Right, picture this — the year’s gone sideways. The city’s all rust and holograms, smells like oil, ozone, and bad decisions. Industry never stopped, it just got meaner. Blokes with faces only a mother could love still pile into the dens under the rail lines, chasing a bit of bass salvation in a world that’s gone fully bent. “Thrall” ain’t just a dubstep tune — it’s a sledgehammer with rhythm. Dirty low-end that makes the walls sweat. Synths like power tools on the edge of a breakdown. It’s the soundtrack for the underdogs of tomorrow — the ones who nick scrap from corporate scrapyards, spark a few wires, and build a sound system out of vengeance and cheap parts. No neon polish here. Just grit, grease, and a bassline that’ll rearrange your dental work. When the drop hits, you don’t dance, you survive it. In this future, manners are extinct, money’s digital, and the only thing that still feels real is the weight of a tune like “Thrall.” So grab a pint, dodge the drones, and get your ugly mug down to the dancefloor. The world’s gone to hell — might as well a dance on the way there. Previously receiving praise for his productions from the likes of Tipper, Si Begg & Brendan Angelides (ESKMO / Welder) and in the early 2ks, featured in / on ThisSongIsSick, Hearditherefirst, Visual Atelier 8, Beat For Beat, Big Shot Magazine, Cosmonautaradio, Zona Emergente, Grauu and had comparisons to heady producers like Neil Landstrumm, Ital Tek and Andy Page. He’s been featured on labels IOT Records, Addictech, IVDT, MDEX, Crunch Pod, Cyberset, Psyber Tribe, Mechanismz and of course Muti Music.