something truly powerful. With the Human Mechanix EP landing on Dispatch Recordings on April 11, 2025, their commitment to the darker, more intricate side of drum & bass is stronger than ever. Keep an eye on these two as they continue to shape their own sonic path—there’s plenty more to come.