Brecon’s fixation on the smallest sonic textures, like a hihat, may feel thankless to him, but it may be the secret ingredient that makes his electronic soundscapes so well crafted making it very difficult to simply bypass. Read our discussion with the artist below!
Describe your sound in 3 words
Emotive, detailed, gnarled.
Tell us a few things about Angular. What is the main idea in it?
“Angular” is really about tension and release—emotionally and sonically. It plays with contrast: soft, vulnerable melodic ideas against more rigid, rhythmic structures. The name reflects that slightly jagged, imperfect edge running through it. It’s not meant to feel overly polished or symmetrical—it leans into those off-centre moments that feel human.
How do you strike a balance between making music that is emotionally fragile yet powerful enough to “move air” in a club or venue?
For me, the core emotion of a track should be able to exist in any setting—that’s the most important thing. Whether it’s played quietly on headphones or loud in a club, the feeling should still translate. The production is really just the way that idea is packaged for a particular environment. I have equal passion for both sides—those fragile, intimate moments and the more physical, high-impact energy—and I think when the emotional core is strong enough, they don’t compete with each other, they reinforce each other.
As a producer, how do you know when a track is “done” and resist the urge to overcomplicate or add too many layers?
Honestly, it’s very difficult—and I don’t think you’re ever truly done. There’s always something you could tweak or improve. What I’ve learned though is that once I start adding things that don’t clearly improve the feeling, it’s probably time to stop. More layers don’t equal more impact—often the opposite. If the idea works in a stripped-back version, that’s usually a good sign it’s finished, and from there it becomes more about removing things than adding them.
Your work is noted for being infused with UK dance music. Which specific eras or sub-genres of the UK scene have left the biggest footprint on your sound, and how do you like to twist them?
A lot of it comes from early UK garage and the more melodic side of drum & bass, alongside that late 2000s / early 2010s wave of progressive and deep house. I’m drawn to the swing and groove of UK garage, but I tend to slow it down or smooth it out, and then combine it with more atmospheric, almost cinematic elements. It’s less about recreating those sounds and more about borrowing their feeling and placing it in a slightly different context.
You’ve been remixed by big names in the industry and have remixed some iconic artists yourself. What is the most surprising thing you’ve learned about your own music by hearing it through the lens of another producer?
Probably how flexible it is. Hearing someone strip away what I thought were the “essential” parts and still keep the identity of the track made me realise that the core idea is usually stronger than I think. It’s also shown me that different producers hear completely different emotional angles in the same piece of music.
What is the story behind your name?
It’s taken from the Brecon Beacons in Wales, which has a personal meaning for me—it’s where my mum spent the last of her days. That connection gave the name a lot of weight and permanence. I also liked the sense of landscape and space it evokes, which felt very aligned with the kind of music I was making. It carries both a personal and emotional significance as well as a sonic one.
In which place or state of mind do you imagine people might listen to your music?
Somewhere in between—either late at night on your own or in a room full of people but slightly lost in your own head. I like the idea that it works in both spaces: introspective listening but also shared moments where everyone’s feeling something, even if it’s subtle.
What is the most useless talent you have?
I can spend hours tweaking a hi-hat that no one else will ever notice.
Thank you!
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