Mandidextrous Interview: Phone Call Riddim, Speedbass, Balter, Boomtown and more

From pioneering the UK’s jungletek underground to spearheading the genre-bending sound of speedbass, Mandidextrous has always thrived at the intersection of rave culture and boundary-pushing basslines. A Bristol-based DJ, producer, and label boss with a flair for fusing breakbeats, techno, and 4/4 mayhem, they’ve built a fiercely loyal following through their relentless touring and a genuine love for the dancefloor’s euphoric chaos.

In this interview, we catch up with Mandi, fresh from the first few festivals of the season, to talk all things ‘Phone Call Riddim’, their latest anthemic collab with Samurai Breaks and Leanne Louise. We also touch on all the community spirit behind her Spectrum 360 stage at Boomtown, her speedbass recordings movement,  lessons from running Amen4Tekno, and why the next wave of speedbass talent has them more energised than ever.

 

Scroll down for the full conversation and get a taste of what makes Mandidextrous one of the most vital voices in the rave today.

 

 

Hi Mandi, how are you doing today? What have you been up to?

“Yeah, I'm all good. Procrastinating a little bit. My dog's been staring at me for the last hour wanting to go out for his afternoon walk, but I've been trying to get some work done.

“I actually had last weekend off, but I went to see my best friend play at Neuroheadz Festival, which was local to Bristol. It was his birthday, so we just had a bit of a party.

“Even though I wasn't partying in the clubs because I had a weekend off, I was partying at my house. So yeah, just getting back to it this week.”

 

 

Let's dive straight into this new tune of yours, Phone Call Riddim, with Samurai Breaks and Leanne Louise, coming out on Speedbass Recordings. Talk to us about the track and how it first came together in the studio.

"This one was mine, and Samurai Breaks’ second attempt at being in the studio together. We tried it years ago at my other studio but didn’t really get anything solid.

"This time, Sam came to stay for a couple of days and literally within half an hour of him being here, I generated the intro. Sam vibed on that, then I found this acapella on Splice and realised the singer was Leanne Louise, who I’ve met a few times. I contacted her, she redid the vocals for us, and that track just wrote itself in about three hours.

"Then, me and Sam went on to write another four tracks in the same session. They’re coming out at different points, but this one really was just a kind of one that wrote itself. 

“From developing the intro idea with the vocals that just immediately clicked with baseline ideas and drum ideas, we just went for it. It was super simple and super cohesive, it just all worked.”

 

It’s really got that Mandidextrous energy but also the signature Samurai Breaks percussion — it’s a really cool track. What was it like working in the studio with Samurai Breaks? How were you bouncing those ideas off each other?

"This isn’t the first time we’ve tried haha! Going back to the first time, I’d just built a studio here in Bristol, and my ears weren’t fully tuned to it yet. It was just a bit rushed too; we hadn’t really thought about anything. Plus, Sam's style is so similar in a way to mine that I think we just kind of had a few standoff moments.

"But when we wrote these projects at my home studio, it was different. Sam could just sit on his laptop and program breaks, and because we’re both on Mac, it’s super easy to airdrop to each other. It was sunny, I’ve got a beautiful house, the weather was great, we had the doors open, it was just a nice afternoon. It really worked.’

 

You mentioned that vibe in the room when you were making it — it feels like it has that outdoors dancing kind of tune. Was that something that fed into it?

“Yeah, both me and Sam knew we wanted to make something anthemic and summery.

“Once we made the intro and landed Leanne Louise’s vocals, it was just vibes. It’s got a commercial edge but also nitty-gritty drums, cool 4/4 bits, and it’s very bassline-oriented, which is all our sounds together."

 

 

I love that second phase in particular; it goes silly. What’s that been like when you’ve spun it live?

“The reactions have been really great. We wrote it just before I went away to tour in Australia, and people really reacted to it well.

“We actually have another tune in a similar vein with Leanne Louise, which is going to be our next release, and people have been vibing off it too. So yeah, reactions have been great so far.”

 

I also love that clipped whistle that comes in the second half; it just conjures up images of some neon-clad raver just going for it. Where did that come from?

“Funnily enough, I made a track a long time ago when I started my Speedbass project called ‘Just Release’. Sam really loved that track because it had a really thick breaky intro and then drops to a straight 4/4 with a wobbly bassline, and it had whistles in it!

