Stateside drum & bass is hitting some major heights right now. Events getting bigger, producers pushing boundaries, new generations of stateside heads are hitting the dancefloors. The cultural DNA of drum & bass is spreading, and Philadelphia born Des McMahon has recently packed an everlasting punch after laying down his hugely successful full spectrum album, Ethos.
11 electrifying ensembles featuring collaborations with McMahon’s former work colleagues Kerry Leva and Julien Lane, Philadelphia jazz stalwart Korey Riker, and former student of McMahon’s, Georgie, ensured Ethos peaked at number 2 on the Beatport release charts.
In the conversation below, Des talks of his unlimited appreciation for Reid Speed and Play Me Records, the label he used to manage during some of his time living in Los Angeles. Also the label he properly cut his teeth at to inspire something which could happen in the not too distant future.
The deep discussion beneath delves into the mind and creative process behind Ethos, the US drum & bass scene, Play Me Records and his massive future plans. So be prepared for a look into one of North America’s driving forces of drum & bass, Des McMahon, the floor is yours…
Des, congratulations on the success of Ethos, how long was this in the making?
About five years, however, it didn’t originally start with the intention of being an album. Around 2018-2019, after recovering from a severe injury and regaining full function of my right arm, I wanted to change my approach to drum & bass, which was at a weird point in 2018. I began working at Icon College of Music, a music production and music business university in Los Angeles, and aimed to create higher quality, more minimal drum & bass. I wanted to move away from dancefloor-oriented music and focus on intricate, detailed production. I admire the minimal style from producers such as Icicle, Alix Perez, DLR, Amoss, and Break but also love well-done modern neurofunk, like those by Ed Rush and Audio, and found the middle ground less appealing. The pandemic opened a door for many artists to create extensive music catalogues. I moved back to Philadelphia and set up a studio in my parents’ house. Initially, I struggled to get back into music and even considered quitting. By 2020-2021, I had drafts for 4 or 5 songs and decided to expand it to an entire album, though it took longer than expected. In 2022, I invested in my studio, upgrading from an old 2013 iMac to a Mac Studio. This investment was crucial as it’s challenging to write an album on a dying machine. With new equipment, I transferred all projects and felt ready to complete the album. My goal was to showcase a variety of sounds that have brought me to this point in music production, and I believe we achieved that.
You definitely did! Would you say this was an experimental project for yourself?
I’m always experimenting with processes in music that aren’t just exclusive to studio work. Whether it’s an EP, a single, or an album, I try to learn from each process from the very beginning of drafting a tune all the way to post-release plans. In 2021-2022, I started releasing material under my own personal imprint, Des McMahon Music. Having previously worked as a label manager at Play Me, I wanted to apply the knowledge I gained there to my own releases. Coming from Philly, which has a strong DIY culture, I always had the idea of managing my releases independently. I enjoy learning from each experience and an album was a significant goal on my bucket list, so I set that goal about 2 or 3 years ago. I wanted to experiment with producing an album, handling PR, and managing the marketing myself.
Love this! Where do you find creative inspiration from for a project like this?
A lot of the inspiration for this project came from moving back home to Philly. My hometown has a rich history with drum & bass since the 90s, with events hosted by Dieselboy and DJ Trace and other names who raised the bar for us such as Mason, Karl K, Jae Kennedy and more. This connection between Philadelphia and the UK gave me pride in my roots, as many of my friends are from Philly and nearby Baltimore. My earliest mentor Freddie Freeman (aka Illy Emcee) was an MC for Dieselboy’s parties in the 2000s. When it was taboo to write drum & bass during the 2010s EDM boom in the US, Fred supported me unconditionally. He taught me the history of drum & bass in Philadelphia and drum & bass as a whole, highlighting connections between the UK and the East Coast. Having lived in DC for 8 years and LA for 4 and a half years before returning to Philly, I wanted to express East Coast melancholy through my music. Philly’s gloomy winters and dark reality is juxtaposed by its rich heart and soul. I also have a strong connection to jazz, and Philly’s jazz history ties into the city’s melancholy. Much of US drum & bass is dancefloor-oriented and bright, which never resonated with me. I wanted to put a stamp on what I believe I am as a producer and how it relates to where I’m from and where I’ve lived.
