Featured Underground Artist: InferMode

InferMode is an electronic music artist with roots in hardware performance and underground techno. Inspired by 90s Detroit techno, InferMode fuses analog synths and MPC sequencing to craft hypnotic, impactful tracks. Each track is shaped with hands-on control, layered textures, and evolving energy. The sound balances driving low-end pressure with atmospheric tension. Groove, repetition, and subtle modulation shape a sound that balances pulsing low-end with atmospheric tension. Whether in the studio or performing live, InferMode’s hands-on, hardware-based style brings stripped-back, powerful techno to the underground.

What’s the story behind your artist name, “ InferMode ”?

I’d been creating music in my bedroom for a couple of years and sending it to a few friends. Craig Thomas (Analog City - 90s Techno Nights, DJ & Producer) recommended putting tracks “out there”, and with that, I thought, why not? Looking for a name was the first challenge. I settled on InferMode. Infer or Inferno (fire, intensity) and Mode (suggesting a musical arrangement or an electronic state). Merging the two to become InferMode.

How long have you been in the music scene?

Creating music - not very long when compared to many peers of the same age! I started around the time of lockdown, making music that appealed to me. I used a lot of YouTube tutorials to get me started, literally learning the very basics of music production. I started with the Novation Circuit but soon outgrew it and moved to the MPC, which I’ve kept as a central controller, adding various hardware synths over the years.

What first got you into producing electronic music?

My brother has produced music for many years under the name SH-101 and has inspired me to try it myself. I enjoy learning new skills, and I guess with lockdown and the range of groove boxes available at a reasonable price, I thought I’d try to create music for my own pleasure.

Who or what were your biggest musical influences growing up?

My musical influences started from the early Electro sounds of the 80s, moving into Techno of the 90’s.

Are there any genres or artists outside of EDM that influence your style?

Along with listening and going to techno clubs, I enjoy listening to 90s Indie and hip-hop, as well as early 2000’s trance. Sometimes a trance piano will creep into a production.

Are you involved in the music scene full-time, dedicating all your time to creating and promoting your music?

Very much part-time, my day job is very different from my producing persona; balancing work, family, and music means it can only be a part-time venture.

What inspires your music style and music sound, nightlife, emotions, visuals, or something else?

I’ve been listening to and partying to techno for many years, and I create sounds that I’d like to listen to or dance to on a night out. I’m not trying to make the same sounds as the latest trend.

What Genre are you currently producing?

I’d say techno, which is a broad genre in its own right. Minimal, hypnotic, acid, I’m not 100% sure.

After hearing your story and reading your bios, I noticed you often mention 'underground techno.' In your own words, how do you define what underground techno means?

From starting to perform live, I’ve met many music acts, quite a few I’d class as techno, plenty of grass-roots creatives out there making music. This is underground Techno.

What sets your current music apart from other EDM artists and makes it uniquely yours?

I make music that appeals to me, and hopefully a few others might like the sound. I try not to overcomplicate with effects, and I keep the sounds quite raw. Linked to hardware synths that I’ll adjust as I go, I’ll have an idea in my head, but every performance is different. (UEDM impressive !)

How does hardware-based production contribute to creating stripped-back, powerful techno in the underground scene? Is this due to not using samples and DAW instruments?

Using the MPC, some could argue that it’s a mini DAW as it has many of the components you’d find when using a DAW. Many sounds use samples, but with the MPC, you also get internal synth engines, and in my setup, I use the MPC to sync external synths or send MIDI notes. Using the combination creates a sound that’s different each time I perform.

What strategies are you using to grow your audience and make sure your music stands out (make sure your music gets heard)?

I’m performing as much as I can and have also started producing tracks, with my first release, Fibres, now available through Bass Controllism Records (BCR). I also post regularly on TikTok, Instagram, YouTube, and Soundcloud.

What is your musical background?

I don’t really have one! I can’t play any instrument and have had to learn the basics of music theory through YouTube tutorials and trial and error! 😆

You're not a DJ, but like your friend, the last DJ who uses hardware to make his techno songs, it seems you use even more gear. What equipment do you use, and which is your favorite and why?

I’m trying to focus on a few pieces of kit! I use the MPC One as the heart, a sequencer, and a MIDI controller, and use it to sync all external gear. I find the Behringer Edge is always connected, has great sounds, and always has something different when used live. Quadrantid Swarm, an interesting synth and another great live option. Moog Labyrinth pairs great with the Edge and Dreadbox Typhon, which I find really powerful. I swap pieces of kit around. I prefer external equipment; it’s tactile, and you can tweak elements without menu diving. With the Edge, Labyrinth, and Swarm, they give you endless options when using live, which keeps things interesting but can also add an element of stress!

Do you think EDM fans will want to see more live performances featuring artists using hardware, rather than DJs behind a controller or laptop just turning knobs?

I think the DJ will always have a strong position, hearing tracks that are produced and structured, sometimes the odd classic that’s dropped, all help to drive the dancefloor.

