Lead track “2C-I” exemplifies the mish-mash, serene synths falling away to a hyperactive barrage of percussion, squelches, ’80s video game motifs, and yes, bells and whistles. It’s nostalgic in the most progressive way.” This project isn’t solely me, its me pushing some of the musical influence of my adolescence into my adulthood. Fusing genres into something technicolorful is something I’ve always been passionate about and pursued, both in this project and beyond. So this project is in reference to that but is also an extension of fusing different types of music together. It was just a thing of me thinking how I’d ever make it into this sound, as I was quite young and didn't fathom making tunes. I’ve always been listening to music, but this is actually stuff that I watched on ‘Top Of The Pops.’ What I grew up to. I’m trying to fuse RAVE… with grime/hip-hop groovers, drops, drum patterns & basslines. Speaking on the release, Darq says: ”The timeliness of this music isn't so important, the main thing is that it’s RAVE music.

among others) are testament to a genre collagist at his technical prime. Samples pioneers Zero-G and Xfonic have released Maximum Force: Imaging Elements for Film and Games Producers an awe-inspiring collection of sounds designed to add huge impact to cinematic scores. Having first burst into international underground consciousness with Danny Brown’s ubiquitous “Blueberry (Pills & Cocaine),” the borderless, hybridized music he’s known for sounds no less fresh other production credits (Tempa T, London Grammar, D Double E) and single releases (for Numbers. Hot on the heels of his #DontFreakOut mixtape, South London producer Darq E Freaker further blazes his trademark trail through classic dance music, contemporary hip-hop and peripheral grime in a new instrumental EP for Big Dada this April, entitled ADHD.

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