NBC9 JDNB Interview

From British Columbia to the UK.

NBC9 JDNB Interview

NBC9 JDNB Interview

Today I’m joined by NBC9, the production alias of Canadian drum and bass producer Jason Craig, based in the Fraser Valley of British Columbia. NBC9 sits right in the space between dancefloor drum and bass and neurofunk, combining disciplined sound design, strong rhythmic structure, and cinematic tension. The focus of the project isn’t about chasing trends or building festival moments; it’s about controlled energy, intentional arrangement, and creating tracks that evolve and stay interesting across the full runtime.

Jason first entered electronic music production in the early 2000s under the alias Influenza, during the rise of the nu-skool breaks movement. Using early digital production tools - versions of Logic Pro and plugins like many producers of that era, he began building the foundations of his sound. During that period he released vinyl through multiple breaks labels and won the very first remix contest he ever entered, remixing The Sting for Sponge Records, which helped kickstart his early production career. He also launched Epidemic Recordings in 2003, and performed at some major events including the Nu Skool Breaks awards show at Fabric and a massive set at Freaknight in 2005 playing after The Crystal Method for a crowd of around 10,000 people. After stepping away from production for several years to focus on career and life priorities, Jason eventually returned to music, this time under the name NBC9. The name itself comes from his photography and video business Northern Ballistics Canada, which later evolved into a new musical identity and creative outlet. Since returning, NBC9 has built momentum within the drum and bass world, launching Embassy 9 Recordings in 2024 and releasing music through labels including DNBB Records, LoveThatBass, and Arrival Archetype. Major projects include the State of Control album and the collaborative Fragments remix series. The latest project, Fragments 2.0, has already surpassed the numbers of the original release within just over a week and continues gaining traction. NBC9’s music blends precise drum programming, dark bass design, cinematic atmospheres, and progressive movement — influenced by artists like Noisia, Mefjus, Aggressor Bunx, and Burr Oak. Rather than focusing on touring or industry recognition, NBC9 exists primarily as a creative outlet, a studio-driven project focused on continual improvement and making music that feels powerful both emotionally and on the dancefloor. So today we’re going to talk about Jason’s journey from early nu-skool breaks production to modern drum and bass, the evolution of music production technology, building an independent label through relationships, and the philosophy of creating music for fulfillment rather than fame. Jason, welcome - it’s great to have you here.

Early Music Journey

Let’s go back to the beginning - how did you first get into electronic music production in the early 2000s under the name Influenza?

Well my roommate was already an established Drum and Bass producer, he goes by the name Psidream, was on big labels like Renegade Hardware, DSCI4, Uprising, Red Light, and so many quality labels. I was just a breaks DJ, and always loved watching him make tracks. I had zero experience on the production side, but I had some ideas. Jeff was cool with teaching me what he knew about Logic and didn’t really gate keep or hinder any growth. Together we made Nu Skool Breaks under the Influenza moniker. 

Nu-skool breaks was really taking off around that time. What was the scene like when you first started releasing music?

I don’t really know how to describe it, but it was a challenge at first here in Canada, everyone was listening to Florida Breaks, Funky Breaks, and the Nu Skool sound didn’t take off right away. While the sound was growing internationally, locally it was difficult. As time progressed names like the Freestylers, Krafty Kuts, and the Plump DJs became more popular and definitely helped the scene grow. Krafty Kuts actually remixed our track Prozac nation a couple years after we first started.

You won the very first remix contest you entered with your remix of Man’o’War -The Sting. What do you remember about that moment and how it affected your confidence as a producer?

It was surreal that’s for sure, I’d never released anything, I didn’t get that initial feeling of having made something and waiting for it to get signed and come out eventually. It was just quick and efficient, Jeff and I remixed the original Man ‘O’ War - The Sting, and won first place in the remix contest. It was out quickly on vinyl shortly after, and helped us get recognized outside of our own city as Influenza. It was definitely inspiring to say the least, it made me want to make more and more and more. I would be working away on ideas in my room, while Jeff was working on DNB in his room, and we’d sit down together once in a while to polish up what I had started, and add his technical skills and flavour to the tunes. Some tunes he almost made completely by himself later on, but we were always a team that finished it together to the best of our ability.

You were also releasing vinyl through multiple breaks labels at that point. How different did the industry feel back then compared to today’s digital-first landscape?