Which music software and/or DAW do you prefer for music production, and what makes them your top choices?

My day job means I spend all day in front of a laptop. I like producing DAWLESS as it takes me away from a laptop. I haven’t ventured into Ableton or other DAW software yet! The tracks that I’ve produced and released are all completed within the MPC.

Do you mix and master your own songs?

I arrange and mix my own songs, currently using LANDR for mastering, although BCR can master if needed.

How do you start a song? Do you begin with the melody, the drums, or the bassline when building a track?

I start with a kick and a simple hi-hat pattern to give me a metronome, then move on to a synth pattern. As things progress, I might change the kick, work on a bassline, and add to the hat pattern.

How do you approach making kick drums and bass stand out in your songs?

I’ll play around with options, patterns, sounds until I find something that I feel complements what I’m trying to achieve with the track.

How do you create the driving low-end pressure in your songs?

Quite often, I’ll use the Typhon to pair with an internal MPC synth to create a low-end presence that’ll move through a track as I bring the filter up.

How do you go about finding the perfect kick drum, snare, or clap?

I’ll change sounds as I go along; often, the sounds I start with are not what I end with. Coming back to a track the next day, I’ll often change elements that I thought sounded ok.

What techniques do you use to make your basslines and leads stand out in a mix, or to give your kick extra punch?

I use sidechaining and will duck layers of sound to create space, or drop the velocity to make room.

What’s one production tip you wish you'd known when you first started producing music?

Try not to overcomplicate,and keep adding, give each sound space. I’m still learning loads and have to check what I’ve been adding to ensure it adds value to the track. The other tip for live performing is to give yourself time and let the track breathe and grow, don’t rush it.

How do you decide when a song is “finished”?

I’m not sure! I get to the stage where I’m happy with it; if I listen back and think something is off, depending on what it is, I may go back and change it, but often will leave it as “finished”. This way, I can move on to the next project and learn from previous tracks or sessions.

What music-producing advice can you give someone who is trying to break into the EDM scene? 

I find live performing much easier than producing. Playing in the moment, bringing in a clap or tweaking the filter on a synth live, seems more natural than arranging and producing a track. I would say using a reference track or arrangement that you think works is a good starting point. I don’t try to emulate, but I do listen to tracks and think that the arrangement could work for me.

What are your thoughts on the current underground EDM scene? Do you think there are too many DJs and artists?

Until I started live performing at Electronic Music Open Mic (EMOM) nights, I hadn’t realized how big the scene is in the North West. I wouldn’t say too many, I’d encourage anyone to be creative. It's great when you play something you’ve created, and someone else appreciates it. DJ-wise, it’s become easier to mix with the help of auto BPM matching, but to be able to mix and work the crowd is still a skill.

What do you think about using AI in music?

AI is evolving, and the use in music will therefore also evolve. I don’t necessarily think it’s a bad thing. To be creative, you use the tools available; AI is one of them. I use AI within my work, but I still have to provide human input. If I use it at work, why wouldn’t I use it in other areas (although I’m not at the moment!)

After reading the article "The Digital Paradox: How Music Streaming Saved the Industry but Stifled the Artist," what are your thoughts on the impact of music streaming?

It’s an interesting one for producers like myself, not full-time artists, trying to get their music heard. The fact that you can release a track across multiple streaming services at a low cost means that I can release my music. The fact that I can do this does mean that much more music is being produced and released, which has got to be a good thing, but I agree that this could also dilute the market. I still think it's positive for smaller artists.

With vinyl LP sales surpassing $1 billion USD in 2025 for the first time since 1983, do you think artists should prioritize releasing music on physical formats like vinyl and CDs? Will you make any vinyl or CDs? I know, as an artist myself, I was contemplating making vinyl and CDs around 2023.

It depends on the artist. For me, the additional cost, distribution, marketing, etc., I wouldn’t see this as viable, not at this stage. Saying that, the cost is coming down for vinyl production; it would be nice to get a physical EP in my hands. 🙂

Where do you see your Music taking you in 2026 or 2027?

I’ll continue playing at EMOMs, they’re a great platform to try out new tracks and get used to playing in front of a forgiving crowd. I played at Musevents Birmingham Techno Experience night run by DJ Mary Free. This was a great night at Suki10c in Digbeth. I’m booked to play at another event run by Mary (The Arch Festival) in May and a night in June in Lancaster. As well as playing live at techno events, I’ll work on releasing a few more tracks.

Do you have any concerts or performances lined up for spring and summer 2026?

Arch Festival - Saturday 2nd May - Suki10c Digbeth, Birmingham. Details tbc - 6th June - Lancaster. Various EMOMs!

Any shows with “The Last DJ”?

Nothing in the diary, but our paths do cross. I’ve played alongside Nick a few nights.

Where can I find your music?

Fibres - available on all streaming services. I also post tracks on SoundCloud, and live sessions on YouTube, as well as updates on Instagram and TikTok.