# The Subtle Genius in Big Trouble’s Deep Dubstep Sound: TF Word 1. [TF Word](https://www.ticketfairy.com/de/word.md) 2. [Interviews](https://www.ticketfairy.com/de/word/category/interviews.md) 3. The Subtle Genius in Big Trouble’s Deep Dubstep Sound - [Interviews](https://www.ticketfairy.com/de/word/category/interviews.md) - [Music](https://www.ticketfairy.com/de/word/category/music.md) # The Subtle Genius in Big Trouble’s Deep Dubstep Sound As he continues to make his mark on India’s vibrant dubstep scene, we caught up with the Bangalore-based producer to talk about his latest EP, the evolution of his sound, and his perspective on the country’s… [Sagar Deshmukh](https://www.ticketfairy.com/de/word/author/sagar0204.md) 9 Juni 2025 · 9 Min. Lesezeit ***As he continues to make his mark on India’s vibrant dubstep scene, we caught up with the Bangalore-based producer to talk about his latest EP, the evolution of his sound, and his perspective on the country’s ever-growing bass music movement.*** When you come across an artist who can effortlessly fuse the foundational roots of dance music with its ever-evolving modern-day textures, you know you’ve encountered someone truly special. Dubstep, in particular, has undergone numerous transformations over the years, yet the essence of its origins remains distinct from its modern iterations. The challenge over here for a lot of producers lies in maintaining the grit and raw emotion of its origins while adapting to the futuristic, genre-bending soundscapes of today. Enter Tanush Hegde, better known as [Big Trouble](https://www.instagram.com/bigtroublemusic/), a Bangalore-based producer who has found that delicate balance and carved a distinct space for himself in India’s growing bass music ecosystem. Since his debut in 2019, Big Trouble has explored a diverse range of sounds, but a closer look at his discography reveals a deliberate and meticulous approach to refining his craft. By weaving classic elements into his productions, he has honed his signature bass-heavy style into something razor-sharp. Tracks like ‘Prallax,’ ‘Chatterbox,’ and ‘Need You’ offer a glimpse into his multidimensional sound. [Spotify Embed: Parallax](https://open.spotify.com/embed/album/4xVEqFRqqeeZ1lBFn4RxN9?utm_source=oembed) This evolution culminates in his latest offering, the ‘Witchfire’ EP, a four-track exploration of dubstep’s darker, more enigmatic realms. Defined by its wobbling sub-bass and eerie atmospherics, the EP is tailor-made for club environments while delving into themes of mysticism and technology. With its brooding energy, gritty basslines, and a mystic-meets-futuristic narrative, the EP strikes a delicate balance between underground nostalgia and forward-thinking experimentation, even incorporating subtle nods to AI-inspired futurism. Given the depth and introspection behind his music, we sat down with Big Trouble to unpack the creative process behind ‘Witchfire,’ his journey as a producer and DJ, the role of AI in modern music production, and much more. **TFword: Tell us about your early journey into bass music. What** **drew you to the darker, atmospheric side of the genre?** **Big Trouble:** I think my obsession for bass music started back in 2012 when I was in high school and I attended the NH7 Weekender, they had a stage called the Pepsi dub station. There was something about feeling the bass hit your chest every time the track dropped…Literally found myself glued there the whole weekend. **TF: Growing up in Bangalore, what kind of sounds shaped your musical identity? Big Trouble:**I’ve never been a kid who liked what’s on the radio or what everyone else usually liked at the time. I’d spend a lot of time surfing through the internet to find what I thought was cool and weird (guess I was collecting dubplates before I knew what they were haha). I was also very lucky to have such a rich music scene here growing up in Bangalore with venues like humming tree at the time that were pushing alternative electronic music.. I used to be there every other weekend and a lot of the acts that I saw there would end up shaping my pallete and be what I would end up going back home and listening to. ****TF:**Who were some of the key artists that inspired your entry into the dub/140 sound? Big Trouble:**I came across both the UK and US side of the genre around pretty much the same time and was taking them both in. The US sound which is super synth driven and over the top but I loved the other worldly aspect of it whereas the UK dub stuff was minimal deep and dark but the older I got and the more my taste in music matured  labels like Deep Medi Musik and later Deep Dark and Dangerous made me truly understand and appreciate what dub/140 music truly is. ****TF:**Your new EP, Witchfire, leans into themes of mysticism and futurism, what inspired this direction? How does it differ from your previous work? Big Trouble:**I guess everyone has their perception of what “cool” is and what’s always been cool to me is dark, unexplainable shit! Magic, space, prehistoric stuff. It must have something to do with the kind of entertainment I consumed growing up which was mostly sci-fi and fantasy. [Spotify Embed: Witchfire EP](https://open.spotify.com/embed/album/7zaUFuMfRGlyKptR3OivPw?utm_source=oembed) ****TF:**Tracks like ‘UFO,’ ‘M60,’ and ‘Aerodactyl’ have intriguing names. What’s the story behind these titles? Do they tie into the EP’s broader themes? Big Trouble:**If you ever see my YouTube suggestions, it wouldn’t take long to realise how obsessed I am with conspiracy theories and UFO’s haha. I spend a lot of time watching and reading up about them and often when I work on music, I let what inspires me at the time write the track for me.. it’s kind of what I did with a lot of the tracks from this EP which at the time wasn’t intended to be one.. they were just individual tracks I was working on but around the time I was done with these 4 tracks I realised they lived in one world both sonically and thematically and it just felt right to put out as an EP. ****TF:**You’ve made an interesting point about using AI to enhance vision rather than replace creativity. How do you personally draw that line in your own workflow? Big Trouble:**With the whole AI