Let’s just say after 20 years of hiatus, it was a shock to come back to no vinyl, all digital streaming and very little sales. Vinyl was often bang or bust, labels took real gables, signing a track, getting test press made, promoing, then deciding how many they were going to press for full release. You either made money or lost LOTS of money, it was truly a different game than it is today. Today the biggest costs are promotion, and mastering, and distribution fees, very minor in comparison. There wasn’t social media like there is today as well, so the networking was very hard in comparison to today’s world.  There were forums, and AOL instant messenger, then finally MSN Messenger came about. Today I can send a DM to a top artist after a quick search, and they can decide to respond or not on the spot, it’s just completely different way of doing things. I love to communicate so, I’m happy with the tech today, although you’ll never catch me dancing to my latest track to promo a release on socials. ;)

In 2005 you played the Nu Skool Breaks awards show at Fabric in London and also performed at Freaknight in Seattle for around 10,000 people after The Crystal Method. What were those experiences like for you at the time?

A guy from Vancouver, Canada it was a dream. Never in a million years would I have expected to play at the time one of the hottest clubs in London. Breakspoll that year had Breakfastaz, Splitloop Boabinga, Madox and Steelzawheelz as breakthrough acts, and Best producers were Plump DJs, The Breakfastaz, Friendly, Rennie Pilgrem, and Evil Nine. To play at Fabric with those top names was intense, and nerve wracking. I spent 7 days in London, played a couple tiny gigs as well, and just took it all in, I had never been to that side of the world before, it was awe inspiring.

Freaknight was a legendary halloween show every year in Seattle, and it was played below where the Seattle Seahawk’s played their football, the venue was absolutely massive with multiple rooms, and tens of thousands of ravers dancing to all types of Genres. We got to play one of the larger stages right after The Crystal Method (you know block rockin’ beats). It was the single biggest crowd I had ever DJ’d in front of, and pretty sure I train wrecked a couple mixes due to nerves and the sheet size the monitors, they were like 12 foot high stacks aimed right at me. I literally damaged my hearing at that show permanently. It was one of the last shows I we did too.

Influences and Sound DevelopmentDuring that early period you were influenced by artists like Hybrid, Splitloop, Krafty Kuts, Freestylers, Aquasky, Deekline and The Breakfastaz. How did those sounds shape your approach to rhythm and production?

Splitloop were friends through the internet by that time, and I loved their sound, and energy. I think that the harder deeper sounds of Deekline and the Breakfastaz influenced me the most, Hybrid release Morning Sci-Fi was on repeat, and still gets plays to this day. Krafty was funkier, Freestylers were banging vocals out like mad, Aquasky and Masterblaster were really pushing the ragga sound, and I loved the vocals, funk, mixed with the heavier sound of breaks. Some of these guys are still active today, Krafty is still touring, Deekline ended up starting up Jungle Cakes with Ed Solo and is still very active today. As for the sound development, I took a little bit from all of these guys, I was young and raw, and had Jeff there to steer the sound in our own unique way.

You’ve also mentioned early Noisia as a big influence. What was it about their sound design and energy that stuck with you?

Noisia came about in year 2000, and always pushed the envelope on production and sound selection. I think if most modern day active producers with the age behind them probably sites Noisia as well, they were hugely influential in bass sounds, breakbeats, and just going off the wall with things. Showed you that you didn’t have to have a formula and stick with it. Before music production ever was a thought of mine, I was always into darker hard sounds. I spent my mid teens listening to NIN, KMFDM, Stabbing Westward, Ministry, etc. I even went through a pretty prolonged punk phase, all those groups influenced what sounds I put forward even today.

Do you feel those early breaks influences still show up in your drum and bass production today?

100%, I even took some old Influenza tracks and used parts of it in my State of control Album. I still love the sound, I have all my old vinyl, and I’m tossing on an old marine parade vinyl while I’m writing out these answers. I get told regularly that my sound is old, lol, not a modern sound of drum and bass, but more of an old school flavour. I’m totally okay with that, because I am old school. I was built in the days of old and will never forget those influences. I strive to learn and progress, there’s always lots to learn, and my sound has even evolved immensely  in the last year and a half as I learn new tricks and got familiar with the DAW again. I really want to evolve my sounds to fit labels like EAT BRAIN, NeuroPunk, Blackout, Paperfunk, etc. Real Neurofunk.

