Melinki Talks Legacy, Longevity and the Ever-Changing Pulse of Drum & Bass
With an exciting chapter ahead for the drum & bass selector/producer and his label Four Corners Music, we sat down with Melinki to talk about his journey from shaping the identity of his imprint to refining his own…
With an exciting chapter ahead for the drum & bass selector/producer and his label Four Corners Music, we sat down with Melinki to talk about his journey from shaping the identity of his imprint to refining his own sound, and how both continue to evolve in tandem as the next phase unfolds.
Patience and perseverance are virtues heavily rewarded in the notoriously gritty and competitive world of the drum & bass underground. It’s a culture that champions longevity, consistency, and a deep-rooted commitment to the craft, and few artists understand this fundamental truth quite like Melinki. Since making his debut in 2012, Melinki has laid a sonic footprint so incredibly expansive that he has arguably left his fingerprint on every single sub-genre and stylistic offshoot of the culture.
Whether you are craving something rattling and dancefloor-heavy, or looking for dark and deep rollers, or seeking out lush, soulful liquid cuts, Melinki’s discography delivers on all fronts and accentuates his reputation as a deeply invested student of the genre. Melinki’s artistic breadth is also reflected in his studio albums. His debut LP, The ‘S.T.L Project,’ landed on the revered Fokuz Recordings, a label long respected for championing quality, musically rich drum & bass. Then came ‘A Lifetime Obsession,’ released on his own imprint, Four Corners Music, a label he has been meticulously building from the ground up with passion, love, and unwavering care for nearly a decade.
The name itself indicates inclusivity, and a catalog reflects exactly that embraces all “four corners” of drum & bass. Melinki’s philosophy for the imprint is refreshingly straightforward yet incredibly ambitious: “We want to push excellent music in all its forms!” and it’s a fact reflected in the diverse roster of artists and the wide array of sonic styles he actively champions.
The year 2025 stood as a massive landmark for the label. It was a period defined by immense momentum and top-tier output, featuring critically acclaimed releases from a formidable line-up of artists like Leniz, Skuff, Creatures, Simple Souls, and Tweakz, alongside Melinki’s own contributions. Now that we are steadily stepping into 2026, the Four Corners Music camp is showing zero signs of slowing down.
The label’s forthcoming catalog is already stacked, with new music from Philth, Conrad Subs, Hiraeth, T.R.A.C, Sydney Bryce, Malaky and more; and Melinki has captured all the upcoming music on Four Corners Music with an exclusive showcase mix.
So, in anticipation of what the rest of 2026 holds and to uncover exactly how Four Corners will continue pushing the authentic drum & bass they believe in, we caught up with Melinki for an exclusive, in-depth chat. We sat down with the label head to discuss the journey of building his imprint, reflect on the monumental success of 2025, and explore how he expertly navigates the constant, rapid stylistic shifts the genre continuously goes through.
It was time for a chat.
TFword: Looking back at last year, how would you sum it up for Four Corners Music, creatively and structurally?
MELINKI: Creatively, much the same as previous years and the same as I plan to continue going forward. Releasing music that I love personally, music that resonates with me and makes me feel something.
I always ask myself the question, “Would I play this in one of my DJ sets ?” If it’s a yes, then it’s getting signed, I’m not thinking about what’s popular or what other people are into.
Structurally, I’m trying to be as organised as I can. I have projects finalised months, or even sometimes years, before release. Mastered, artwork, promo plan, etc., all ready to go way in advance.
We are releasing every 3 weeks until well into 2027 and have some incredible music on the way. The long lead time also means I have a tonne of exclusives for when I DJ, but most importantly, gives the tracks time to gain traction and a bit of mystery around them. This is the whole idea around this mix.
TF: In a time when drum & bass is experimenting more than ever with tempo shifts, cross-genre influences, and emotional extremes, how do you define the Four Corners sound today?
MELINKI: The idea behind Four Corners initially came from a mix I did for DNB Arena. The concept was 4 MCs, all representing their corner of the scene in 15-minute sections. Mc Tali, Harry Shotta, Visionobi and Mc Coppa. They all smashed it and the mix went down really well. I loved the concept and wanted to further it.
When I first got into drum and bass, there weren’t really sub genres. You would hear all sorts in a night and have varied lineups. That passed onto me when DJ’ing and I’ve always loved taking people on a journey. I play any music I love and don’t stick to one sub-genre.
I’ve been massively inspired by DJs like Marky, where one minute you’ll be enjoying a jazzy liquid tune and the next he’s dropped in an absolute monster jump up tune and it sends people wild. I live for that. I can’t imagine only sticking to one style in an entire set.
So that’s how I would define Four Corners. We represent all Four Corners of the sound, and from release to release, you never know what you’re going to get.
TF: Is there a specific aesthetic, mood, or philosophy you’re consciously pushing this year, or do you prefer to let the artists lead that evolution naturally?
MELINKI: I work with the same two designers who have always done all our artwork. So I like releases to be instantly recognisable that it’s Four Corners. But I also like to let the artists take the lead on the way they want the release to look and feel to suit the music. It’s always important to me to have good communication with the artists all the way through the release, especially with artwork.
TF: You recently dropped a mix made up entirely of forthcoming Four Corners Music releases. What was the idea behind presenting the label’s year ahead in this format rather than through singles or EP announcements?