boom a lot of creatives I’ve seen are dissatisfied or see it as a threat. The only way I see it being one is if you choose to ignore it. Technology has always paved and shaped the sound of music since its inception and it will continue to. As an artist, I feel we need to embrace it and use it as a tool rather than a crutch for creativity. It can make things easier, it can make things better but it can also make things worse. It’s about how you see it and choose to use it. ****TF:**You mentioned using AI selectively (artwork/vocals like “Aerodactyl”). How do you balance AI tools with organic creativity? Where do you draw the line? Big Trouble:**The way I used AI in this EP was limited but effective. I used it to generate the vocals you hear in Aerodactyl. Normally, this might’ve been a vocal sample I found somewhere but AI gives me the control to tell the story that I wanted to, the way I do. The important thing is to not compromise on artistic integrity. If you can use it to make your vision stronger without it taking away from what makes it distinctly you. ****TF:**Walk us through your studio process. How do you craft those signature dark, club-ready atmospheres? Any favorite tools or techniques? Big Trouble:**I usually start with the drums and the bass most times and make a loop that could effectively become an intro or drop. From that point, it’s a matter of making something that inspires me and gets me in that zone that I spoke about previously, where things start happening instinctively. My hard drive is filled with such loops that have not made the mark but they’ll be revisited from time to time and tweaked. So yeah, sometimes things come together super quick other times it’s countless revisits and reworks. When it comes to tools a lot of this EP was sonically shaped by Serum 2, which a lot of the producer world has been talking about since its release a couple of months back. Besides that, I use a lot of the kontakt libraries for instruments and outer space tape echo 2, which has become a new staple of mine. ****TF:**The EP feels both nostalgic and forward-thinking. How do you merge classic dubstep elements with fresh, unconventional ideas? Big Trouble:**With this EP, I tried to keep a melodic touch to tracks while keeping it simple and club-friendly. The sound design elements let me go crazy and try out new things while keeping it still rooted in reality and practical enough to play in a club at any point of the night. It was my attempt to make the type of deep dub music I’ve grown up listening to and would like to play in sets but with my own personality in it. ****TF:**How would you describe India’s bass music scene right now? What excites you, and what challenges do artists face?** **Big Trouble:**It’s bigger and more exciting than ever! There’s been a shift over the last few years with people taking to less mainstream sounds and a huge DIY type of culture that artists and fans have cultivated together to keep the scene thriving and this shows with a burgeoning bass music community in the country. [Spotify Embed: Big Trouble](https://open.spotify.com/embed/artist/1hedo59QftiGC6LhapXJqS?utm_source=oembed) ****TF:**Are there local collectives or artists you think are pushing boundaries? How can the scene grow further?** **Big Trouble:** Yes, too many to name but Junket and Dnb India have been nurturing and tirelessly supporting the scene here for years in Bangalore. In Hyderabad, there’s Riot who’ve been striving to bridge the gap between the UK and Indian scene. Loads of newer artist-run collectives as well have been sprouting around the country that have been monumental in the movement and keeping the culture alive and thriving. I think it’s critical for collectives and communities to come together and support each other to further build and connect the local scenes and artists in each city, encouraging collaboration on various levels. With more and more linkups between these collectives and connections being made, the possibilities are limitless. It would also be really cool to have a full-fledged outdoor bass music festival in the country like some other countries do every year and I think all this will be possible soon with the expansion of the scene in the country. ****TF:**How do you see the sound of India evolving in the global bass music ecosystem? Big Trouble:**Over the last few years we’ve seen a lot of Indian producers and DJ’s having releases on international labels and playing renowned festivals around the worl With technology and information no longer a barrier and an influx of young producers inspired by such a wide range of sounds and local flavours and a surge of old school bolly nostalgia it isn’t far fetched to believe we might have our country’s own globally recognised new age sound shape up right in front of us as we speak. ****TF:**Where do you see your sound evolving next? Any experiments or collaborations on the horizon? Big Trouble:**My sound is constantly evolvin I’ve spent the last year or so experimenting around the dub/140 genre but this year I intend to dabble around with different tempos and sounds. This is not to say that I’m not putting out any more 140’s this year. I have a couple of unreleased dubs already ready and will definitely be putting them out soon. Besides that, there are some collabs with local producers and a couple of international grime heavyweights in the pipeline! ****TF:**And lastly, where can we catch Big Trouble live next? Big Trouble:**If you’re from Bangalore, you should be able to catch me soon at my monthly night Sub Science at The Burrow on the 13th of June, where we showcase some of the finest bass talent across the country with no fluff, just pure underground goodness. So definitely watch out for that and other cities stay tuned for announcements in the near future. **You May Also Like:** [The Unbreakable Discipline Behind Calculon’s Musical Legend](https://www.ticketfairy.com/word/2025/05/22/the-unbreakable-discipline-behind-calculons-musical-legend) [Bass Music Acts to Watch Out for in 2025](https://www.ticketfairy.com/word/2025/01/15/bass-music-acts-to-watch-out-for-in-2025) [How to Build a Thriving Drum & Bass Scene in India Feat. 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