Interview: In Conversation with Battery & Philth: Majesty’s Next Chapter

With a legacy spanning Metalheadz, Hospital, Dispatch and Valve, Battery (Craggz (Craig) & Parallel (Doug)) and Philth (Phil) have long been trusted names in underground drum and bass. Now, under their joint venture Majesty, they’re channelling decades of experience into something much broader... a studio partnership, a club night, a Kool FM radio residency and a record label. Majesty brings full-spectrum sounds rooted in jungle tradition but aimed firmly at the future. We caught up with the trio ahead of their new label launch to talk legacy, collaboration, community and keeping things fresh.

Let’s start with the big picture. Majesty has evolved from studio jams into a club night, a radio show, and now a label. What was the original vision, and how’s it evolved since those first sessions?

Doug: Honestly, it started because we just clicked — personally and musically.

Phil: Yeah, and we had more in common than just music — we’re all teachers too, which helped us connect on a deeper level. The studio sessions were fun straight away, so it felt natural to keep going.

Craggz: From the very first session, the energy was there. It was creative, effortless — like we were all racing to get behind the computer. We just gelled.

Phil: It’s rare for music to feel that effortless and still be productive. Sometimes collabs can feel forced — people do them because of names/profile or label pressure. But with this, it was always a laugh, always natural, and the results spoke for themselves.

Doug: Exactly. Nothing felt forced. It flowed. That first batch of four tracks basically wrote themselves and were signed as an EP, and each one felt different from anything we’d done on our own — it was something new.

Craggz: At its core, it’s three mates with 20+ years in the game, having fun and pushing each other. That’s what music should be about, right?

Phil: And every time we link up, the result feels fresh. No matter what we’ve been working on solo, Majesty is a space where we experiment and surprise each other. That’s why it’s exciting.

You’ve all got deep histories in the scene, from Valve and Hospital to Metalheadz and Dispatch. How much of that legacy shapes what you’re building with Majesty?

Craggz: It’s all in there — the experience, the history, the production knowledge. It’s in the DNA.

Doug: Yeah, even if we’re not consciously referencing the past, it’s there. But we’re not trying to recreate anything — we’re always aiming to push forward and make something new.

Phil: That legacy gives us range. Each of us has put music out on a variety of labels, with a variety of flavours, and you can hear those influences in what we’re doing now. Majesty isn’t about one sound — it’s a melting pot of everything we love about drum & bass and jungle.

Doug: Exactly. We never sit down and say, “Let’s make a tune for Metalheadz” We just bring sketches, samples, sounds and ideas — and follow where the vibe takes us.

Craggz: But even with that freedom, there’s still a distinct Majesty sound. It doesn’t sound like any of us individually. It’s something new — the sum is definitely greater than the parts.

Phil: It’s the range that keeps it exciting. Some producers chase one signature sound and perfect it — and that’s fine. But for us the variety has always been so important. You can hear bits of all our influences in Majesty, but spun into something original.

Doug: We’ve always embraced diversity in our solo work too. We’re not one-trick ponies. Majesty just brings all of that together — and with our backgrounds in music tech and teaching, we’re always keeping up with the latest tools and techniques. We’re still evolving.

Phil: Yeah, it’s not just legacy music — it’s legacy dragged into the future.

The name 'Majesty' has a real presence to it. Does that reflect the kind of sound and feeling you're aiming for?

Phil: Honestly, it started as a bit of a joke. The first tune sampled Madonna — so we were joking about “Madge’ then “Her Majesty.” But the name stuck, and it made sense. The music felt big, cinematic, epic.

Craggz: Yeah, it’s not about royalty or ego. It’s about holding the music in high regard — respecting the art form. That’s the real meaning behind Majesty.

Doug: If you look up the word “majesty,” it’s not just about royalty — it’s about scale, beauty, magic. That definitely fits the kind of sound we aim for: big picture, cinematic, bold.

Phil: And the artwork sealed it. When we saw what Sian Pointin (re.coll.etc) created for our first release — that raw, collage style with cut-out letters — it felt so in sync with our music. It gave us a visual identity that matched the audio.

Craggz: Yeah, it all came together. The collage style fits how we build tunes — sampling, referencing, layering ideas. The art reflects the music perfectly.

Phil: It was never just about a name — it became a full aesthetic, brought together perfectly by the artwork and now we’re rolling with it across everything we do. It just feels right.