Stepping Away From MusicAfter that early momentum you stepped away from production for several years. What led to that decision?

Life got in the way, I needed to find a way to be successful in a career. In 2006 moved to Calgary for 9 months, found a job with a great company, and still work for that company today, in August  it will be 20 years. I couldn’t be successful at both, I couldn’t tour around the world, while trying to focus on making real money. Plus it was time to give up the night life, or I might not be able to get out of it.

Was music something you always expected to return to eventually, or did the return happen more organically?

No actually, never thought I’d get back into it. I’m ADHD, and I’ve always got something on go outside of work, as long as it could be done while not interfering with my career. I ran an Ice Hockey Goalie forum, started a YouTube channel reviewing goalie gear, sold that. Moved on to fishing gear, and did that with my wife for a few years, we traveled around BC filming and fishing, and building quite the following for that, bought a fly fishing forum from a friend, and later sold it for a profit. We put the filming gear down when my first son was born in 2013. It took up all of our time and energy, and ended up having a second son in 2015. I picked up a fascination for firearms, and started a photography business, it was product photography so I could do it from home, and still be there for my family, I had an instagram with thousands of followers for that project, and quit that in about 2023?

The Birth of NBC9What sparked the decision to come back to production and start the NBC9 project?

I was bored. Photography was no longer as engaging and dopamine producing as I would like. I started getting back into EDM music, brostep first with Kill the Noise (Edwun from my day), and that really sparked listening to all sorts of EDM again, in 2024 I made the snap decision to download a LEGAL copy of Logic Pro as I had a mac studio system, and started goofing around making crappy tracks, re-learning everything again. The tracks were pretty basic again, and I had to learn everything all over again. I didn’t understand compression, clipping, LUFS, and all that technical stuff, because that was always Jeff’s part of the Influenza project. He knew how to make it sounds better, I was just the ideas guy. 

The name NBC9 came from your photography business Northern Ballistics Canada. How did that creative crossover happen?

It was just laziness, I couldn’t think of anything that really felt right. I wasn’t going to resurrect the Influenza name cause it wasn’t the same without Jeff. So i just took the name I had been using for photography and added a 9 for stylistic purposes. Also if you say NBC9 quickly, it sounds like Embassy 9, the label. ;) I’m not sure anyone has picked up that since it’s inception, but there ya go.

You’ve said that once you finished your first NBC9 track “The Faculty,” you knew the project would continue long term. What about that track made it feel different?

I really liked what I had created in The Faculty, and decided it was going to be my first release. Listening to it now, it’s so crappy, but still had a vibe to it. I will eventually redo a full VIP redo of it, I attempted it once before but wasn’t liking the direction, but I want to modernize with the things I’ve learned over the last couple years.

That track was later remixed by Japanese drum and bass producer YASUKI. How did that collaboration come about?

YASUKI and I just met online through instagram, he was releasing tunes, I can’t remember who turned him onto him, maybe it was COMET from the Netherlands, not 100% sure, but we got talking and he agreed to remix it for my first remix album. That was an idea to test my networking skills, and see who I could convince to work with this little nobody that anyone in the current scene knew at the time. I mean the majority of the DNB scene has no clue who Influenza was or even Psidream for that matter, we’re old guys now and not on the young DNB kids radar. YASUKI has got to be one of the best producers and nicest guys in the scene today, I’m really seeing him explode in the Dancefloor DNB scene, and every bit of it is justified and he deserves all the stream, releases, and accolades that are coming his way.

Production StyleNBC9 sits somewhere between dancefloor drum and bass and neurofunk. How would you describe the sound to someone hearing it for the first time?

Uhhhhhh… Old school sound, with New School techniques? I’m not sure, you’ve got it pretty nailed with it sitting somewhere between. Ideally as I said before, I’m going to get more of a neuro flavour going, because that’s the style I love the most, but I’m not quite there technically yet. It’s a lot harder than people think making all those sounds fit together and keeping things interesting.

Your music focuses heavily on flow, structure and momentum rather than just big drop moments. Why is that approach important to you?

It's not for a lack of trying… I’d love to have those big drop moments, but what flows out of me is more progressive at the moment I think. It all comes with time, and I’m in no hurry to get anywhere, just want each track to get better than the previous one.

Your tracks often combine precise drum programming, dark bass design and cinematic atmospheres. Do you tend to start with rhythm, sound design, or mood when writing?

