Audio (Ram, Virus, Snake Pit)
No other name demands attention from an audience like Audio; since the age of 19 he’s dedicated himself to his craft and when looking over his eminent career across several subgenres his impact has been monumental. Audio’s intelligent yet uncompromising strand of drum & bass has infiltrated club speakers throughout the world, spanning over decades. With a host of albums on some of the genre’s most pivotal imprints, including Ram Records, Blackout Music and Virus Recordings, his presence can be felt within its every corner. Always crossing boundaries he’s detonated his meticulously put together, yet invasive sounds on commercial stages across the globe, bringing his formulae into territories which hadn’t been explored by similar artists before him.
From his beginnings becoming entrenched in jungle via Colin Dale’s imperative Abstract Dance show on Kiss FM, through to booking Ed Rush in Croydon after coming across his number on the back of a test press, Audio’s in-house role as an engineer at the esteemed rave distributors Alphamagic saw him begin to build his own sonic artillery. Whether it was part of the weighty Resonant Evil project or through his solo material on imprints such as Moving Shadow, G2 and Outbreak, Gareth Greenall was growing to become a notorious figure. After his stint on Tech Freak Recordings, where he unleashed an array of furious cuts, it was time for him to broaden his horizons, both strategically and musically. His defiance still came through in the chaotic tracks he spent hours fine tuning however there was a more explosive, dancefloor feel which began to creep in, without him bowing down to a commercial appeal. His esteemed ‘To the Edge of Reason’ album on Tech Freak saw his profile grow even further, resulting in his part as an intrinsic member of the Virus Recordings family for over five years.
Already an established headliner throughout Europe, Audio was now a global phenomenon, a reputation compounded by albums such as ‘Genesis Device’ and ‘Soul Magnet’; the latter spawned the mighty ‘Headroom’, a record which still garners explosive reactions even today. ‘Headroom’ stood as one of the most successful and influential tracks of its time, knocking chart-topping EDM star Avicii off the Beatport top spot and dominating the charts for a total of 13 weeks. Audio’s final Virus album ‘Force of Nature’ followed in quick succession, bringing him under the guise of Andy C’s Ram Records. A pillar of the drum & bass scene for over twenty-five years, known for its crossover output, it never was the first place fans would place Audio. However, the producer would soon go on to change the imprint’s very fabric.
It wasn’t just his pervasive solo output on Ram Records which made an impression on the label’s expansive catalogue, despite the critical success of his album ‘Beastmode’, his ‘Nil by Mouth’ EP and debut singles. But his part in the Killbox outfit, alongside now long-time friend Ed Rush, rocked the foundations of an already illustrious platform. The bringing together of such heavyweight forces shook the drum & bass scene to its very core, having titanic implications not just for Ram, but also the genre’s history. The union resulted in the cut-throat demeanour of their self-titled ‘Killbox’ EP, as well as ‘Pleasure Palace’, an LP which has since stood as one of Ram’s most undeniably diverse yet biting deliveries. With more to come from the pair, their onslaught will remain continuous. All to be expected from a duo with such decorated backgrounds.
2019 saw Audio enter a new era – and Snake Pit was the start of this era. It was the year that Audio launched his own stage and staying true to form his work rate has been impenetrable. Beginning its life with the sordid sounds of ‘Frog March’, supported by tastemakers such as Radio 1 and UKF, Snake Pit dropped a seismic hole within the drum & bass world. And in it, Audio has carved a place for Snake Pit. In its footsteps came singles ‘Darkseid’, ‘Dead Stock’, ‘Ultrasonic’, ‘Atomize’ and most recently flipside ‘Glass House’. It is ‘Glass House’ which has been one of the imprints defining moments. Audio has yet again tapped another switch, alluding to something deeper in his repertoire. ‘Glass House’ represents a signpost saying that despite decades of showing face to his fanbase, there’s still a buried creativity he has yet to reveal. That’s why Audio still reigns supreme within the contemporary market. He’s unafraid in his exploration of new pastures and once more Snake Pit underscores another chapter in Audio’s book. Once a sound engineer and now a genre great, Audio’s story persists. With Snake Pit now at the helm, it’s always been his work ethic and unpredictability which has kept him on stages at the world’s biggest festivals, whether that’s Boomtown, Let it Roll festival in Prague and EDC Las Vegas. Not many figures can boast the same achievements without watering down their sound.