Esym has carved a reputation for blending cinematic tension with razor-sharp sound design, bridging the emotional and technical sides of drum and bass. His latest release, the Far Beyond EP on VTO Records, captures that evolution perfectly, delivering three tracks that move as one cohesive narrative. We caught up with him to talk about the story, structure, and sonic vision behind this standout project.

What first brought you to VTO Records, and what made them the right home for this release?

I’ve been a big fan of VTO as a label and TRCD as an artist for some time now. TRCD’s music has always found a place in my DJ sets and continues to be so. When VTO reached out, seeing if I’d be interested in working with them for a release, I was excited to start that process. I had half the EP finished already and the story already written in my head, so it was just a matter of finalising the title track Far Beyond to glue it all together. It’s been amazing to work with both Lee and TRCD at VTO.

There’s a strong sense of progression across the EP, like it’s meant to be heard as one journey rather than three separate tracks. Was that intentional, or did the connection between them emerge naturally?

Ah, that’s great to hear! It wasn’t intentional straight away, as I had a story in place when writing Control Your Mind and Blast Burn, but as they were finished and I was writing Far Beyond, the narrative expanded and the tracklisting changed to fit that narrative. Originally, Control Your Mind was the opening to the journey, but over time, I felt that to be the crescendo moment and the climax. Now it feels a lot more cohesive with the growth in intensities, and it's great to hear it has a smooth progression.

Your productions always have a sharp, heavy edge, layered with atmosphere and precision. What was your main focus in the studio this time around?

Ah thank you! I love the contrast between the sharp, precise sounds and the softer atmospheres, and feel it adds extra texture, depth and musicality to the music. My focus in the studio every time is just how do I learn from my last releases or studio sessions and grow as a musician. With Far Beyond and Blast Burn I used some new processing techniques and plugins I don't normally use, and Control Your Mind really pushed the harmonisation of the instruments and got me thinking more about music theory.

Blast Burn opens with real bite. What were you aiming to capture in that tune, and how did it set the tone for what followed?

Blast Burn came together quite quickly once I finalised how I wanted the vocal adlib groove to be. I had other versions where the adlib came in gradually or earlier, but none felt right compared to the one that hits you more abruptly. The tone was set from there and pulled the track into a more techy style compared to a modern neurofunk style.

Control Your Mind rolls with a darker kind of energy, almost hypnotic. How did that track evolve, and what part did it play in shaping the overall mood of the release?

It is definitely more moody than the other two for sure! I love making these anthemic intros that pull my trance influences into the mix so this was a natural evolution of what I like making. It had various versions with intros that were smaller in scale, but it really needed both the intro and drop to harmonise in intensity. Control Your Mind originally was the intro of the EP, but after finishing the other two, it really felt like the climactic end to the release and cemented its place as the closing track.

The title track, Far Beyond, feels like the emotional anchor. Was that always the centrepiece for you, or did it take shape later in the process?

It definitely took shape a lot later in the process. It originally didn’t have much of the emotional flavour to it and was more of a club-oriented / DJ-friendly tune. But late in the production stage, I had an intro written for another track that wasn’t going anywhere, so I decided to resample it and utilise it in Far Beyond. From there, I had the idea flow into the body of the track and I’m really happy how it turned out.

You’ve recently linked with Blackout Music NL, which says a lot about where you’re heading. How has that experience changed your perspective on what you want to achieve next?

Thank you! It was amazing to work with Blackout, and I hope to again in the future. I have only got my foot through the door, and have so many ideas and stories I want to explore with Blackout. My goal in 2026 is to have a solo single or EP with them, so plenty of work ahead of me.

Australia’s drum and bass scene has a real mix of styles right now. How does being based in Perth influence what you create, both musically and culturally?

I feel blessed to have a city so interested in Drum and Bass. It played a massive part in my earlier years, with everyone supporting each other's growth, and even some friendly competition pushing us to create our best work.

Outside the studio, what helps you stay inspired or reset creatively?

I don’t really listen to drum and bass outside of production and DJing. I am a big progressive metal fan, so I listen to that while working or out and about. It’s a similar tempo at times, but musically and structurally different enough to reset my brain creatively. My inspiration comes from what I actively listen to and what artists I feel are trying different things. It gets me to think about how I can use different tools or instruments in my own production.

And finally, you’re stranded on a desert island with one turntable, a generator, and one record. What’s it going to be?

Mirrors - The Ego’s Weight

With the Far Beyond EP, Esym pushes deeper into his cinematic and progressive sensibilities, balancing emotion with surgical precision. Out now on VTO Records, the release marks another step forward for the Perth producer, offering a glimpse of a future sound that feels both expansive and deeply personal.