I always start at bar 33, sometimes that gets moved to 49, or even 17, but I’m always starting at the first drop, atmosphere’s always come later. I learned the fastest way to finish a track is to have the drums done and laid down right away. So if the track is 32 bars, Drop, 64 bars, breakdown, etc. I’ll typically lay out ALL the main drums first, and build around that. Once the drums are there, then it’s onto bass sound design, starting with presets typically and moulding, changing, tweaking from there. I rarely start a sound from scratch, I think my ADHD would never let me get finished if I had to make all the sounds from absolutely scratch, find a base sound and evolve it from there. I’ve started to really organize my sounds into things I really like to start with, and focus on those saved presets I’ve manipulated, i feel that’s going to help define my sound better than just surfing through packs all the time. I quickly find the vibe, name the track, and build around the vibe.  

Studio ProcessYou produce primarily in Logic Pro using tools like Serum 2, FabFilter plugins, Infiltrator and Rift. What role do those tools play in shaping your sound?

Well, Logic Pro is what I learned many years ago, so it made sense to go back to it. I also run a Mac Studio M2 in my office so to run with a native software for a DAW gives me the best performance. All the plugin’s used help shape the sound, RIFT is probably one of the best distortion plugins I’ve used. It’s got so many ways to manipulate the sound, and really helps get distortion and movement in otherwise static sounds. Infiltrator is just nuts, it does so many things, and you can stack all these different elements one on top of each other. It can take a simple sound and make it sound like peak time in a horror movie if you want it. Fabfilter plugin’s are the goto sauce for cleaning up, pushing, and shaping the overall tone of your sound. I’ve slowly collected most of them, but use Pro-Q4 on every track, Saturn for saturation, and L2 to push the sound really loud.

You’ve mentioned that sometimes the best tracks come together within two or three days. Why do you think working quickly sometimes produces stronger music?

I don’t think it produces stronger music specifically, but I think the lack of overthinking, the flow of how things come together, really resonates in the final product. You know you get into something and it just seems to click. It’s not just me that feels this way, I’ve read and seen interviews from even megastars that have commented on this exactly the same way. Some of the biggest hits of all time, came together in just a few hours, or a couple sessions. I really think it comes down to the flow.

How do you know when a track is finished?

A track is never finished. You just have to cut yourself off and say, that will do, and move on. I’m sure any producer reading this could agree. I think you could work on a track forever if you wanted, I would love to know from other artists, some of the tracks that took, months, or years to get to a level they were happy with it, and I promise you it’s the same result, they just finally said, “That’s it, i’m done now, or it’ll never get done.” and they cut themselves off.

Embassy 9 RecordingsYou launched Embassy 9 Recordings in 2024. What inspired you to start your own label at that point?

It was 100% about self releases. I didn’t want them to just go out under my name and into the ether, it was best to attach a label to the releases. I initially restarted making music just for fun, no plans to grow, no plans to sign anywhere else. 

The philosophy behind Embassy 9 is “Connections create conversations, conversations create ideas, ideas create projects.” What does that mean in practice?

I love to talk with different people around the world. I love to hear other people’s stories, their perspective, their hardships, their excitement. I want the artists to be my friends, not just a contract with a stranger you know? When I do the Fragments series, all the artists are pulled into a group chat, and I encourage everyone to get to know one another and make new connections. This is how a scene thrives, through connections, conversations, and shared ideas.

Rather than running the label as a strict business structure, you’ve kept it flexible and collaboration-driven. Why was that important to you?

Once again, it’s about the connections, the friendships, the collaboration between artists. It’s not about money, or fame, or anything other than that. It’s important to me because, there’s enough competition out there, enough jerks, egos, and assholes. I think being flexible and focusing on the artists is more important than anything else.

Fragments Remix ProjectsThe Fragments remix projects have involved a wide international roster of artists including AGRO, IRONTYPE, DIODE, FEED THE FIRE and many more. How did those collaborations come together?

Instagram, LOL. That’s how each and every artist on the list was contacted. I use it as my main communication hub, and most artists are on there and active. One person recommends another, and so on. All of the people on the roster of the Fragments releases I was a fan of their music, or they were a friend of a friend, who became friends.

Fragments 2.0 has already outperformed the original release in just over a week. Were you expecting that level of response?

