Bonnot – From Jungle Roots to the DnB Dancefloor

JDNB Family Interview: Bonnot – From Jungle Roots to the DnB Dancefloor

From the underground social centres of Bergamo to international stages, Bonnot’s musical journey has crossed ska, rocksteady, reggae, hip-hop, jazz and drum and bass. Born and raised in Italy and now based in Spain, the producer and DJ has worked with General Levy, Assalti Frontali and M1 of Dead Prez. For the JDNB Family Series, we caught up with Bonnot to discuss the roots of his sound, the deeply personal story behind “Koomalé”, memorable moments on stage and the music still to come.

1. For readers meeting you for the first time, how would you introduce yourself and your sound?

I’m a DJ and producer with a multi-genre background, based in Spain but born and raised in Italy and who has chosen a french nickname (from Jules Bonnot, a bandit from the beginning of the past century who inspired some of Arthur Conan Doyle's stories). Over the past decade, I’ve produced music for some important artists, both overseas, such as Dead Prez, and across Europe, including the legendary General Levy and Italian hip-hop pioneers Assalti Frontali. For the last two years, I’ve decided to focus exclusively on Drum & Bass. It feels like a natural evolution for me, bringing together many of the influences I’ve explored throughout my career while allowing me to fully immerse myself in the DnB scene.

2. You were born in Bergamo, Italy, and now live in Spain. What was the music scene like where you grew up?

I’m from Bergamo, a small city near Milan, in the north of Italy. I was really lucky growing up there, because at the time the political movement was very strong across Italy, and so were the alternative music and underground scenes. Occupied social centres were everywhere — in big cities as well as in many smaller towns. They were places run by the people, for the people, where you could organise things without having to ask for permission, and without all the restrictions and barriers you might find in more conventional spaces. You could have music parties, breakdance battles, graffiti sessions and pretty much anything connected to underground culture and its many different subcultures and styles. I grew up surrounded by friends involved in all sorts of scenes: Rocksteady and reggae, punk, hip-hop, jungle, D&B, tekno… It was a very rich and diverse environment, and I think a lot of that stayed with me and eventually found its way into my music. I was also playing in several bands myself during the years, on double bass in rocksteady and jazz projects, and on electric bass in crossover, hc-punk and grunge bands.

3. What first drew you to jungle and drum and bass?

I was already familiar with a lot of jungle and DnB through the parties I used to attend at social centres and sound systems. But I remember that I first became really interested in trying to produce jungle after falling in love with some epic tracks by Benny Page. A few years later, as I started exploring the different styles within D&B more deeply, I also became increasingly interested in different approaches to sound design. That naturally led me towards other sounds and styles, including Jump Up and Dancefloor D&B.

4. Your music crosses reggae, hip-hop, jungle and DnB. How did those influences come together in your productions?

I think all those years of playing music and moving through different scenes and sounds have simply become part of my DNA. I don’t really have a formula for it — they’ve become part of my personal taste and my musical ear, and that naturally influences the choices I make when I’m writing music. I started playing when I was 12, and throughout my school years I played in many different bands and formations. At the same time, I was studying classical double bass and composition at the conservatory. When I was just 18, I was lucky enough to join a well-known Italian Jamaican ska and rocksteady band. We toured opening for artists like Laurel Aitken, the “Godfather of Ska”, and Derrick Morgan. It allowed me to earn money from music almost like a part-time job while I was finishing my studies. A few years later, when I was 21, another big opportunity came along: I became the music producer for Assalti Frontali, a legendary Italian hip-hop group and one of the pioneers of the scene, active since 1990. I also started DJing live with them. From that point on, I was able to make a full-time living from music, which gave me the opportunity to invest more seriously in my studio, my instruments and analogue gear, and to really develop my own sound. A few years later I met General Levy, for whom I produced some reggae riddims, and eventually I connected with Dead Prez, the legendary hip-hop duo. In 2011, I started a long-term project with M1, one half of Dead Prez. Together we wrote two full albums and many singles, toured extensively around the world, and even joined Macklemore’s The Heist tour in 2013 for a show at Madison Square Garden. Over the years, we also released music with some incredible artists, including Prodigy from Mobb Deep and Talib Kweli, as well as official Dead Prez remixes featuring artists such as Black Thought from The Roots, Busta Rhymes, Bun B and General Levy, among many others. So I guess when I make music today, all of those experiences are in there somewhere. I don’t consciously think, “I’m going to put some reggae here and some hip-hop there.” It’s just the musical language I’ve developed over the years.

