British talent JOBE strikes again with the much-awaited fiery Changes EP.

A prolific and highly acclaimed producer in the underground electronic music scene, Newcastle-born JOBE undoubtedly made a name for himself in the past few years on edgy labels such as Sincopat, Selador, Chapter 24, Connaisseur, Akbal, Manual Music, Voltaire Music, Movement Recordings, MNL, etc.

Initiated into the scene at an early age, he started to get into professional music production as he got acquainted with Ableton after years of self-exploration. His style most often lies at the crossroad between ethereal and dark melodic techno/tech-house, relying upon huge kicks and an intense groove that will creep into your ears and fill the room with heat.

Previously responsible for one of Chapter 24’s best-selling tracks “Aurora”, JOBE is back on the fast-coming London label adding further depth to his credentials with these four heaving-hitting bangers bound to infiltrate the dancefloors.

A few words with JOBE :

1. The high-level sound design of Changes EP is impressive, in particular with the afro-tribal Rafari and Boma tracks. I found interesting that you introduced an unusual tense and cosmic afro drive along with tribal elements and voices to your production. How did you find inspiration for these two tracks and will you continue to expand your horizon with afro-tribal influences?

I’m always looking to try different things in the studio, otherwise I get bored. The afro sound has developed a lot over the last couple of years, and I’ve definitely been influenced by it. I’m absolutely addicted to improving my production, and bringing more organic elements into my tracks has been a big focus lately, mainly to try and breath more life into the music. So I spent a lot of time scouring the internet for field recordings of tribal sounds, live drums and general atmospheric audio. I’ve found a ton of stuff, and it’s great to work with, so it will definitely be used in my future productions.

2. Out of curiosity, do Rafari and Boma have a particular meaning?

Not really! I can’t remember where the name Rafari came from, I think I made it up as it seemed to suit the track, and Boma is the name of a town in the Congo, where a lot of the field recordings came from in the tracks. I usually try to find unusual names for tracks, something that stands out as being a bit different. And then other times I can’t be bothered and pick names like ‘changes’.

3. So you’re releasing two massive EPs right now (on Chapter 24 and Steyoyoke). Can you tell us what’s next for your in terms of planned releases?

There’s not a lot in the pipeline right now, my next release will be on Steyoyoke again as part of a VA. I’m also sitting on a track I haven’t sent to labels yet, but I’m quite excited about it. Sound wise, it sits somewhere between Boma and Orcus, I’m trying to finish a couple more tracks to make an EP with it. But generally I don’t finish a lot of music, and out of the stuff I do finish, I probably release about 10% of it. I’ll never be one of those producers who releases a couple of EP’s a month, I think once you start doing that, all your tracks sound the same.

4. You produce quite remarkably (at least a dozen tracks per year) though you mostly perform in the UK – people would be happy to see you more often in particular across Europe. Are you looking into spending less time in the studio and more on the road as a DJ in the months to come?

I would love to play out more, but I still have a full time job. Which inhibits my studio time, which is another reason I don’t release as often as I’d like to. For gigs in Europe, I’m playing at Watergate on 14th December, and there’s more in the pipeline that will be announced over the coming weeks, so watch this space. One thing is for sure though, I don’t play out enough, and that’s something I’m actively looking to change.