Would you say that the American scene is starting to spread its wings more now on a bigger scale?
Yes. Last year, I was concerned that everyone was leaning towards mainstream drum & bass for the sake of clout and hype. While there’s plenty of that, I’m now seeing more Americans digging deeper into the genre, which is a much healthier sign. When you come to the States, you often hear comparisons to the Skrillex effect with dubstep in the 2010s. In 2016, I noticed many UK dubstep producers moved to LA because the scene was more lucrative in the US. I didn’t want to see drum & bass watered down similarly. Some people might think it’s already happening, but there are those who are preserving the core ethos of drum & bass. This inspiration partly led to the album title. Along with my mentors and others mentoring upcoming producers, I’ve seen heaps of people focusing on deeper, darker drum & bass, whether it’s minimal, liquid, neurofunk, or something adjacent to jungle.
Love to hear this! There’s a few collaborations on the album. Can you tell us a bit about them?
Let’s start with Kerry Leva. I met her while working at Icon College of Music. I’m very picky with vocalists, but I remember hearing Kerry on trance records during my college years. In 2015, while still in DC, I emailed her about collaborating. As luck would have it, years later we ended up working at the same place. She was teaching music theory and mentoring vocalists. We connected, and I asked her if she could recommend any vocalists for collaboration. To my delight, she offered to get involved with the first draft I sent over. We started working on Out Of Time in 2019, and it took almost 5 years to complete. It did very well on Spotify and Beatport, becoming the most streamed track from the album. Moving on to other collaborations, I worked with Korey Riker and Julien Lane. Julien and I used to work together at a music store near Washington DC. I was impressed by his keyboard skills and asked him to teach me a few things. We stayed in touch, and I sent him an early draft of something which he added keys to in 2021. A year later, I met Korey Riker, John Legend’s touring saxophonist and a notable figure in the Philadelphia jazz scene, as well as an avid drum & bass fan. I first encountered him through Kemal’s Twitch streams during the pandemic. We connected and had lunch after I reached out. Our friendship grew, and it was clear that Korey was the missing piece on the tune I had originally started with Julien. Lastly, I collaborated with Georgie, a former student of mine who developed a passion for UK garage. I sent him some stems after leaving LA, and in 2021, he sent back something amazing. After compiling all the collaborations, it was very clear that the body of work I had prepared belonged in an album.
Amazing to hear that you’ve collaborated and worked with artists where the relationships go back all those years, full circle moments!
It’s all very personal to me, I’m always trying to collaborate with friends. For example, my friend Cameron, who goes by WAVHART, we write a lot of music together. We released some tracks at the end of 2023. Cameron has become an absolute technical genius. His appetite for learning how to write better music has no end. When I work with Cameron, I don’t have to worry about technical ability, which is a privilege. However, I never limit collaborations based on technical skills. If someone has a good idea and we click, I try to bring them into the studio and get them involved in writing music. A successful collaboration can significantly boost someone’s career and I find it important to spread the knowledge and resources to like-minded people.
Hopefully it will! How does it feel knowing that Ethos has been so well received?
It’s a relief honestly. I spent the week of its release worrying about how the album would perform and was thinking of all the ways it could go downhill. But seeing the immense amount of support by the following week made me feel absolutely relieved. Getting the album out was a bucket-list goal, but I didn’t expect it to perform so well on Beatport. I was shocked to see it peak at second place on the drum & bass releases chart, especially since I was ahead of major names and compilations. It feels amazing to have something out there that will be associated with me for a long time.
