Rift re-emerges with Black & Gold, a brooding and meticulously crafted EP for Dispatch Recordings. Blending early 2000s influences with contemporary sound design, the release marks both a sonic and personal shift. We spoke with him about rediscovering his artistic core, drawing from visual art, and shaping music that’s as emotive as it is functional.

You’ve spoken about taking a step back from production to reset your creative direction. What prompted that break, and how did it shape the sound of Black & Gold?

I hit a bit of a wall creatively back during lockdown, and found myself not really liking what I was producing at the time. Most of what I’d been making was just designed to work in a club setting, but I felt they weren’t really particularly interesting pieces of music in their own right. Years ago, before I started producing D&B, I was primarily producing future garage, which has far more focus on the atmospherics and mood of the music, and also has a certain rawness to it too. I wanted to return to those roots, and start bringing that depth and tone back into the music I am making now, and that was really what was at the heart of this EP.

The EP channels the mood of early 2000s drum & bass while keeping a modern cinematic edge. Which artists or records from that era were guiding your mindset during the writing process?

There’s quite a few that fed into my thinking while producing these tunes. Tracks like Cause4Concern ‘Bedhead’, Total Science & S.P.Y ‘Legion’, and Hive’s ‘Break The Cycle’ definitely had a big impact on me around that time. I love the swing in the drums and rhythm on these, as well as the balance between gritty low end and all those floating leads and pads. I was listening to a lot of Artificial Intelligence and Bungle at the time as well. There were a few other influences outside of D&B too that played their part, like Burial’s ‘Burial’ album and some of Breakage’s more moody tracks like ‘Vial’ and ‘Shroud’.

The visual art of Bill Elis played a major role in inspiring the title track. What was it about his work that sparked the creative spark for Black & Gold, and how did that visual influence carry through the rest of the EP?

I feel like Bill’s art sits in this grey space in between those more clearly defined emotions. There’s something there which is quite dark and ominous, but also mystical and even melancholic, all at the same time. They’re both awe-inspiring and terrifying - what you feel from it is complex and hard to pin down properly. Different art forms are like different languages. It can sometimes be hard to fully convey more complex feelings or thoughts only using one medium, you only ever get part of the picture. But bringing together multiple forms, if it’s through visual art or music or anything else, you have more pieces of the puzzle and can see things more clearly. I think I connected a lot with his art as it felt like his art and my music were different perspectives of a similar story, trying to send the same signals from different angles. I started making Black & Gold based directly on the connection I had with his art, and the title itself is a nod to his colour palette. The rest of the EP was shaped through that connection I felt.

Each tune has its own identity, from the brooding tension of Teardrops to the rolling energy of Sinners. Did you approach these tracks as individual pieces or as part of a bigger narrative?

So the first track I made on the EP was Teardrops. This one was very much done as an individual piece at the time, I hadn’t put too much thought into what I was going to do with it really. Around the same time Black & Gold started to come together, and that’s when the first real thoughts of making a more cohesive EP started forming. I recognised that Teardrops actually had a lot in common with Black & Gold with its moody, haunting pads, so they seemed to fit together naturally. After that the other three tunes were made pretty much instantly, as by this point I was moving with a much clearer idea of how I wanted this EP to look. I wanted to take different approaches sonically but sustain that same underlying aura across the tracks.

Your music feels detailed yet restrained, where atmosphere plays as big a role as rhythm. How do you find that balance between storytelling through texture and keeping the dancefloor energy alive?

I’ve always loved tracks that are a bit more subtlety to them, that are subdued but still have a driving energy and detail that carries them through. I’ve definitely embraced that approach with my tracks much more recently. I don’t think tracks need to be big, loud and in your face to make an impact; I’ve always preferred tracks that can put you into a bit of a trance, that try to hypnotise you. Those types of tracks are always going to lend themselves to having a bit more depth and atmosphere to them. They need to hold back a touch so there is the time and space to evolve and develop properly, and progress through more of a journey.

You’ve mentioned that Philth played a big role in supporting and shaping this release. How did that connection come about, and what kind of impact did his feedback have on the final versions?