5. When you start a new track, what usually comes first: the rhythm, bassline, melody or an idea you want to express?

It can be any of those things, really. Sometimes I start with a break, sometimes with a bassline, and sometimes with a sample I’ve found somewhere. With tracks like “Koomalé”, though, it starts more from an idea of the mood I want to create. I’ll usually start with the melody that defines that particular feeling, and then use sound design to develop it further and shape the idea. I don’t really have a fixed formula — I just follow whatever sparks the track in that particular moment.

6. How has your production style changed since you first began making music?

Over the years, I’ve always tried to achieve a more defined and three-dimensional sound — something that feels as far from flat as possible. Years ago, I relied heavily on real instruments and a lot of analogue outboard gear to achieve that. Nowadays, my approach is different: I try to make the best possible sound choice right from the beginning, and then shape and develop it through sound design using tools like Serum, FM8, Nexus and other VSTs. So the tools have changed quite a lot, but the goal is still the same, creating a sound that has depth, movement and its own character.

7. You’ve worked with General Levy for many years. How did you first connect, and what makes your collaboration work?

We first met in my hometown, Bergamo, in 2009, thanks to a dubplate session organised by I-Trees and Shanti Sound, two legendary reggae crews from Bergamo. Looking back, it’s funny to think that on that very first day we actually made two tracks that went on to become quite significant, and played a show together — all in the space of one day! They say some days can change your life, and this was definitely one of them. That afternoon, they organised a dubplate session at my studio and the guys from these sound systems came up with the idea of recording an unreleased 7” on one of my productions. That track became “Highest Grade” on the THC Riddim, which eventually reached number one in 7” vinyl sales in the US, Germany and Japan. And there was another important moment that afternoon: he recorded vocals over one of my D&B beats, which became “Intergalactical” — my very first D&B track ever, later included on my first, multi-genre producer album. That same evening, they invited me to DJ for General Levy at his show at the local social centre. All of this on the same day! Crazy!! From there, we started producing singles together and playing many shows across Italy and Spain. In 2014, we released a full album together, Forward, which did really well and featured some great guests, including Serial Killaz, Ed Solo and Ricky Tuff. I think there’s a very natural connection between us and our musical backgrounds. We share the same unconditional love for music and for experimenting, as well as the same values in life. We’ve developed a strong musical understanding over the years, so when we work together, things tend to happen very organically. I’ll be forever grateful to General Levy. He was one of the first, alongside Assalti Frontali and M1, to recognise something in me and believe that I had real potential. I’ll always carry that with me.

8. What have you learned from working with vocalists and MCs that has changed the way you produce?

Working with vocalists and MCs has taught me a lot about leaving space for the voice and building the production around the flow, rather than simply putting a vocal on top of an already finished track. It’s also taught me a lot about structure, dynamics and the relationship between the vocal and the production.

9. Of all the collaborations you’ve done, which one challenged you most creatively?

I’d definitely say some of my collaborations in the jazz world. I’ve had the chance to work with some incredibly talented and highly regarded Italian jazz musicians, and producing crossover tracks and albums between electronic music and jazz has been both extremely stimulating and challenging. The real challenge was creating a sonic world and a workflow that could work naturally with the very different approaches and languages of the two styles. It pushed me to think differently about production, arrangement and interaction between musicians and electronic elements. It was complex at times, but that’s exactly what made it so creatively rewarding.