The stars are aligning! Let’s talk about your relationship with Play Me Records…
I’ve been incredibly fortunate to have the unwavering support of a scene legend like Reid Speed. She’s done more for me than anyone else in the music industry. I started releasing with Play Me a little over 10 years ago, before I fully committed to producing drum & bass. Back then, I was a much more versatile DJ and producer, playing and producing all different types of bass music. In early 2013, Reid and I were both supporting one of the last dubstep shows that Skream played during that era. My friends had always spoken highly of Reid, and although my earlier music submissions hadn’t been picked up, Reid consistently responded. When we finally met, we had a few conversations that led to Reid signing three of my demos right away. Our relationship started there, and despite my music needing work at the time, Reid was willing to give me a chance. She signed one EP, then another, and by 2014, I had fully invested in drum & bass, despite doubts from others. In 2015, I expressed my desire to move to Los Angeles for industry experience, and Reid offered me a position as label manager at Play Me. I worked there for 2 years and I learned a lot. When the pandemic hit, it felt like a reset for the music industry. I saw this as an opportunity to start fresh. I continued writing music and I chose Play Me because of their unconditional support. Despite many labels coming and going, Play Me remains strong and continues to provide a great platform for artists. I’m deeply grateful for their continued support and for having such a dedicated team behind me.
It sounds like Play Me gives artists full creative freedom and helps them towards their goals…
I look up to many labels for their distinctive sound, but what’s great about Play Me is their focus on supporting artists in the way the artist wants to succeed. It’s rare to find a space where diverse sub-genres of electronic music can coexist and blend seamlessly. I personally have a deep appreciation for dark and deep sounds. When I go out to see artists like Ant TC1 or Doc Scott, I love immersing myself in those intense, dark vibes all night. However, I recognise that American electronic music fans often need more variety. It’s essential to provide a range of sounds to keep the experience fresh and engaging. In past Play Me parties, we’ve collaborated with LA’s Big Booty Bass to create diverse lineups. We’ve done back-to-back performances at festivals on the East Coast, and now Play Me can build entire nights with up to 6 DJs, ensuring that no 2 sets are alike. Variety is crucial for American electronic music fans. It allows for a unique experience and avoids the repetition of similar sounds, providing something special and one-of-a-kind.
What are your thoughts on drum & bass in general at the moment?
I’m quite pleased with how things are going, though it involves some compromises. Recently, I played a sold-out show at Echostage in Washington D.C. with Chase & Status, which hosted 3,500 people. The growth in drum & bass in the US is significant, with more bookings and successful parties, although some smaller events have struggled. I’m fortunate to be part of this shift, but it comes with challenges. While I’m not compromising my sound, it’s clear that maintaining the original ethos of drum & bass, like inclusivity and learning from past mistakes, such as those seen with dubstep, is crucial. I’m excited to see younger fans, especially those aged 21 to 26, appreciating the genre’s depth and variety, from soulful to aggressive and experimental sounds. Many of us want to maintain the underground spirit of the genre alongside its growing mainstream success. I’m committed to supporting emerging artists and preserving drum & bass’ original values. Overall, I’m optimistic about the positive changes in the scene and the continued focus on its core values.
This is massive and leads me nicely onto the last question, what’s happening in the future for you?
I’ve got a bucket list of sorts, which includes a few labels I’m currently crafting music for. While I can’t name them yet due to some agreements, I’m focused on US shows for the rest of the year. Once I’ve solidified my releases with these labels, my next move is likely to start my own label. Having learned from my previous label management experience, I’m now better equipped with a background in PR and social media, which is crucial for running a successful label. I’m very particular about how I release music and promote it, so a label seems like a natural next step. I’ve discussed this with many peers, especially about focusing solely on minimal drum & bass. I believe this focus aligns with my goals and will help me build a strong network of respected producers. Starting a label is daunting, especially when I look at industry veterans like Kasra, Doc Scott, and Ant TC1. I want to ensure I do it right, though I’m still defining what that means. I hope my approach will be well-received and respected.
