The Unbreakable Discipline Behind Calculon’s Musical Legend

Amidst the American drum & bass legend’s European expeditions, we caught up with Calculon to explore his journey, from his early beginnings and musical evolution to his record labels and future ambitions.

Drum & bass has earned its place as one of electronic music’s most revered and accomplished genres through a combination of relentless innovation, technical mastery, and cultural impact, and few artists embody these qualities as completely as Calculon.

For nearly two decades, he’s been on a relentless mission to bring his multi-dimensional sound to the global stage. Renowned for his distinctive fusion of deep, soulful rhythms and intricate production flair, Calculon’s back catalog is a testament to an artist who has never been content with the predictable, always striving to innovate and challenge the boundaries of the genre.

What makes Calculon’s contribution truly exceptional is his dual role as both a groundbreaking artist and scene architect within the American drum & bass landscape. At a time when the genre was still finding its footing in the U.S., Calculon’s pioneering work helped lay the foundations for its current explosion in popularity. Through his work, Calculon has helped build an infrastructure that’s now bearing fruit, with American drum & bass enjoying greater recognition and momentum than ever before. At the heart of this impact are his endeavors with two influential labels, Rubik Records and Shoot Recordings, each of which has made a profound contribution to the genre’s global ecosystem.

Rubik Records has served as a home for some of the most revered names in the scene, including Calibre, Blu Mar Ten, Technimatic, and BCee; icons whose presence on the label speaks volumes about its legacy. In contrast, Shoot Recordings takes a more grassroots approach, focusing on unearthing hidden gems from around the world and giving them the spotlight they deserve. This dual focus, honoring the legends while nurturing the next wave, requires not only vision but also unwavering discipline and drive. Calculon has consistently demonstrated both in abundance.

He is, quite simply, a man who doesn’t stop. Always on the move, always pursuing his passion, bringing drum & bass to audiences far and wide. In the midst of his latest adventures, we managed to catch up with him for a conversation about how it all began, how he’s kept the momentum alive through the years, and what’s next for him, his music, and his labels.

TFword: Thank you for chatting with us. Where are you speaking with us from?
Calculon: Thank you for the invitation. I’m currently in Southern California.

TF: Before we dive deep into Calculon’s deep world of bass music, we’re keen to know, what was your first foray into the genre?
Calculon: Being a metalhead as a teenager, initially I was drawn to the harder side of things, producers like Alec Empire, Shizuo, Bomb20, Patric Catani, and Panacea were making the stuff that got my attention in the beginning.

TF: You’ve experimented with a wide range of styles within the bass music spectrum. What initially drew you to this sound, and how has it helped you express yourself creatively as an artist?
Calculon: I’m drawn to breakbeats, rave sounds, funk, & unpredictability. These elements have persisted with me over the years somehow! With the Autonomic era the focus was less on the drums but I love breaks, whether it’s Jungle or Hip Hop or whatever…

TF: Your productions have a distinct sonic identity. Walk us through your creative process—how do you typically approach crafting a new tune?
Calculon: Each time it can be different, sometimes it’s a particular sound or sample that drives the initial process. Sometimes it’s as simple as picking a break that has a vibe and then jamming on top of that.

TF: Speaking of sound, how do you think your take on the wide spectrum of styles has evolved over the years?
Calculon: It seems every few years I’m into some new sound – started hard, went Liquid, to Autonomic, into Footwork Jungle & Halftime… Got heavy into dancehall & reggae for a while there on the side. I think it’s important to always switch things up. Like sometimes you can catch me listening to Larry June or Sweatson Klank, or the local jazz radio station.

TF: Do you have a favorite track or project you’ve worked on, one that felt like a turning point or personal milestone?
Calculon: Ben Carlos was really a special track & I’m not sure not many people know who all worked on that song. I produced the instrumental track with Dave Owen, then got Christina Tamayo to sing on top, Lukeino did some quick vocal mixdown work on it & I wanted to sign the song to Good Looking Records so brought the demo version to LTJ Bukem on a CD & would you believe it the song got signed to Good Looking!!! We did the contracts & it was official. Very very grateful Bukem had me play his night at Fabric in London. Anyways, because to me it was a big deal, I had ASC mix down the tune & I went to LA to have Hive master it at Darkart Mastering. With time, GLO folded & the song was released on Rubik but that worked out as we got Lenzman & later on Zero T to remix it. To have all those legendary people involved in one track made it what it is.