Your DJ sets, especially the Peckham parties at Four Quarters, have had a big response. What have those nights taught you about the kind of energy and connection you want to bring with Majesty?

Phil: For me, it’s been the power of playing full spectrum. The crowd response to nights where we touch all corners of jungle and drum & bass has been really rewarding. I’ve played loads of gigs through labels like Dispatch, Metalheadz and Integral, and often those sets are expected to stick to a certain style. With Majesty, we wanted to break out of that and celebrate the full range — and people really connected with it.

Doug: Most line-ups out there lean into one sound all night. That’s cool, but we’ve always wanted our sets to be more like a snapshot of everything exciting in the scene — new and old, deep and heavy, soulful and experimental. A bit of an education, and a bit of a party.

Phil: And that variety seems to bring even more energy out of the crowd. It’s shown us that pushing that full-spectrum approach is not just fun — the contrast means it actually lands harder.

Doug: We were also really intentional with the bookings. Because the Four Quarters events were free, it gave us the freedom to be bold — to book emerging artists, people doing something different, people we’d only just discovered.

Phil: Yeah, and they were bringing wicked new takes on the jungle/dnb template. Tunes we didn’t know, blends we hadn’t heard — we got schooled a few times by the new generation.

Craggz: Exactly! We were walking up to the decks going, “What’s this?!” It reminded us how much we still have to learn — and how exciting it is to share a space with people who are innovating.

Phil: So we’ve come away from those nights knowing we want to keep that balance — of honouring the roots, but also pushing forward and platforming fresh talent. That’s a big part of Majesty now.

Doug: And the curation plays a big role. We’re bringing in DJs who are specialists — each person brings their own flavour. So across a night, the crowd gets the best bits of every corner of the scene. That’s the vibe.

You’re now moving the event across the river to CU in Dalston. What’s behind the move, and what should people expect from the next chapter?

Phil: Let’s be honest — the move means Craig can walk home now.

Craggz: Facts.

Phil: But really — Four Quarters was a great launchpad. It gave us community and a vibe, but it was always a free event. That limits what we can do lineup-wise. Moving to Cu in Dalston gives us the space and setup to level up — in terms of bookings, sound, and overall experience.

Doug: Yeah, we wanted to find a new space that we could grow with. Cu is already hosting great nights, it’s got a killer sound system, an intimate feel and low ceilings— it’s exactly what this music needs.

Phil: And the team behind the venue really believe in what we’re doing. Just like Fran did at Four Quarters — he even played a vinyl set at one of our nights. That belief and support from Josh and the team at the venue makes all the difference.

Craggz: Yeah, they’ve been behind us — posters up, promo support, big love. It feels like a true collaboration. They’re still growing as a venue, and we’re still growing as an event, so we’re building together.

Phil: And Dalston’s an important place for this music. It’s got a deep history — not just jungle/dnb, but the whole lineage of soundsystem culture that came before it. Some of the pioneers of the scene — DJ Hype, Brockie & Det, Kool FM — all came out of Hackney. It’s mad to be able to bring something new into a space that’s already steeped in history.

Craggz: And Shut Up & Dance, they were really the first pioneers…

Doug: Yeah, jungle and dnb have maybe been a bit quieter in Dalston in recent years, but the roots are still there. So we’re bringing full spectrum music to a place that helped build it in the first place.

Phil: That’s what this next chapter is about: deepening the sound, building with the venue, and honouring the foundations while moving the music forward.

You’ve recently launched a show on Kool FM, one of the most iconic names in UK pirate radio history. What does it mean to be part of that legacy? And how does radio fit into your wider vision?

Phil: Growing up on the edge of London, I listened to pirate stations like Eruption, Pulse and Kool when I was still in primary school. Kool FM was a huge part of my musical journey. It’s a big reason I’m into this music and doing what I do today. So having a platform to express that 30-year love affair with drum & bass on THE original station means everything to me. It feels like the perfect home for Majesty because we want to represent the full history of this music.

Doug: Even though were up in Newcastle, we used to get tapes from London—shows like Brockie on Kool FM. Hearing those tunes first through tapes was a vital connection to the freshest sounds. It showed how important pirate radio was to the scene.

Craggz: If someone went down to London, the first question was always, “Did you record any pirate shows? Can we get a copy?” When we moved to London over 20 years ago, we were lucky enough to get asked to do a show on Kool FM. That was a huge moment for us. It was a true pirate radio experience—broadcasting from secret locations, staying on the move. It was a real adventure.

