French producer Vici has built a solid reputation through releases on Blackout Music NL, Eatbrain, and ProgRAM. Now he makes his debut on Evolution Chamber with his new single Never More / Shades of Light. We caught up with him to talk about the inspiration behind the release, his recent collaborations, and how storytelling continues to shape his sound.

You’ve built a solid reputation across labels like Blackout, Eatbrain and ProgRAM. How does it feel to now be releasing your first single with Evolution Chamber?

First of all, thanks so much for the invitation and the kind words! I’m super happy to be releasing a single on Evolution Chamber — it’s a label I respect a lot, with consistently high-quality releases.

Never More blends precision and emotion in a way that feels very deliberate. What inspired the journey and sound design behind that track?

What inspired this track was really the desire to push further into the musical side of my production — something I’d struggled to fully express before. I’ve often made tracks for the dancefloor, but this time I wanted to go deeper and really tell a story through the entire arrangement, while still keeping a powerful drop that hits hard in the club. To achieve that, I had to blend technical bass sound design with atmospheric, dreamy instruments, and I’m really proud of how it turned out!

There’s a real cinematic build-up before the first drop in Never More. Do you approach arrangement with visual storytelling in mind?

For this one, I didn’t have a visual concept in mind for the storytelling, but I knew from the start that I was producing it to close out my DJ sets. I really love having special outros for the end of my sets, so I put all my energy into making a track that tells a story from start to finish.

Your collaboration with īnkūbe on Shades Of Light adds an emotional dimension to the release. How did that track come together between you both?

Vici: Both tracks from the single were produced around the same period, which helped keep a strong sense of coherence between them. For this one, though, I felt it needed a powerful vocal on the drop to complement the bass and the big synths, so I reached out to īnkūbe for that!

īnkūbe: Victor sent me the track and I instantly loved its evolution, the way it moved between two distinct parts and emotions. He wanted me to sing on it with a higher-pitched tone, which was quite a challenge for me at the time since I’m more used to lower notes. It was also my very first drum and bass track, and somehow it just felt right that it would be with him. We built it layer by layer, always searching for that balance between vulnerability and strength, between the organic warmth of the voice and the weight of the textures.

īnkūbe’s vocal performance is powerful yet subtle. What drew you to working with him again, and how do you shape vocals to fit your production style?

īnkūbe: Working with Vici always feels natural, we share a similar sensitivity for atmosphere and storytelling, and being close friends and coworkers makes everything easier and genuinely fun. When we collaborate, we love shaping the vocals not just as a topline, but as part of the sound design, stretching, layering, distorting them until they almost blend with the synths. With Shades of Light, it was all about finding that sweet spot where the voice feels both human and ethereal.

Vici: I pay a lot of attention to vocals when I work with singers — I really treat the voice as an instrument in itself. That means I’m not afraid to apply heavy or experimental effects to make it fit perfectly with my production style.

Earlier this year you dropped your debut album Flashover on Neksus Sound. How did that experience influence your mindset going into this new single?

The experience of working on this project taught me how to create cohesive releases, where every track has its place and tells part of the story I want to share. I’ve learned not to include a track in a release just because it sounds good — it has to make sense in the bigger picture.

You also recently remixed Noisia’s Running Blind. What did tackling a classic like that teach you about your own sound and technical process?

Remixing such a classic really changed the way I approach remixes — how to honour the original while still bringing in your own sound. It was a big challenge, but I came out of it much stronger!

Your catalogue spans a wide range of labels, yet your sound remains distinctly your own. How do you balance adaptability with artistic identity?

Thanks so much! It’s been a long process to build a sound that truly represents me, and then adapt it to fit the different labels I work with. Now, when I produce, I just let things flow — and when I feel a track leaning toward a certain direction, I already know which label it might suit best.

Evolution Chamber is known for pushing boundaries within neurofunk. What do you think aligns your music with their vision?

I sent these two tracks to Evolution Chamber because I felt their sound and vision would resonate with this direction — energetic, story-driven, and musical.

France has a strong drum and bass community right now, from producers to collectives. How has your local scene shaped your journey so far?

I’m so proud of what France has become in terms of producers and crews! There’s been huge growth over the past seven or eight years. It allowed me to meet amazing people early in my career — like The Clamps, who trusted me right after my first release when I was just starting out. That taught me that we have a beautiful and supportive scene, and it pushed me to never give up. The same goes for the collectives — they believed in me from the beginning, which helped me play all over France in my early years on the scene.

If you were stranded on a desert island and could only take one drum and bass release with you, which would it be and why?

Wow, this one is hard! Probably Mefjus – Manifest. My favourite album so far!

Vici’s single Never More / Shades of Light is out now on Evolution Chamber