Interview: In Conversation: Ed:it Returns to Dispatch for DIS200 with the Word Out EP

From early releases on Flexout and Critical to standout moments on Shogun Audio and beyond, Nottingham-based producer Ed:it has carved out a respected place in the drum and bass landscape—balancing musicality, grit, and consistency with ease. His latest project, Word Out EP, lands on Dispatch Recordings as the label’s landmark 200th release, and it’s a full-circle moment for both artist and imprint.

We caught up with Ed:it to hear the story behind the new release, how his sound has evolved, and what it means to be part of this milestone for one of D&B’s most enduring labels.

Your sound has always had a distinct grit and soul to it. What’s the story behind Word Out—where did this one start for you, and what did you set out to achieve with the EP?

The Word Out EP has been a few years in the making. It all started back in 2023 when I sent a few tracks to Ant at Dispatch that sparked the idea of putting together a full EP. He was really interested in the tracks ‘Word Out, Wayside, and Way We Are’. Since then, I’ve been in and out of the studio, crafting loads of ideas and sending them over, and by last year, we locked in the final five tracks, which included ‘Sends and Fuse Plate’. I’m really proud of how it’s come together, and with the final selection of tracks. 

Funnily enough, the timing lined up with Dispatch approaching their 200th release, which felt pretty surreal. My last EP for the label was their 100th ‘Telling True EP’, and that release, especially the track 'Collecting Dust,' was a huge turning point for me musically. So in a way, The Word Out EP is a bit of a full-circle moment and a homage to the label and everything that’s happened since.

Massive respect to Ant and the Dispatch crew for reaching such a milestone. We've already joked about me coming back for the 300th, and knowing my pace, it might take that long! Haha. 

This marks a big moment for Dispatch too—DIS200 is a serious milestone for the label. What does it mean to you to be the artist behind that release?

It feels amazing. I’m genuinely grateful and proud that this EP marks such a significant milestone as Dispatch's 200th release. When I first started producing, the label had a massive influence on my sound and inspiration. It shaped so much of my early journey into releasing music and still does to this day, and I hope it might even go on to inspire others in the same way. The label has always been a cornerstone for talent, from the pioneers of the scene to fresh, emerging artists. I’m honoured to be part of that legacy and excited to represent the label again. 

After a couple of quieter years, you've come back with a real sense of focus—how did the time away from releasing affect your approach to producing and creativity?

​​For me, producing music has always come in waves of inspiration and creativity. I spent years trying to fight that, wondering why I couldn’t just sit down and write consistently every day. But over time, I’ve learned to accept and work with my natural pace instead of against it. Taking breaks from writing has helped me return to the studio with a fresh mindset and far less pressure. That’s usually when my best ideas come out, when I'm not forcing it, and I have the space to experiment. Sometimes that means diving into sound design or building sample libraries instead of focusing on finished tracks. Having the freedom to create for myself, without tight deadlines or expectations, has really improved my workflow and enjoyment. That said, every artist is different. It’s all about finding the right pace and process that works for you.

The Silhouettes LP was a landmark release for you back in 2019. Since then, how has your sound evolved, and where do you feel most comfortable creatively right now?

Silhouettes was definitely a landmark for me, and since then, my sound has naturally evolved into something darker and more tech-driven. Looking back through my ideas and projects from the last few years, there’s a clear shift toward more aggressive, rolling styles that have been influenced by artists like Ed Rush & Optical, Intalex, early Break, Noisia, Breakage, and that whole Quarantine Recordings sound. I’ve enjoyed following that path, both in the studio and behind the decks. Something is refreshing about leaning into a sound that feels raw, organic, and less polished, especially when the scene can feel a bit saturated with overly melodic or overly clean productions. It’s been a bit of a return to where it all started for me. That said, I’ve also been enjoying writing some more liquid material recently, so things might shift again; they always do. I try not to force a certain vibe when I’m writing; I’ve learned to let it flow and see where the inspiration takes me. Not every track needs to be released, and there’s a real freedom in exploring different styles without pressure.

You're known for that balance between musicality and weight. Has your production setup or workflow changed recently, or are you still trusting the same instincts that got you here?

A couple of years ago, I switched over to using Reason as my main DAW, and that’s definitely influenced the way I create. I love how quickly you can get ideas down and manipulate sounds, and it’s got that rackmount-style workflow, which gives you a more hands-on, modular feel. It’s maybe not for everyone, but I’ve really enjoyed experimenting with it, and it’s definitely boosted my productivity and creativity. Beyond the technical side, though, I think it comes back to what I mentioned earlier, just trusting the process, writing for myself, taking breaks when needed, and letting things flow naturally. For me, it’s all about enjoying the process of making music and treating it like an art form rather than chasing trends or deadlines.

From early releases on Flexout and Critical to headline slots and remixes for legends like Total Science and DJ Marky—looking back, are there any moments that stand out as turning points in your journey?

One moment that really stands out was a set I played a few years back at Phonox in Brixton for Shogun Audio. It was the graveyard shift, around 4 or 5 am, and the energy in the room was unreal. I had my good mate Rich Visionobi on the mic, and it just turned into one of those sets where everything clicked. The crowd was fully locked in, and the atmosphere in the room was electric from start to finish. It's a memory I’ll always look back on fondly. Those moments remind you why you do it.

We’ve seen you shell it at venues like Fabric, Printworks, Hospitality, even Tomorrowland. How does your DJing influence your studio work—and vice versa?

There’s definitely a focus I get into when writing music that DJing shapes, everything from the energy, track structure, length, and how mix-friendly the tune is. It’s always in the back of my mind, especially coming from a background of mixing on vinyl and playing those longer, rolling tracks. That said, I’ve been trying to break away from the usual formula lately. I’ve been experimenting more with structure and style, just pushing myself to try new things. It’s easy to fall into habits when writing for the club, but I’ve found it refreshing to explore different approaches and not feel boxed in by the 'DJ-ready' mindset all the time.

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?

Oh man, that’s a tough one. There are so many incredible tracks that I could listen to repeatedly and never get bored. But if I had to pick just one, it’d be Calibre – Bullets featuring Diane Charlemagne. I have such strong memories tied to that tune. It was one of the tracks that truly inspired me to start producing drum and bass. The whole Second Sun album is special, but Bullets in particular still gives me chills to this day. To me, it’s a timeless, beautiful, and eerie piece of music. I could happily have that on repeat on a desert island.

Can I give a few shouts?

Of course, go for it!

Big thanks to you, Toby, and to Drum and Bass UK for the interview. Huge respect to Ant at Dispatch for bringing me in for the 200th release and for always backing my music. It’s been an absolute pleasure. Cheers 

You’re very welcome, Ed.

Huge thanks to Ed:it for taking the time to speak with us. Word Out EP is out now via Dispatch Recordings, marking the label’s 200th release in style.

Don’t miss it—stream or grab your copy now.