"Sam always loved that tune, so when we got together for this one, we said, “We’ve got to have whistles in it.” Any rave tune with a whistle vibe is great. It gives nods to carnival and old school rave, and all of those cool nostalgic feelings."

 

It really does. There was a brilliant line in your UKF interview about how you wanted to recreate euphoric dance floor moments. Was there a specific memory or moment you were chasing when you were making this tune?

“Not really. We were thinking about how to encapsulate different sounds to attract different audiences.

“Sometimes real hard speedbass stuff can be a bit much for people, because anytime they hear a straight 4/4 kick above 160 BPM they think it’s happy hardcore. But if you delve deeper, there are loads of different subgenres and niches going on.

‘With this track, we wanted something that would appeal to different sections of the audience. It goes hard, jungly, commercial, poppy. It’s all of those things brought together.’

 

 

In that same interview, you said leaning fully into speedbass revitalised you and made you fall in love with music again. Could you expand on that? How were you feeling before, and what is it about this sound that’s entranced you creatively?

“At the point where I started the Speedbass Project, I was in a bit of a slump musically. 

“I used to write a sound called Jungletek and Raggatek, very niche and underground, and a lot faster. My label, Amen4Tekno, was the leading UK label for that. It’s still going now, my guys run it for me, but I fell out of love with making that sound in the studio.

“Me and my best friend, who is a bassline DJ into garage and dubstep, were staying up late mixing bassline and garage far too fast so it would work. That’s how the sound came along. I made a start on it and found myself in the drum and bass world. I had tracks come out on RAM Records, and from there it spiralled.

‘I ended up in drum and bass land, which is all good, but for me there’s a lot of copycat stuff in D&B. Lots of people download Splice packs and get releases, while other producers sending quality music don’t get heard. I got disheartened again and struggled with writing straight D&B. I love it and love the parties, but I wanted to go back to my true style.

“Just like I am with my gender, I’m really mixed with my sound. I love techno, drum and bass, breaks, 4/4. I have to put them together. The speedbass sound lets me express what I want in a better way.

“It’s Tech but with onbeat basses, melodic basses, jungly drums, all fused together. I’m better not sat in a box.’

 

How does it feel establishing your own sound and loving the creativity it gives you, but then also having it resonate, and having people love it and showing that love back?

“It’s been a wild journey. I’ve always had this really loyal audience that’s followed me for a long time, which is amazing.

“Launching it as a proper new label was daunting because I already own one (Amen4Tekno), and I got so busy with touring, I couldn’t run it anymore. So I gave it to my boys, and they’re doing an amazing job. 

“So it’s been a bit of madness, but the guys have been really supportive, I’ve had a good run with the latest releases, and the reception’s been amazing considering it’s still an experimental sound. I don’t know if it’ll withstand the test of time, but I love writing the music, and it’s definitely wholly me.

“I’ve got artists wanting to write that sound too, which is amazing. I’m getting demos - it’s all a bit much, I think I need a label manager!”

 

What's that been like? Seeing it resonate too with artists who want to hop on that sound?

‘It’s been really cool. One thing I’ve found tricky is instilling the difference between the 4/4 D&B crossover and true speedbass. 

“I get sent demos that are cool but definitely more D&B crossover, whereas I’m trying to do something different. Something centred more around cool basslines and energy, even if there’s no D&B in it.

“But some artists have come up with the goods. There’s a guy called Apollo, a D&B artist in America, and Darth Lang here in Bristol who works for my other label. Obviously, Sam Breaks too. So I’m getting bits and bobs that work, and I’m really looking forward to pushing on with them.”

 

Has there been anything from running Amen4Tekno that you’ve brought into this new chapter?

“Yeah, for sure. With Amen4Tekno, it was mostly me running it, and I always struggled with keeping the artwork regimented but varied enough. I was chasing down artists and paying loads for illustrations - it wasn’t very financially viable.

“I’m working with Deface Designs on the artwork this time, who I worked with back in the day. He’s got a standard template for all the artworks, and it’s rolling really well. Plus, it’s way cheaper than paying hundreds for graphics each time.

“Merchandising, too. Amen4Tekno, I'm really proud of it, but for a long time I sold a lot of merch, but it was all bulk buys, screen printed, quite costly, but now we can do drop shipping, and it’s so much easier. I don’t even worry about it now. I’m also keeping things tight financially to make sure artists get paid properly.’

 

 

Are there any producers or DJs, maybe even outside speedbass, who are pushing boundaries but not getting enough attention?

