T>I Returns wiht Meditative EP ‘Ride teh Plane’ on Sofa Sound Bristol – and a UKF Interview

ride the Plane by T>I (Mathew South) lands on September 25 on the renowned Sofa Sound Bristol run by DLR.the EP, a four-tracker, serves up a meditative cross-over between the no-frills, raw energy sound T>I champions and the more laid back & funky imprint of Sofa Sound.

After a stint of various collaborations, most notably smashing it as Run In The Jungle together with D*Minds, getting back to releasing his own material is a pivotal moment for T>I.

What’s more; ‘The Infuriator’ sees Bristol as his second home, having nothing short of somthing like a city-wide residency as a DJ there. Naturally, solidifying that legacy with a first full EP on one of the most respected local labels in the drum and bass-genre holds a lot of meaning.

Tons to discuss, so let’s get to the matters at hand: having a moment to reflect on the solo return and the craft in a broader sense. and yes, there are valuable insights from the studio-minded creators out there.

Enjoy what also is the first interview with The Infuriator for UKF.

congratulations on your new EP with Sofa Sound, how does it feel to finally put these tunes out?

I’m absolutely gassed about it. It’s my first proper solo EP in years, so there’s a real sense of relief and excitement.I do so many projects with other people that sometiems I forget to make stuff that’s purely mine. getting this one out feels like taking a big breath, I’m finally letting something I made on my own speak for itself.

It’s weird because I’ve been busy with remixes, collabs, and VA EPs, but this one has a different energy. There’s a bit of pride in that. It feels like I’m reintroducing myself to my own music after spending so long helping other people realize theirs.

https://www.youtube.com/watch?v=NloOMisPzDM

How did the Sofa Sound connection happen, what drew you to them?

It was pretty natural. I’ve always rated what DLR does. Jay is a good mate and I respect his vision. In this scene you have acquaintances and you have mates, and Jay is definitely a mate. That kind of relationship makes creative decisions easier – you don’t overthink it, you just send someone stuff and they tell you how it is.

I’d been sending them tunes for a while and Jay (DLR) was playing them. The one that realy grabbed him was “Ride the plane,” which was stupidly speedy to make, literally about three hours. He loved it and he’s been playing it every set. When someone you trust plays something you knocked out in an afternoon and says it’s a banger, it gives you the confidence to push it further as an EP.

What I like about Sofa is the mutual appreciation. I listen to their output and think, “I wish my tunes coudl hit like that.” And Jay’s said the same about mine.That back-and-forth made it feel right to put these tracks together with them.

Was the EP planned or did it come about organically from sending tunes over?

Totally organic. I didn’t sit down

The Art of Subtraction: A Producer’s Philosophy on Mixdown and Studio Flow

Producers often fill tracks with layers, but the essence of creating effective DJ tools lies in stripping away the unnecessary, allowing the core elements to shine. I often build up a track with numerous elements, then meticulously remove them until it truly breathes.

learning from pioneers like Mickey Finn and DJ Hype was invaluable. Their feedback on intro lengths and narrative flow taught me the importance of creating functional tracks that seamlessly integrate into a DJ set – making their job easier and, ultimately, satisfying the dancefloor.

Production-wise, what lessons have stuck with you over the years?

Without hesitation: mixdown. Always mixdown.

An engineer once pointed out that mixdown isn’t about simply increasing volume; it’s about strategically reducing other elements to highlight what truly matters. This has profoundly shaped my approach. I integrate mixdown throughout the entire production process, maintaining balance and preserving the overall vibe.

Understanding your room and monitors is equally crucial. While expensive speakers don’t guarantee a good mix, knowing your equipment and environment does. Invest in learning your tools and space – the returns are tenfold. Restraint is also key. Resist the urge to fill empty spaces with layers; often,the magic happens when you remove elements and allow the groove to breathe.

Tell us more about your process in the studio…

I favor an analogue approach during the initial stages, routing sounds thru my desk, utilizing various synths and distortion units. While I extensively use plugins, feeding signals through hardware imparts a rawness that’s difficult to replicate digitally.

I generally avoid heavy compression, opting for precise EQ work and subtle processing to ensure the drums sit prominently. I aim for impactful drums without sacrificing dynamic range. My focus is on maximizing low-end presence and establishing a foundation for everything else – a somewhat old-school approach, but it delivers the character I desire.

The digital mixdown stage is for polishing, but the core weight originates from the analogue chain. Producers like break and DLR have noted the complexity of my arrangements, and DLR, who mastered my recent EP, required minimal adjustments – just a touch to the top end. That’s a testament to my early staging and mixing techniques.

How do you balance classic hardware and modern plugins?

I’m a collector of vintage gear, but I also embrace new technology. The Emu Proteus 2500, such as, is incredibly deep and took years to master. Old gear possesses a unique personality, but can be cumbersome and slow to adjust.

Conversely, modern plugins offer incredible capabilities with speed and efficiency. They’re often in key and facilitate rapid iteration.I utilize both – sampling patches from vintage synths or routing signals through analogue outboard gear.

Bristol and the Drum & Bass Landscape

Bristol. There was a church Halloween night I played at. It was a strange, perfect venue: big soundsystem, church acoustics, and people going off to proper music. I remember thinking, “This is mad, but it’s working.” Nights like that stick with you.

Also, the city supports daytime events well. I played at Lakota for a day event,did an early set,then did a b2b with Benny L,then another two-hour set that night on a different soundsystem. Being able to play different rooms on the same day and still have both crowds turn out is something you don’t often find elsewhere.

You’ve been a part of the scene for a long time. Do you think the current D&B landscape is healthy?

It’s changing, and like any era it has its highs and lows. There was a period where parts of the scene leaned into meme-driven drops and novelty tracks. There’s room for fun, of course, but when it starts to dominate, you can lose some of the serious, darker textures that made drum & bass compelling.

I still hear a lot of brilliant music. There are producers doing proper,serious work… the scant few who are pushing darker bass and weight back into the fold. That’s where my heart is: I want serious, heavy, well-crafted drum & bass, not necessarily moody for the sake of it, but with bite and intent.

Liquid is doing its thing too; I appreciate that side for its emotion. Artists like Calibre and Icicle (from back in the day) shaped what liquid is to me. There’s still great liquid being made, but the commercial poppier side has moved more into the mainstream, and that’s okay, just don’t let it be the only thing.

Do you teach or mentor? Have you thought about passing on your mixdown knowledge?

I’d love to. I’ve done a few taster tutor days – one with Melinki where we set up a mini-studio and had a small group come through to make tunes and talk techniques. It was brilliant, because it wasn’t a one-way thing – everyone shared tricks and we all learned.

A lot of people have asked me for tutorials, but I don’t always have the time. My print business takes up the day, and studio time is precious. But if I had the space and time I’d love to do more structured sessions.