10. What was the story behind “Koomalé”?

“Koomalé” was actually my return to D&B after about four years without producing any new material in the genre. It came after I made the decision to leave all my other musical projects and focus entirely on my solo project and on D&B. It was also a bit of an experiment, because I felt quite rusty. I wasn’t really sure where to start stylistically, so at the time I was listening to a lot of new releases from 2024, trying to understand how the sound had evolved while I was away. I was coming from two years of not producing at all, during which I had dedicated most of my time to my children and my wife, who had undergone major surgery for a brain tumour the year before. It had been a tough journey, but thankfully everything turned out well, thanks to some amazing doctors, her beautiful attitude and the Universe. Her recovery was relatively fast, and she has been able to get back to her normal life 100%. At that point, I really wanted to say thank you to the Universe and celebrate life and serenity after such a long and uncertain period, which had also come right after those three years of COVID shit. I wanted to bring gratitude, mystical vibes and happiness into a song that could represent a rebirth and a love for life. While listening to many recent tracks, there was one in particular that I kept dancing and singing along to with my three children and my wife: “Pachamama” by Luude. That made me think it could be fun to try making something positive, uplifting and happy, so I used the drums from that track as a reference and then had to really rack my brain to find a strong idea of my own, without having any singer available at that moment. I had no idea whether the final result would actually work, so I thought that at the very least it could be a nice song for my family, even if it ended up being nothing more than a test that was never released. The crazy part is that the vocals that sound almost like a group of children singing in some unknown language actually came from a completely different place. I took a sample from a sad song, originally recorded about 40 BPM slower, where two women were singing a traditional-style folk melody from an Italian region, in a local dialect. They often sang in intervals of fourths, almost like an ancient chant. After trying different cuts and combinations, I eventually found the right one. By speeding it up and pitching it, I discovered the soul of what would eventually become “Koomalé”. I wanted the track to express a feeling of freedom and happiness without relying on any specific language, so that the message and the feeling could reach people all over the world. I wanted those emotions to come through the overall mood, the tone of the sample and the melody. And, last but not least, the track is also a tribute to the famous anarchist singer-songwriter who originally wrote that song, who sadly passed away many years ago. I hope that new generations in Italy can continue to discover and rediscover his music. I was really moved when a family from Poland fell in love with this track so much that they drove all the way to Prague — about nine hours by van — just to meet me in person and dance at my show at the legendary Cross Club, all because of this song!

11. How did it feel hearing that Kanine had included “Koomalé” in his Summer Essentials mix?

It was incredible, and honestly a real surprise. Since it was my first track after such a long break, I really didn’t expect to receive such positive feedback. And the fact that one of the top producers in the scene at the moment selected it for his annual Summer Essentials mix, alongside so many legendary names, was genuinely quite emotional for me. Especially considering that, when I made the track, I wasn’t even sure I was going to release it! The following year, I actually met Kanine in person at Rampage Open Air, so I finally had the chance to thank him personally. He’s a really humble and down-to-earth guy, and it was a real pleasure to be able to tell him in person how much that moment meant to me. He replied, “No worries, mate. It’s been a pleasure. It was just a song.” So I said, “Yeah, but it made my year — not just my day!” lol

12. When you’re making DnB, how do you balance a track that works on a sound system with one people will want to listen to at home?

I think this is probably one of the biggest challenges for every producer! In general, I always try to test my tracks both in my live sets and by putting them into my own listening playlists, to see how they work when the new track comes in alongside other music. It’s a good way of checking whether they work not only on a big sound system, but also in a more everyday listening environment. I also have a small circle of trusted producer and DJ friends who I regularly ask for feedback, just to get some different perspectives and fresh ears. But ultimately, every track has its own direction. Some projects are born specifically for the dancefloor, while others are made purely for listening. Every time, it’s a new journey.

13. Which producers or artists are inspiring you at the moment?

I love too many producers! I think I’m inspired, in one way or another, by all of them, but at the same time I always try to stay original and creative, looking for my own direction. I could randomly mention some of the many artists I’ve been listening to a lot recently: Delta Heavy, Document One, Circadian, Kanine, Fred V, 1991, Friction, Pirapus and, of course, Benny Page. There are so many others I could mention, though — the list would be endless!

14. Is there a track from your catalogue that you feel deserves more attention? What makes it special to you?

Probably “Falcon”. It’s a great Dancefloor track with a Ragga-style vocal by Tigrane, released in May 2025. I produced it at the end of 2024, just after I had started producing consistently again, so at that point I didn’t have much attention around my music yet. That gradually came back over the following months and years, so I think “Falcon” ended up flying a little under the radar compared to some of my other releases. But I really believe the track deserves more attention. I play it regularly in my DJ sets and I can see the reaction it gets on the dancefloor. Every time people discover it, they seem to really love it — and for me, that’s one of the best signs that a track is working. So I’d definitely say “Falcon” is one that I’d love more people to discover.

