Wagz returns to Metalheadz with the Dreamcatcher EP, following on from his acclaimed Back Burner. We caught up with the Sheffield-based producer to discuss balancing atmospherics with club weight, lessons from years of feedback, and why legacy and honesty matter more than trends.

Dreamcatcher EP marks your second release on Metalheadz after Back Burner. How did you approach this follow-up, and what story did you want to tell with these tracks?

It wasn’t really a conscious decision to be honest. A few of the tracks were already pencilled in for a second EP when the first EP was signed. Then later on some were replaced with newer tracks once I’d sent them over to Ant and we swapped the tracklist round a bit.

The EP balances stripped-back rhythms with melodic and atmospheric detail. Was achieving that balance a conscious process, or something that happened naturally in the studio?

Yes I’m constantly trying to find the balance between atmosphere and what works on the dancefloor. When I started out my music was very melodic but it was missing the weight to make it work in a club. On the other hand I don’t want to go too far and just make tunes that are just functional DJ tools with no character. They’ve always got to have some mood to latch onto that I create the tune around.

Metalheadz has such a strong tradition of deep, forward-thinking drum and bass. How much of the label’s legacy influenced the way you wrote for this release?

Again I think this is just something that comes naturally out of years of being influenced by this music rather than trying to make a “Headz” tune. I’ve tried that and they just sound pretty shit and dishonest. People often think that the tunes on the label need to be quite moody, dark, and fill a quota in terms of what breaks/samples are used - but they’ve always released a variety of styles. I’m really happy that they’ve chosen the tracks they did for this EP. Hopefully some of them will upset people for not being “Headzy” enough.

Can you take us inside one of the tracks on Dreamcatcher and talk us through how it came together from the first idea to the finished piece?

Dreamcatcher - I started off as I usually do by finding a sample of a pad or chord just to capture the mood and find the key, then resample/replay it and audition different sounds until I found the big intro pad sound. Then use the same process for the bass sound and create the melody/structure of the bassline - build that - playing with the filter and other effects to give it some character and variation as it builds. I try to keep drums pretty stripped back using just a few elements as in the past I’ve gone way overboard and it generally detracts from the overall mix. Then just build a few little riffs to add to the mood without going overboard.

Looking back at Back Burner and now Dreamcatcher, how do you feel your sound has evolved between the two projects?

Theres actually older tracks on the new EP so I can’t say the sound evolved. Play Skool - I’ve been trying to crack that one for about 15 years! I always wonder if people can tell the tunes apart in terms of when they were made. I hate listening to my older tracks as I can just hear all the faults in them. In the past I was using 100% samples but there’s a limitation with that and I also find it more difficult to get a balanced mixdown.

You’re based in Sheffield, a city with a rich musical heritage. How has the environment around you shaped the way you approach producing drum and bass?

When I moved here in my 20’s you had NY Sushi, Drum n Bass Arena, Tuesday Club, Detonate, along with a load of smaller club nights so those were the building blocks of it all for me. I’m still very much influenced by that era - it’s just about capturing that kind of vibe but bringing it up to date.

A lot of your tracks seem to work both on the dancefloor and for close headphone listening. How do you balance those two worlds when writing music?

I mainly work on headphones now which I’ve found helps a lot for clarity and balance in mixdowns. I like to think there’s always something that gives my tracks character no matter what style they are so that keeps them interesting. Years of feedback from established producers has helped massively as well in terms of stripping tracks back to the essentials and learning what “works”.

Outside of drum and bass, what influences are feeding into your sound right now, whether musical or otherwise?

Larry June, Nation of Language, Footshooter, Fontaines DC, Binary State, Trevino, Ron Trent, loads of films and Soundtracks

Being part of the Metalheadz roster is a milestone for any producer. What has your journey with the label been like so far, and how has it helped you grow?

It’s been amazing to get feedback and advice from Ant and Goldie on the tunes and it’s always amazing to have releases on labels that you look up to and have a history with as a fan and a punter. It builds confidence production wise as you’re forever doubting your music. It also means so much when they release music that is in no way following current trends or trying to tick boxes - something I have no interest in.

And finally… if you could take just one drum and bass track, by any artist from any era, to a desert island, what would it be and why?

Mistical - Memory Jog. Perfect balance of samples, atmosphere, breaks, 808s and one of the best breakdowns ever.

With Dreamcatcher, Wagz proves once again that his approach is rooted in both discipline and instinct. As he continues his journey with Metalheadz, it’s clear his focus remains on mood, character, and timeless craft — qualities that will keep his music resonating far beyond the dancefloor.