Meet the Artists: Subcat
As we continue to dive into the minds behind Disciples of Distortion Vol. 3, we’re excited to introduce Subcat, who has contributed not just one, but two tracks to this year’s compilation. His tracks “Catacomb” and “Infinite Horizon” are prime examples of his skillful production and collaborative spirit.
Disciples of Distortion Vol 3 | Out Now: https://cygnusmusic.link/bn4lgyq
Meet Subcat
Can you share a brief background about yourself as an artist? How did you get started in music, and what are some of your influences?
My story started in a small town in Devon, where I regularly attended a monthly drum and bass night. That soon led me to Plymouth for a night called Legends of the Dark Black—an iconic rave for anyone based in the South West during that era. This experience sparked my love for DJing and pushed me to explore how drum and bass was made. About 20 years ago, I moved to Bristol to study music production, and since then, I’ve gone through several phases and aliases. The Subcat project was born during COVID when I found a renewed energy to make music. My sound now leans more toward neurofunk, which is where I find drum and bass most interesting. Early influences include artists like Prolix and labels like Renegade Hardware, but the vibrant community today continues to inspire me.
What was the inspiration behind your tracks on this compilation? Can you walk us through your creative process for “Catacomb” and “Infinite Horizon”?
Both of these tracks were collaborations, which is something I hadn’t done in a while, but the results are great!
Catacomb: My track with FauxRealz was initially an idea I started and sent over to him. We realized we were both using Cubase, which made it the perfect opportunity to collaborate without having to stem everything out! The base idea came together quickly, and we pushed it as far as we could using both of our experiences.
Infinite Horizon: This one with HKay started face-to-face in his studio in London. We came up with a basic bassline together, and it naturally evolved from there. The intro ended up becoming quite epic, which was a lot of fun to work on.
Are there any specific production techniques or tools you used in these tracks that you’d like to highlight?
Working within a Cubase project with Faux was a great experience. I’ve found that Cubase is a bit of a rarity among DnB producers nowadays, but there’s still a dedicated clan using it. We did run into a few issues when sharing projects remotely, but solving those problems was an interesting challenge.
Did you face any challenges while creating these tracks? How did you overcome them?
Working from stems is always a bit of a challenge, but something clicked when working with HKay. We managed to get things back and forth pretty quickly, making the process relatively smooth compared to some of my previous experiences.
Is there a personal story or meaning behind these tracks that you’d like to share?
Not really. It’s all about the bass—brrrr and neeeoooorrrwwww!
The Tracks
Hkay, Subcat – Infinite Horizon
“Float in the sky with ‘Infinite Horizon,’ a mesmerizing collaboration between Hkay and Subcat that seamlessly blends airy, spacey atmospheres with solid, groovy basslines. The track features a floaty lead line that delays beautifully over a stabby, distorted bass, offering an abundance of ear candy throughout. Born out of a serendipitous studio session and inspired by Hans Zimmer’s score for Dune 2, ‘Infinite Horizon’ weaves countless layers of synths into a rich sonic tapestry. This track is perfect for double drops, with a clean and groovy second drop that elevates the sound further, pushing the dancefloor into a sparkling frenzy.
FauxRealz, Subcat – Catacomb
“Catacomb” is an epic headbanger crafted by FauxRealz and Subcat, born out of a collaboration that began with a simple WIP and evolved into a dense, atmospheric masterpiece. The track opens with an eerie, atmospheric intro that builds tension before unleashing its tight powerful drop, featuring squealing leads that cut through the mix. Designed to keep the energy high and the crowd moving, “Catacomb” is a stomper, driven by a catchy lead line that propels the track forward, making it a must-play in any high-octane neurofunk set.
How do you view the community of artists involved in Disciples of Distortion Vol. 3? Have you collaborated with any of the other artists on the compilation before?
Not prior to this. Everyone involved is incredibly talented, and it’s awesome to see the Stonx discord community evolving. The support and collaboration are really something special.
What can your fans expect from you in the near future? Are there any upcoming projects or releases you’d like to mention?
There are a couple of things in the pipeline, most notably another VA with a Dutch label, but I don’t want to say more than that at the moment.
It’s all about the bass—brrrr and neeeoooorrrwwww!
Subcat
What advice would you give to up-and-coming artists who are trying to make a name for themselves in the electronic music scene?
Use the resources at your fingertips like YouTube and Patreon, and then get support from communities like Discord to elevate your sound. Feedback channels are so valuable, and peers can provide the best insights to improve your music.
Are there any other projects, labels, or events you’d like to promote? Feel free to give a shoutout!
Just a shoutout to the amazing communities and labels that keep pushing the scene forward!
What do you hope listeners take away from your music and this release?
Just enjoy it! And hopefully, melt a bit of your face off. 😈😈
Where can fans connect with you online?
Subcat:
For more updates, keep an eye on our Facebook, Instagram, and Twitter pages.
Disciples of Distortion Vol 3 | Out Now: https://cygnusmusic.link/bn4lgyq
Words by STONX and Stonx Music Co – Founder Ollie Barron