TF: Your music has also travelled to several respected labels. How has that part of your journey been like?
Calculon: Always grateful when a respected record label wants to sign & release something, there’s nothing like it. Working with different labels & crews broadens the horizons, & aside from Shoot Recordings projects, it’s something I actively work toward.

TF: Talking about labels, you ran Rubik Records, which boasted an enviable roster and list of iconic releases. Talk us through your experience while running the label?
Calculon: It was quite the ride! From going to Bristol a few times to hang & dj & build with the Rubik Crew to the records we would go on to release was really something I couldn’t have foreseen. When we got Calibre to remix Submorphics’ Organ Grinder, that felt like the biggest triumph ever!! In addition to the highs, I learned how to A&R, run a label, do the behind-the-scenes work & make the connections necessary for the next step.

TF: Then came Shoot Recordings, what changed with Shoot and was there a different creative direction that you looked at with the label?
Calculon: Absolutely, it was meant to be a platform for new & exciting music that didn’t have established labels & foundations for it. The music we were making didn’t seem to have many homes, & with the Lowrise crew behind the label, it seemed like the right thing to do at the right time. At the time, we didn’t know what to call the music we were all making.

TF: Running labels must’ve taught you a lot. What’s one lesson from that experience that still influences how you operate as an artist?
Calculon: The ethos that a track needs to be special or above the grade to make the cut, so that quality takes precedence over speed, whether releasing music or making it. It’s lovely when things happen quickly though!

TF: You’ve played everywhere from intimate clubs to massive festivals across continents. Is there a standout gig or location that’s stuck with you?
Calculon: Played with Marcus Intalex in Dublin at Hangar with MC Steo. Shoutout Mark & Danny & Executive Steve! The club was sick, those Spectrum guys always have the heaviest soundsystems, & not only was playing with Steo super hype being a fan of his & playing his tracks & he’s live MCing over them… then Marcus absolutely killed it! The gig was special itself but I’m also grateful for the time we got to hang with Marcus, both before & after the gig. He was funny & a legend. I’ll always remember that night.

TF: How has touring globally influenced your sound or creative perspective? Any places that surprised you with their bass music scene?
Calculon: Recently India really impressed me, did a tour last year of Delhi, Bangalore, Mumbai, & Goa & it was really energetic. Well-attended parties with enthusiastic attendees & DJs & it feels like the good old days but with a modern twist.

TF: Tour life isn’t always glamorous. What’s a hard lesson you’ve learned from life on the road?
Calculon: Ain’t that the truth. Haha, you learn some people can’t be trusted at their word. One time this “promoter” who was an Englishman living in Spain “booked me” & Dave Owen & Eveson for a party in Spain but when the week of the party came around & he hadn’t sent any deposits or booked any flights or made a flyer even, he relented that he was bullshitting us the whole time. Well, I was in Europe on tour, thankfully in Amsterdam at the time & was able to stay with friends at short notice & it ended up being an amazing time but that’s not the point. The loss of the DJ fee as a working DJ abroad can be significant. The guy would chat me up all the time, you would have sworn it was going to happen.

TF: We’d also love to get your perspective on the rise of Drum & Bass in North America. The genre is having a massive moment, headlining festivals, major tours, and unprecedented growth. How have you experienced this evolution from your own vantage point?
Calculon: It’s cool to see artists like Nia Archives at Lollapalooza & have it getting a buzz again. It’s great to be able to check scenes that until recently were new to me, like Burlington, Vermont. Thanks to Tricky Pat & crew, it was an affirming night & had a youthful energy.

TF: American artists are taking bass music worldwide, adding their own flavor to the culture. From your perspective, what defines the ‘US sound’ in these genres, and how is it changing the global conversation?
Calculon: I quite like tracks with American MCs on them when it’s done right & those make for a distinct sound in terms of our accents & lingo. Not sure those are changing the conversation but I’m happy to see some artists reaching many worldwide like Homemade Weapons, Quadrant & Iris, Random Movement, Jaybee, Will Miles.

TF: What’s next for Calculon? Any upcoming releases, tours, or passion projects you’re excited about?
Calculon: Digital did a remix of I Came To Roll by me & Stunna & the Colonel, super hyped for everyone to hear that, looking at mid June release. There’s a single with Stunna on AGN7 Audio July 13, a couple of deeper cuts. Finalizing a 12-track compilation of tracks that have come out this year on Shoot, plus more. Excited for everyone to hear the official remix Survival & I did of an Indian Artist that I met in Bangalore. Stoked for people to hear the forthcoming Colonel EP on Shoot Recordings produced by me & Stunna.

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