15. What differences do you notice between DnB crowds in Italy, the UK and elsewhere in Europe?

Nothing compares to the UK, because it’s the motherland of D&B and the level of knowledge is just incredible. People really know their music and their history. In Italy, it really depends on where you play. Clubs can have a very different vibe from big warehouses or occupied venues, so you can find quite different crowds and energies. The crowds are always great, although of course they don’t necessarily have the same level of knowledge about the music and the scene that you find in some other countries. In Europe, I also absolutely love the Spanish massive. They really know how to party and they love D&B! The Czech Republic is another amazing country for D&B too — I’ve always had great experiences there.

16. What does a Bonnot DJ set give the crowd that they might not hear from your releases alone?

Of course, my new dubs and unreleased tunes! In general, I really love connecting with the people and going with the flow. I prefer less prepared sets and a more spontaneous approach, trying to understand the vibe of the room and react to it. I know that many DJs like to prepare their sets in great detail, and there’s absolutely nothing wrong with that. For me, though, I still really enjoy leaving some space for improvisation and making decisions in the moment. It’s definitely a little bit more risky, but I think it gives you a much better chance to understand the dancefloor and connect with the people, make them dance and have fun.

17. What has been your most memorable show so far, and why has it stayed with you?

One of the most memorable shows for me was at Outlook Festival in 2015. I was playing at midnight, just before my very close friend DJ Ferro from Underground Area. Like me, he had dreamed of playing that stage for years. Just before I was due to start, the power suddenly went out. Complete blackout — the lights, the consoles, everything. The arena emptied almost immediately, and people started leaving before I had even played a note. For Ferro, it was devastating. He had worked for months to get some slots for his label on that stage, so seeing him so completely crushed actually hurt me much more than losing my own show. Luckily, after about ten minutes, the technicians managed to get everything back up and running. But by then, almost everyone had moved to the other stages. I started playing to literally three people. Then, by the second track, around a hundred people started coming back. By the end of the third track — probably only five minutes into my set — we suddenly saw a huge wave of people running towards our stage. It was incredible to see, especially from the booth. The whole arena started filling up within minutes, until there were nearly a thousand people in front of us. I played my full set, but honestly, I was probably happier for Ferro than I was for myself. He had almost completely lost hope, and even he couldn’t believe what was happening. When my set finished, I handed him the headphones and gave him the decks. He then played in front of a completely packed arena and delivered an Andy C-style set that I still remember all these years later. It was one of those situations that could have ended in a really sad way, but luckily it turned around completely. That’s probably why it has stayed with me for so long.

18. What are you working on right now that JDNB readers should keep an ear out for?

I recently released a new single with Gracie Van Brunt, and over the next few months I’ve got a couple of new tunes coming out. The first is a collaboration with my brothers Lexed, Mad Sam and Dread MC, and then there’s another one with my brother Tanukichi and Jyxe. I’ve also got a collaboration coming with an up-and-coming artist called Cash Pony. I’m really excited about all of them, so definitely keep an ear out!

19. Where have you been playing recently, and what other dates are on your schedule?

On 30th October, I’ll be playing a 2-hour set at the legendary Ministry of Sound in London, from midnight until 2am. The overall lineup is absolutely incredible, with legends like Calyx and Camo & Krooked also on the bill, so I’m really looking forward to that one! Then in November I’ll be playing in Milan, followed by dates in Spain, in Barcelona and Tenerife, and then back to Italy for another show in Palermo. I’m really happy to have a nice mix of dates coming up across different countries, and I’m looking forward to seeing everyone on the dancefloor!

20. Looking ahead, what would you still love to achieve musically, and what keeps you excited about making DnB?

I’d love to keep collaborating with artists I really respect and admire, and to play many more shows around the world, especially in countries I haven’t had the chance to visit yet. D&B is pure love. I don’t think I’ll ever get tired of it. There are so many different styles and subgenres, so much room for experimentation, and so many producers constantly looking for fresh and solid sounds. There’s always something new to discover. And then there’s the community. The massive is so supportive of each other, and I think there’s an amazing sense of community within D&B that you don’t always find in other scenes. That’s probably what keeps me excited: there’s always something new to learn, new music to discover, new people to meet and new places to play. As long as that feeling is there, I’ll keep doing it.    \

JDNB Family nomination

JDNB: We are doing a JDNB Family Series. Who would you nominate for our next interview, and why?Bonnot: Dread MC! Big up!

New mixtape: Ragga Bombs

Listen to Bonnot’s new Ragga Bombs mixtape: https://www.youtube.com/watch?v=w5gnRlWFHvk

Big up Bonnot for joining the JDNB Family Series!