Phil: Kool FM was always pushing the sound forward, which fits perfectly with what we want to do on Kool now. We want to honour the full history but also push the music into the future. Kool is the ultimate platform to represent both.

Doug: Aside from the legacy, having a regular monthly show ties everything together—our label, our events, and our music. Each show we play new and unreleased tracks from ourselves and friends, plus segments like the Flashback Track to spotlight a classic and the Artist Spotlight to support breaking talent.

Let’s talk about the sound. There’s clearly a strong jungle and breakbeat influence running through what you’re doing. How do you balance that throwback energy with keeping things fresh and forward-facing?

Doug: We're definitely influenced by classic jungle, but we’re not about straight-up nostalgia. If something sounds too much like an emulation, we move on. It’s about taking the energy of the old and pushing it into new territory.

Phil: Yeah, the goal is modern jungle, not retro or throwback music. We’ve all got that deep love for the roots, but we’re always trying to flip it—mixing analogue and digital, chopping samples in new ways, and staying current with what’s happening now. That comes naturally from being teachers and students of the sound.

Craggz: That blend—the hybrid of analogue grit and digital sharpness—is key to our sound. It’s evolved through the sessions we’ve done together.

Doug: And we’re often sampling new music—not just digging the same old crates. Even when it’s sample-based, the production is modern. It's about reinterpretation, not replication.

Phil: For me, jungle is home. It’s what got me into this in the first place. The challenge—and the fun—is keeping that spirit alive while sounding fresh, not frozen in time. I think that’s where the three of us meet creatively.

Do you see the label becoming a home for other artists in future? Or is the focus mainly on your own output for now?

Phil: For the first year or two, it’s all about our own music. We’ve got a strong shared vision and momentum, and we want to stay consistent with our own EPs and creative flow.

Doug: Yeah, we’re writing a lot. Every time we link up, it’s basically a new project. The label gives us the freedom to release on our own terms, without waiting around for other labels. It keeps things moving and fully in our hands.

Phil: Exactly. It’s about building the Majesty identity and sound first. Down the line, we’re open to working with other artists if it happens naturally—but right now, it’s about us setting the tone.

Craggz: But we’re still always on the lookout for new music for our sets—so don’t let that stop you sending us dubs. 

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

Phil: I think this goes back to our ethos of full spectrum, full history, love of this music. There are so many times and eras I love, I could answer this differently every hour. But if I had to give a solid answer—something we actually reflected on in our flashback track—it would be Marcus Intalex and ST Files – Love & Happiness. Or maybe How You Make Me Feel.

Both came out during a time when the music was really dark—and I loved the darkness. That’s why I’m called Philth! But those tracks turned my head, and a lot of other people’s heads too. They reminded us that jungle/drum & bass could be sexy, warm, and open. Both came out on 31 Records around the same time and were important in bringing house, techno, and good vibes back into the scene.

Craggz: For me, it’s Hidden Agenda – The Sun. It’s an incredibly lush, layered, emotive track. We’ve got a connection to it because we knew the producers when we were coming up and I used to kind of idolize them. Geordie icons!

Doug: Dillinja – The Angels Fell. That track has everything I love about drum and bass. It’s lush and atmospheric, has that dreamy futurism, the Blade Runner samples... it’s soulful, with energy, weight, bass—it’s a full tapestry of sound. It was a melting pot of everything that got me into the genre in the first place. I could recognize sounds I already connected with, in a way I hadn’t with any other electronic music.

Craggz: And it’s tough as well—it still sounds futuristic.

Phil: Yeah. You could say the same about the whole Timeless album. It’s beautiful—makes you want to cry, then makes you want to jump around and rave your head off.

Doug: Exactly. The Angels Fell encapsulates all of that in one tune.

Phil: So between Angels Fell, The Sun, and the Marcus Intalex tracks—that’s a pretty solid cross-section of drum and bass. Come down and hear it all at our Majesty event!

We’d love to, no question.

Massive thanks to Craggz, Doug and Phil for taking the time to speak with us. With Majesty’s debut label release arriving this August, a new home at Cu in Dalston, and their next event set for 5 July, the momentum is building fast. Add in a Kool FM residency and a studio partnership built on trust, energy and experience, and you’ve got a project that is ready to leave its mark.

Whether it’s cinematic rollers, jungle experimentation or bassweight pressure, Majesty is full-spectrum drum and bass at its best. Rooted in legacy, focused on the future.