Originally we connected as I’d decided I wanted to get some tutoring for production. I’d been entirely self taught for about 10 years, and felt like I had hit a bit of a ceiling with my progression (this was around the same time during lockdown I mentioned before), and there were some skill gaps I was struggling to advance myself. Phil came highly recommended to me from a few friends so I reached out to him and we had a few sessions together. That’s progressed into a bit of a mentorship now really, and we still catch up every few months. When I got started on the tunes for this release he massively helped with getting my motivation back and just enjoying producing for the sake of making music. With the tracks themselves, he really helped push me to refine the tracks more, and encouraged me to give all aspects of the track the attention they need. The tracks feel more ‘complete’ and well rounded than my previous work, and I feel much more fondness towards these pieces as a result.

You’ve called this EP a fresh chapter in your sound. Beyond the music itself, has your mindset or approach in the studio changed since you started this new phase?

Yeah I think things have definitely changed. I now make my tunes ‘backwards’ compared to before - I used to always start with the drums, as I enjoy making them the most and I always want to have a good underlying rhythm to the track, but I’d often struggle to tie a track together with the right intro or musical elements to match it. I prefer to start with setting the tone and mood now, focusing on the music side first and building the drums and basslines in after. It has definitely helped with honing that ‘story-telling’ aspect to the tracks, as the story is quite literally where it all begins now, and I’ve found I actually enjoy my own music more (which as a perfectionist who never likes his own music, is a nice change).

Dispatch Recordings has a long reputation for pushing intelligent, weighty music. What does releasing on that label mean to you personally at this point in your career?

It’s huge for me really. Dispatch has been a very important label for me for over a decade, in shaping both my taste in music and influencing the music I make. So many producers I love have called the label a home, with many of my favourite releases by them coming out on Dispatch, whether it’s Amoss or DLR or Mako, so it feels very special to be able to be a part of the label. It felt like the perfect place to go given the direction my music has taken in recent years, so I’m really pleased to be able to work with them on this. Musically the EP felt like a fresh start for me, and now the record is coming out it feels like that fresh start is now a reality.

The rollout starts on Beatport before general release. How do you see digital platforms shaping the way underground drum & bass reaches listeners today?

It’s an interesting balance really. I think digital platforms obviously offer a great way to share music widely and reach people that might otherwise not stumble across your music. They’ve certainly done a lot for me over the years, particularly platforms like SoundCloud. I do feel like things have changed a bit in the last 2-3 years though. I’m finding myself struggling more and more to find music I really enjoy, and there is a lot more saturation across music in general, not just drum and bass. It seems more and more like you have to play the algorithm to be able to cut through the noise and reach people, which tends to work against people like me that aren’t that outgoing or active online. I think at times like smaller communities, smaller clubs, groups of friends, become so important in keeping the underground driving forwards and helping to bring the music forwards to people.

With Black & Gold marking a new creative phase, where do you see your sound heading next? Are there ideas or collaborations already forming beyond this release?

I think that moody, cinematic sound that I’ve gone for on this EP is definitely something I’ll be continuing to work with realistically, I really love making this kind of stuff. I do seem to be making increasingly jungle-y tunes too which has been a nice change of pace too. I’ve got a few more releases planned for nearer the end of the year/early 2026, which I’m looking forward too. I’ve also been lucky enough to have started a few collabs with producers that I absolutely love and have been listening to for a long time, so hopefully those will get finished up soon. I’ve been enjoying working with Cause4Concern and Four Corners a lot recently, so you can definitely expect to see more tunes from me with those guys for sure. And fingers crossed I’ll be back with Dispatch again soon too!

Finally, the classic one. You’re stranded on a desert island with a solar-powered turntable. Which drum and bass record is keeping you company until rescue arrives?

That’s a very tricky one! I’m gonna have to go with Calyx ‘No Turning Back’. It’s such a great album, so much energy throughout it and I don’t think I’ve managed to go more than about 2 weeks without going back to it since I first heard it!

With Black & Gold, Rift brings renewed clarity and weight to his sound, balancing cinematic tension with understated dancefloor energy. The EP stands as both a personal and creative milestone, cementing his place among Dispatch’s most forward-thinking voices. As he looks ahead, that blend of depth and groove promises even greater things to come.