"I’ve met loads over the years who are so good but don’t get the limelight they should. There are people who are pushing the envelope in drum and bass who I really respect like [IVY], we’ve played a lot of shows together.

"On the other side of that, there’s artists that have been on my label for years like Matt Scratch and T Menace who make the most amazing music but never get the attention they deserve. 

“There’s so muhc of that that goes on and the whole industry really is just luck of the draw. I so often meet artists where I think, why aren’t you headlining right now? Your music is amazing. 

"Bish from Bristol teamed up with ‘Techno On My Mind’, he is hand-down, insane DJ, insane producer but doesn’t get that limelight. I’m hoping one day these people all will. But you’ve just got to keep pushing, it’s really hard to beat the algorithm."

 

It’s why I love asking. People like yourself are so embedded in scenes that you’re going to have that knowledge thats unfortunately hard to come by otherwise. I love hearing new names, then going to listen and thinking, where has this been?

“Yeah, for sure, I agree.

“I’m lucky in the sense I get to travel the world DJing, and I’ve got this catalyst in the UK via Boomtown where I do my stage, Spectrum 360. The events I do let me bring these people from Europe, into the UK to give them exposure.

“These are people that I find who are only just breaking through in Europe too, so bringing them over here is super special. But theres so many artists - Spyro, Lobster B, or any of these people - they’re so great, and they just need to be put on that main stage for everyone to see and everyone will love it.”

 

 

I’d love to touch on Balter, which just happened recently. It’s a festival very close to your heart. What’s it been like over the years, and what was that final edition like?

"I think the reason Balter’s been so special is because it’s come from a really colourful, intersting rave scene. The Devon side of things. The owners used to be a part of that scene, putting on free parties.

"So they knew what people wanted,a nd it was just such and eclectic lineup every year. Elias (E-Coli), who does the lineup, is amazing an amazing producer in his own right, but he did such a good job, you get everything there: live bands, grindcore, speed, death metal, punk, disco, house, techno, drum and bass.

"There’s literally something for everyone there and it’s got such a great sense of community. The Balterians come to party every year and they are just amazing, and it’s been like that from the get-go.

“It’s funny, Elias told me at the last one that I’d played the most DJ sets there. I’ve been booked every year, and sometimes three or four sets a weekend.

"Honestly, my heart really lies there. I met friends for life at Balter, my best friends who I live with and are around me now. There’s so much in it. Balter forever - it’ll never really die."

 

We mentioned it before, and how you love bringing over these European artists for your upcoming Boomtown Spectrum 360 stage - how’s that coming along? Anyone you’re excited to bring over?

"Yeah, there are a couple of hot takes. There’s a girl called Gea, who I just worked with on a track called ‘The Beat’. She’s from Barcelona, an amazing producer, singer, DJ, video content maker, she’s a real an all-rounder, and I just love her sound and her style. Also, A.N.I, who is German and killing it in the hard techno scene, I love her energy, can’t wait for that one. 

"It was hard to top last year with Russian Village Boys, another group who I came across touring in France, and they’ve got this wicked online audience through YouTube and their stuff always goes viral. So this year, I wasn’t sure how to top that, but I’ve found the German equivalent: Trial Mix Sound System. They consist of three well-known and respected rappers from Germany, basically doing Beastie Boys-esque rapping over banging techno. Their manager, the Belgian Stallion, is great too.

"There’s a whole concoction of stuff coming over, I don’t know if the UK crowds are ready for some of it haha! But I’m a listener, when I play these shows abroad I’m not one of these artists who shows up five minutes before the set and leaves. I’ll get there early, I’ll watch loads of acts, I’ll figure out what vibe to bring, and then I’ll hang around for the afters a little bit and go. 

“But I just love that experience of seeing new amazing artists in different countries and just thinking, 'Yeah, I’m bringing you to the UK.'"

 

It’s been lovely chatting. Beyond Phone Call Riddim, is there anything else this year you’re looking forward to?

‘I don’t know when this is going out, but I’ve got one on my bucket list, playing Glastonbury at the Temple Stage, which I’ve wanted for ages. Obviously Boomtown. I’m playing a big one in France called Dream Nation on my birthday.

‘Release-wise, I’m trying to do one a month with the speedbass project. I’ve also got an album with my best friend Matt Scratch - a drum and bass album on Neuroheadz. A collab with Flava D on her album, some other bits and bobs. And I’m on tour with Teletech at the end of the year - big tick for me.’

 

 

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