With 25k listens on Spotify in under a couple weeks, I was truly shocked. I know it’s not huge numbers, but it meant a lot to me to see that type of response, so quickly for this project. I think the original one did 24k in total in the first year. Which is not really that great, but it was a new venture, and not all new things take off right away.

What do remix projects like this bring to the drum and bass community?

Togetherness, as I stated before, brining all those artists together, introducing them to one another if they don’t already know each other. It really builds a community of like minds. Plus for the listener, it brings all sorts of different flavour and style to the album, keeps things interesting. 

Current ReleasesNBC9 has now released music through labels like DNBB Records, LoveThatBass and Arrival Archetype. How did those label connections develop?

DNBB Records, that was a label radar connection. I had worked with a lovely vocalist CINET on the track visions. I didn’t want to self release it and wanted to test the market, to see what or who would be interested in it. DNBB reached out and we quickly made the deal, and it came out in late January ’26. LoveThatBass, I had a track I felt really confident in and fresh off the DNBB signing, I decided to send it around, and Ollie who is close to my vintage said he was interested in it. Scout22 of Arrival Archetype, he was sharing tunes with the phenom that is ARI-ON, and Ari was supporting a track I made called Cold Circuits, I was really excited about the track because I received a DM from ED RUSH asking for a copy, gave it to him instantly of course, and casually dropped that to Scout22, and I think that might have been a deciding factor for him. ;) He offered to take the track on, and has since picked up another track or two of mine for release.

Your first signing since the early 2000s with DNBB Records is happening in 2026. Does that feel like a full-circle moment?

Yeah, totally, it was truly exciting to sign that contract. It felt like … “people actually want to hear my work”. Like, someone actually put together a contract for it? Wow. It meant to me, I could do this outside of my own little world. Definitely a full circle moment for me, and extremely exciting. I’m pretty sure I was sending messages to all my closest friends lol. 

Philosophy and Creative MotivationOne interesting thing about NBC9 is that it isn’t built around touring or chasing industry status. Why was it important to keep the project focused on creativity rather than career pressure?

I'm old, 48 years old, almost 49. I’ve got a full time career that pays extremely well. I don’t need money, which is what touring is about. I’m way too old for the club, rave, scene. There’s no part of that that interests me at this point of my life. This is purely a passion project, and a way to connect with people globally. It’s much easier to do when you don’t have to worry about all the other pressures of someone who is trying to “make it” in the scene.

I don't think 48 is old! You do balance music production alongside a full-time career very well. Does that actually help keep the music more enjoyable?

I'm up between 5 and 5:30 in the morning, that’s my main time to focus on music. Little distractions, no kids, no to do list, nothing. It’s the best time to just focus. I will go and work on tracks a little after work, or in the evenings when the kids are in the bath or whatever, but mostly the mornings. It’s very easy to get things done when you have a regimented block of time every single day.

Kids certainly are time consuming. Future plans moving forward.... you’ve outlined a structure of singles throughout the year, a full album starting production in July, and a remix album early the following year. What can listeners expect from those upcoming projects?

Well, I don’t know what to expect from those projects myself.. yet. But it’s the process I’ve followed for the last couple years, and will continue to focus on. If you have a plan and a structure, it’s much easier to fill in the blanks. State of control, started in July ’25, and it was about 1 track per week, for 10 weeks. Not all the tracks got finished up in the one week, but were almost ready enough to have the full overview of the album, and would finish up the last couple in the final couple weeks. I think it will be much harder sound this next time around, as I’m focusing on really getting my sound to a heavier place.

You’ve already written a full-length album in 2024 and 2025 with another planned for 2026. How does your sound continue evolving across those releases?

The first one was awful, but complete. The second one was more evolved, and this next one I am sure will be the best one yet. As each track gets made, I feel I’m just that 1-2% better than the last. As I said in the previous question, I expect this next one to be a little harder, a little more neuro focused. 

Lastly if someone is hearing NBC9 for the first time, what do you hope they feel when they press play on one of your tracks?

I hope they feel… that it doesn’t suck, to be completely honest. That’s all, music is 100% subjective, each listener is going to get something else out of it than the last. I’d rather they don’t listen to the early DNB stuff, and focus on what’s coming up in the next few months. lol. I really do this for me, and even if they think it’s sucks, that’s fine too. Everyone is entitled to their own opinions, and I have zero to do with that opinion after the track is made, and released, it’s all up to them.

Thank you for taking the time to talk to us!

Interview by Missrepresent March 2026