MELINKI: As I mentioned previously, I like to work way in advance and let the tracks build some excitement and traction. So this is an ideal way to give people a taste of what’s to come this year on the label and start building some hype for the artists.
There’s no tracklist though, so people will have to really dig to find out what’s what. I find it gives the tunes a bit more shelf life and creates a bit of mystery around the releases.
TF: When you listen back to that mix now, what does it tell you about where the label is sitting sonically in 2026?
MELINKI: It makes me really proud. We have a very exciting year ahead and I’m really happy to be working with all the artists I am. I think I’ll be proud of this music in years to come.
TF: Were there any tracks in the mix that surprised you, even as the label boss, once they were placed in a broader narrative?
MELINKI: Not really, but there are definitely tracks that I enjoy more and more every time I play them and others that turn out to be just great DJ tools.
TF: What lessons did last year teach you about running an independent drum & bass label in such a fast-moving ecosystem?
MELINKI: That artists really appreciate good, clear, and honest communication.
I’ve been very lucky with the number of great artists who get in contact and want to work with the label, so it’s always really important to me to make them feel valued.
I’m a one-man team with a separate full-time job, a wife, and 3 young children. So there’s only so much I can do and I don’t always get it right.
But personally, I feel clear communication goes such a long way. Hopefully, one day soon, I’ll be able to expand and take on some staff but for now I think being transparent and a nice person is most important.
TF: Your own work as Melinki has evolved noticeably over the years. How do you personally track that progression?
MELINKI: Thank you, that’s really great to hear.
Production isn’t something that’s come naturally to me if I’m honest. So I’d say my progression is down to being very determined, stubborn and a bit obsessed haha. I only ever started producing because I loved DJ’ing so much and wanted to take that as far as I can and didn’t really enjoy it much at first.
Over the years, I’ve begun to love producing though. With a very hectic life, it’s my solitude and escape. I’m fortunate to have a lot of talented people around me, so I’m always learning and improving and take a lot of inspiration from doing the label.
I also have a very strong idea of what does and doesn’t work in tracks and enjoy sharing ideas and polishing tracks up with artists to get the best possible product. This, in turn, adds to my experience with my own production, so I’d say although doing the label gives me less time to work on my own music, it makes my sessions a lot more productive when I do get time to make music.
TF: What does progression mean to you now compared to earlier in your career?
MELINKI: Lots of things, really. I’ve acquired a lot of accolades on my journey over the last 20 years through slow and steady dedication.
In the last few years, I’ve been working with labels I’ve always dreamed of – V Recordings, Shogun, Dispatch, Liquicity and loads more, which is amazing, but I think it means people respect my opinion more when it comes to dealing with A&R on my own label.
It’s presented some really great gig opportunities over the last year too. I’m playing fewer gigs these days than earlier in my career, but the gigs I’m getting are a lot more meaningful and special. Last year I played in Austria, Berlin, Amsterdam and all around the UK. In 2026, I’ve already been booked for some really special gigs and festivals.
I always want to work with promoters the best I can to make gigs work. I don’t take every gig I’m offered these days; it’s not about money. It’s about the experience I’ll have and share with the promoters and punters.
TF: Do you see your production alias as a direct extension of your DJ sets, or as a separate creative outlet altogether?
MELINKI: Yes, but maybe 10 years behind haha. I’m extremely confident in my DJ abilities and what I want to portray in my sets. I wish I were as confident in my production, but hopefully one day that will catch up. For now, I’m enjoying the journey though.
TF: How has running a label influenced the way you approach your own music? Does it sharpen your perspective or complicate it?
MELINKI: A bit of both. It definitely takes up more of my time, which I would be using to make music but in turn it means I’ve always got stuff to share and helps keep me relevant online, I guess. Which kind of takes the pressure off in the studio.
I think it really helps me know what direction I want tracks to go in and how I want the end product to sound, but I often compare with tracks I’m signing, which leads me to procrastinate on my own music.
TF: Finally, what still excites you most about drum & bass right now, as a DJ, producer, and label owner?
MELINKI: Big question.
Overall, the same people who have excited me and inspired me since the beginning. People like DJ Die, Calibre, Break and DJ Marky. At the top of the game for 30 years and still leading the way and remained cool AF. Labels like MetalHeadz and V recordings for the same reasons.
Personally – progression. Working with bucket list labels, bucket list bookings, etc. I’ve always been in it for the long haul; it makes achieving goals even more meaningful.
Label wise – sharing new music and helping other people achieve their dreams and goals.
TF: What can we expect next from Melinki as a producer this year: new releases, collaborations, or a shift in direction?
MELINKI: Same direction. Same goal. Same steady pace and enjoying the ride.
Hopefully, more festival and club bookings and meeting new friends, fans and connections along the way.
TF: How do you see Four Corners Music fitting into the wider drum & bass landscape over the next couple of years?
MELINKI: Without sounding arrogant, I don’t want to fit in. I want to do what I love; if people enjoy that, then great. That’s always been my ethos, and will never change. If I start trying to fit in or follow trends, I might not enjoy it. If I don’t enjoy it, there’s no point.
There’s been a discussion around the length of this mix. Whether the TikTok generation has the attention span for it. I guess I want to be the antidote for that and cater to the people who really love this music as I do.
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