Hailing from Derry and Belfast respectively, Dlusion and Swizzy are two brothers helping to define the next wave of Northern Irish drum and bass. With roots in jump-up, neuro, and dark minimal styles, their sound is raw, high-energy and proudly local. Both artists appear on CSC002, the second release from Belfast-based label Cyphersound Cartel, bringing contrasting takes to the remix project while pushing the boundaries of what’s possible within the scene.

We caught up with them to talk production habits, brotherly dynamics, and what it means to represent Northern Ireland in drum and bass.

You’re two of the most exciting names coming out of Northern Ireland right now. For those just discovering your music, how would you describe your sound individually and when working together?

Dlusion: My sound leans heavily into jump-up and neuro — those two styles have always hit hardest for me. I love gritty basslines and aggressive energy, and I layer in touches of dark minimal when I want that extra weight or atmosphere. Our dad introduced both of us to underground bass music early on, and that laid the foundation. Over time, I gravitated toward the heavier side — blending chaos with precision.

Swizzy: We’ve got similar roots, but I channel mine straight into jump-up. I like building tracks that hit fast and slam hard, with cheeky switches and basses that punch through the mix. Dylan’s got a more textured approach, while I’m all about bounce, attitude, and dancefloor power

You both feature on CSC002, the new remix project from Cyphersound Cartel. How did you first link up with the label, and what made you want to get involved in this release?

Dlusion: After dropping Entity on SoundCloud, I joined a local DnB Facebook group to link with the Northern Irish scene. That’s when Stuart reached out asking if he could remix the track. It was wild — producing had been something I did for fun, so getting that kind of response was unreal. We shared ideas, and he told me about his plans for Cypher Sound Cartel. That kick-started the collaborations.

Swizzy: I wasn’t involved with Entity, but I jumped into the CSC momentum not long after. Once Dylan and Stuart started bouncing ideas, it just made sense to all link up. I brought my own jump-up spin into the mix, and we started firing off projects together. It’s been class ever since.

What was your approach when flipping Fingers and Tincture? Did you have a clear vision from the start or did the track take shape naturally in the studio?

Dlusion: The Fingers remix was all about flipping the mood. The original had that bright, vibey feel, and I wanted to pull it into darker territory — more stripped-back and rolling, with a minimal backbone. I kept the original elements in play, but treated it more like “Fingers Part 2” than just a remix. Tincture came together instantly. The neuro-style bass inspired me to experiment with drumstep and dubstep textures. I wanted to build tension and energy while keeping the original’s feel — that one really let me push the edges of my production.

Swizzy: I took a totally different route with my remix of Fingers. While Dylan made his deep and moody, I went straight for jump-up chaos — bouncier drums, sharper bass stabs, full club energy. Same track, but remixed through a totally different lens. It shows how one tune can split into two very distinct worlds.

You’re known for sharp drum work and weighty basslines. When you start a tune, what usually comes first, and how do you keep your sound evolving?

Dlusion: My process always kicks off with drums — getting that groove locked in helps me build solid low-end and steer the direction of the track. Once the rhythm’s rolling, ideas flow. I usually know the vibe I’m chasing before I start, and that helps my sound selection stay tight and intentional.

Swizzy: Same here — the drums set the vibe. Once I’ve got that bounce, I go full jump-up mode. I build around impact and flow, tweaking the basses until they slap. I experiment a lot, but I trust instinct more than anything. If it sounds mad, it’s staying.

How does being brothers affect your creative process? Does it give you an edge when working together, or do you ever clash in the studio?

Dlusion: Even though we’re both solo artists, that connection is always there. Being brothers means we get each other’s ideas fast — even when we’re producing separately, we’re constantly bouncing feedback back and forth. That trust keeps us evolving.

Swizzy: It’s good knowing I can send Dylan a project and get honest input. He’ll hit me with something minimal, and I’ll toss in wild jump-up edits. That back-and-forth fuels both our styles — even if they’re different, they push us forward.

The Northern Irish drum and bass scene seems to be growing in strength. What’s your view on where it’s at right now, and how do you see your role in shaping that?

Dlusion: Northern Ireland’s DnB scene hasn’t been huge, so watching it grow is incredible. When I started releasing tunes, my goal was to push the heavier edge of DnB — jump-up and neuro especially — since those styles weren’t getting much representation locally.

Swizzy: People here have always leaned toward jungle and liquid, and while that’s solid, we wanted to switch things up. My solo work aims to bring loud, unapologetic jump-up energy into the spotlight — the kind of stuff that gets heads moving and walls rattling.

You’ve played live and had tracks supported on radio. What have been some of the standout moments so far?

Dlusion: Hearing my tracks on The Chill and Nephilim DnB Show was next level. Just knowing the music was being played locally for others to hear gave me a real sense of pride — it felt like a milestone.

Swizzy: A huge moment for me was playing at Me Ma's Waiting Room alongside Rob and Stuart. First time meeting them in person, and the energy that night was unreal. I brought my jump-up crates and the crowd didn’t stop moving — proper vibes, and a night to remember.

Cyphersound Cartel clearly has a strong sense of identity and community. How important is that kind of local support and connection for you as artists?

Dlusion: CSC’s support has been vital. They’ve given me a platform to share jump-up and neuro-driven tracks in a scene that’s still finding its feet. It proves there’s space for heavier sounds here, and it motivates me to keep pushing.

Swizzy: They’ve backed my style from the get-go. Seeing a local label embrace jump-up shows they’re serious about building something unique here. Without that support, it’d be hard to grow beyond bedroom production. CSC makes things feel real.

Do you have more solo material or collaborations in the works? What can listeners expect from you next?

Dlusion: I’ve been deep in solo projects lately — refining the neuro and jump-up fusion I’ve been building. Collaborations with Red Wreath and Chill are also in the works, and I’m focusing on dialling in a signature sound that people recognise right away.

Swizzy: I’m working on new jump-up material that’s sharper and more unpredictable. Bigger basses, heavier drums — all of it aimed at hitting harder than the last. Whether solo or collab, I want my sound to stand out. Get your gun fingers ready.

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?

Dlusion: If I had to pick one track to bring with me, it’d be So Real by Enei and Kasra. Our dad showed it to us when we were younger, and it’s stuck with me ever since. That tune gives me goosebumps every time — pure nostalgia and a reminder of where this all started.

Swizzy: Same track, same feeling. It’s got that emotional weight that hits no matter how many times you hear it. Even though my style’s more wild, that tune shaped my love for bass music from the beginning.

Massive thanks to Dlusion and Swizzy for the interview. CSC002 is out now on Cyphersound Cartel, and both producers have plenty more in the pipeline. Keep an ear out for new solo material and collaborations later this year.