IN CONVERSATION WITH DISMANTLE
Interview by Samo Šajn
Dismantle is a Bristol based DJ and producer celebrated for his unique approach, blending dubstep, house, jungle, and jazz into a sound that is unmistakably his own. Since his breakthrough at 18 with Computation, Dismantle has co-founded Watch The Ride, explored experimental sounds under Nuff Pedals. His upcoming Warehouse Project EP, Reflections, captures his journey, combining deep bass, melodic highs, and the full range of his musical influences.
What inspired you to make Reflections and why does now feel like the right time for it?
Essentially, I wanted to make an EP that showcased my journey as a producer and brought in new elements and sounds I hadn’t explored before. It felt like the right time because having an imprint like Warehouse Project / Disorder picking up your work is such a big moment. It felt natural to bring all these sounds, experiences, and influences into one body of work. The inspiration was really just about being as creatively free as I could be. I’m very grateful I’ve been able to bring this project to life with that in mind.
Your new single ‘Tomorrow Will Be Different’ has a reflective, soulful vibe. How did that track come together?
I had a studio session in London with a vocalist called Lily. We spent a couple of hours bouncing ideas around, and I played her some tracks from my EP on my label, Stations. She connected with the intro of a track called Unfolded. With about half an hour left, I quickly laid down some MIDI strings in Logic, added Rhodes flourishes for melody, and dropped in the bassline you hear in the breakdown.
Lily wrote and recorded the vocals you hear on the final version. It was one of those special studio moments where everything clicks. As soon as the bass came in under her first few phrases, it felt right. I suggested she sustain one word, and she nailed it straight away. From that moment, it was obvious the track was going to evolve into something soulful.
You mentioned digging up old demos and learning new tools for this EP. What was the hardest part of making it, and what was the most fun?
The most fun is always the initial creative process, building the first demo or track. That can happen throughout a project too, like re-writing a section or taking a part of a tune somewhere new. For example, there’s a track on the EP with a hip-hop/jazz nod where I had to rethink the second half to get the arrangement I wanted.
Tomorrow Will Be Different started off as something breaks-driven before I decided to turn it into a deeper, more housey track. Bringing new life to old demos is always fun but keeping the vibe while re-engineering old projects can take a lot of time and energy. I felt this with Bleek, which came from 2020-21 demos. The sound selection back then wasn’t great, so I needed to elevate it while keeping the lo-fi grainy vibe intact. The hardest part is usually final tweaks and learning to let go. I never feel there’s a perfect moment to finish. Funny enough, I love mixing other people’s records, just not my own.
UK bass is having a big moment again. How do you see your place in this new wave?
It’s great to see the scene doing so well, both in the UK and globally. There’s a kind of unity across different pockets, and line-ups are really varied these days. I see myself somewhere in that mix, trying to bring something different through both my production and DJing. I like to take elements from all subgenres, garage, breaks, house, and try to make them fresh. Everything’s been done to some degree, but I hope my angle brings cool ideas and results.
You’ve produced everything from dubstep to house to jungle. How do you keep your sound your own across different styles?
I sometimes ask myself the same thing, will people get it? But the people I work with usually know if it’s me. I’ve learned a lot from writing jungle and DnB and working with Die and Randall. Taking traits from one genre and using them in another helps me keep my sound consistent.
You’ve mostly kept the name Dismantle for all your projects. How did you choose the name and what does it mean?
Haha, not much of a story. I heard the word on an old grime tape pack at school, maybe 2006 or 2007. One of the MCs said “dismantle,” and I liked it, it stuck. I used to go by Wilf K when mixing DnB in my bedroom, so I’m glad I changed it.
Looking back, what moment in your career so far has shaped you the most?
There have been a few standout moments. Computation being played in 2011 and 2012 was huge, starting with Kutz and N Type, then Skream and Benga, and eventually Annie Mac on Radio 1. That took me from a bedroom producer to playing shows around the UK and Europe.
Working with Shy FX, Breakage, and B Traits at Digital Soundboy was another big chapter, 2011 to 2015. Playing shows and releasing EPs with them was surreal as a 19-year-old.
Starting Watch The Ride with Die and Randall was another milestone. We worked on a track with D Double E and later with Nia Archives for Mash Up The Dance, which hit Radio 1’s B List, massive moments for all of us.
Learning keys and jazz theory under Nuff Pedals completely changed how I approach production, letting me translate ideas quickly into tracks. Writing DnB with Watch The Ride also pushed my engineering skills. It was not easy, but it shaped me into the producer I am today.
How has growing up in Bristol influenced your music?
I actually grew up in Brighton but moved to Bristol at 22. I’ve been here nearly 12 years, a big chunk of my career. Bristol is home, and being around the culture and people here has definitely influenced my sound. Moving here felt like the right change at the right time, and there are traits of the classic Bristol sound in my music, no doubt.
Your DJ sets, like at Glastonbury and Phonox this year, show a lot of range. How does playing live connect to the way you make tracks?
The first thing I think is, “how does this sound out?” Some tracks, like Feature Presentation or Pan, were built for places like Glastonbury, fun, energetic moments. I like to mix fast and create those moments in my sets.
With this EP, I’ve tried to go beyond just club-ready tracks and include other aspects of music and ideas I have. My DJ sets reflect that too, mixing the dancefloor energy with more introspective elements.
What do you hope people feel when they listen to Reflections? And what’s next for you after this release
That’s up to the listeners. I hope core fans appreciate the different angle here, it’s not just straight-up bass club music. I’ve bundled in influences from my 15 years in the game, from early 2010s sounds to Nuff Pedals and jungle/DnB techniques.
Right now, I’m back to writing new demos, which is refreshing. I may revisit earlier works or styles next, and I’ve got some very cool features lined up for next year. Keep your eyes peeled.
