There is a restrained confidence running through Transition, a track that unfolds patiently rather than chasing immediacy. Bringing together Miss Medik, DRUMMA and vocalist FJ, the collaboration feels deliberately balanced, with each contributor occupying clear creative space. Released via SOULTRIBE MUSIC LTD, the record leans into emotional weight, textured breaks, and subtle melodic movement. We caught up with all three to talk about how the track came together, the dynamics behind the collaboration, and where their heads are at right now.

Transition balances movement with a real sense of emotional weight. When the idea first appeared, did that balance already exist, or did it take a few wrong turns and reworks before it felt right to all three of you?

Miss Medik: I wrote this production so long ago, and it was just an instrumental for ages, but I knew something was missing. When FJ approached me about a collaboration, I knew this was the track we’d work on together. Her vocals really fit with the track. Once we had FJ singing I still felt like it needed some technical work so I approached DRUMMA and he offered to help our on finalising it with his amazing technological skills. When DRUMMA and I work together, my strengths are creative composition, and his are technological with drums, sound design, and mixing, so we work as a really good team. I’m also not so good with producing vocals, so Alex did that for me once I sent the whole project over to him.

DRUMMA: Yeah, I like how I produced the vocals.

There’s history between some of you, but bringing this together as a three-way collaboration changes the dynamic. How did the roles actually shake out in the studio, and did anyone find themselves stepping outside their usual lane?

Miss Medik: Our roles were all quite clear, which is a really good thing because often when people have similar strengths, it can get a bit messy, but we complemented each other so well that the collab was quite seamless in the actual putting together of it.

The tune carries melodic echoes of earlier drum and bass without leaning on nostalgia. Was that something you were consciously aware of as you worked, or did those references only reveal themselves once the track started to settle?

Miss Medik: I got into drum and bass around 2007 when Intelligent DnB was a huge part of the scene. So I think naturally I am influenced by that kind of earlier DnB, however, it wasn’t a conscious thing. I was hugely complimented by Soultribe comparing it to If We Ever and Take Me Away as they are some of my earliest memories of drum and bass.

DRUMMA: Yes, there are nods to earlier DnB coz everyone says I make 00's Dnb! There's a lot of influences from people like High Contrast , Netsky and London Elektricity with the stuff Hannah and I produce, and I'm only now hearing it.

There’s grit left in the breaks and textures, especially compared to how polished a lot of current drum and bass can be. Was there any debate around when to stop refining, or did you all instinctively agree on where that balance should sit?

Miss Medik: DRUMMA has quite a gritty style to his mixing, so he did his thing, and I am always such a fan of what he does that I enjoyed this stylistic choice. Although I’m not sure it was a choice, perhaps more of the kind of thing we both enjoy in the genre. DRUMMA does some really cool stuff with breaks and drums, as he is a drummer himself.

DRUMMA: I do everything on feel. I didn't notice how I don’t over-polish the breaks and synths until you pointed it out, and yes, this is now intentional, it's how we like them sounding.

FJ, your vocal feels completely woven into the track rather than sitting on top of it. When you first heard the instrumental, what did it suggest to you emotionally, and how quickly did the lyrical direction take shape?

FJ: Thank you so much, that’s lovely to hear! I really took to the instrumental as soon as I heard it. It was already called ‘Transition’, and so I took inspiration from this and wanted to write about my personal experience. I’ve always struggled with change; I think it’s related to my diagnosis of OCD. I have been working on trying to accept that change is inevitable, though, and can actually be a positive thing.

For the producers, once the vocal was on the table, did it change how you approached arrangement and space, or did it confirm choices you were already leaning towards?

Miss Medik: No, we actually kept the arrangement as it was, and FJ’s lyrics just sat perfectly in the track.

Lyrically, Transition touches on change, uncertainty, and that uneasy moment before things shift. Were those ideas drawn from personal experiences between you, shared conversations, or more from the wider mood of life right now?

Miss Medik: I sent the track to FJ as a file already named Transition, and she summed up perfectly the kind of uneasiness one feels during change.

FJ: For me personally, as I said above, change is something I’ve found very hard to cope with. I have gotten to know Hannah quite well, and we have had shared conversations about these topics, and I’ve found it to be really helpful.

This is your first interview connected to Soultribe Music, and it feels like a natural fit for the record. How involved have they been around the release, and did their early enthusiasm influence how confident you felt about the final version?

Miss Medik: Soultribe have been unbelievable in their promotions and involvement in our release. I am so impressed and think we will see big things from them as a label. The work and commitment has been fantastic.

FJ: In my view, the whole experience with Soul Tribe has been amazing! I’m so impressed with Samuel and all he has done to promote the release, along with Lee UHF from Show Me Ya Dirty Face Music PR. Samuel has been so invested in this project.

You’ve each moved through different parts of the scene in your own ways. Looking at drum and bass as it stands today, does it feel like a space that still leaves room for subtle, emotionally led tracks like this?

Miss Medik: The mainstream of drum and bass is very different to the more underground places of the scene. I love all areas of it and think DnB offers something for everyone. There is a huge space for emotion in drum and bass. I’m a part of the orchestral/liquid part of the scene, and it’s such a beautiful thing to be involved in. I think it is a growing movement within the scene, and I can’t wait to see how it develops over the next few years.

FJ: I’ve only been writing and singing in the drum n bass genre since 2023, but straight away I was made to feel so welcomed and supported. It’s been heartwarming, to be honest. There seems to be a lot of love for liquid drum n bass and subtle, emotional vocals.

Outside of making music, what’s been feeding your creativity lately? The everyday routines, the distractions, the stuff that sneaks in sideways rather than announcing itself.

Miss Medik: Nature is a huge inspiration for me. I have a camper van that I love to go out and make music in, on top of hills and by the beach, and just anywhere with lovely scenery. I find a lot of inspiration in film scores as I am a movie nerd.

FJ: I really enjoy the simple pleasures in life. I love walking and spending time at my local community cafe, photography, cloud gazing and daydreaming.

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

Miss Medik: More than a Lot – Chase and Status

FJ: If any genre is allowed, then it would have to be The Love Invention by Alison Goldfrapp.

Solid choices, and a massive thank you to Miss Medik, DRUMMA, and FJ!

Transition captures a moment of shared sensitivity between three artists approaching drum and bass from different angles but with a common emotional language. Out now on SOULTRIBE MUSIC LTD, the track stands as a reminder that subtlety, space, and feeling still have a vital place within the genre’s evolving landscape.