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Sasha Khan JDNB Interview





Sasha Khan is a UK Jungle and Hardcore producer originally from Essex and now based in Nottingham. Known for his versatile approach to break-driven music, he has released tracks across a number of respected underground labels including AKO Beatz, Omni Music, 24 Karat Recordings, Ghetto Dub, Warehouse Wax, UK Jungle and Dread Recordings. His sound moves fluidly between Jungle, Hardcore, Nu-Kkool Breaks and Future Jungle, while also drawing influence from Garage, Grime and Hip-Hop. A multi-instrumentalist who plays drums, guitar, bass and flute, Sasha brings a musical depth to his productions that continues to evolve through new projects such as Dubplate Union alongside BOTB, as well as his involvement in the launch of Drum Rattle Recordings.



Can you take us back to the beginning? How did music, production and creativity first enter your life? Where did it all start for you and how did that journey lead you

to where you are now?

If I remember rightly, my sisters were both playing the violin as my mum was really into classical music. I think I felt like I wanted to play some sort of instrument and I saw James Galway on TV playing the flute and I decided that was what I wanted to do. I was about 8 years old at the time.

I’ve always listened to quite a range of different types of music; During the 80’s there was stuff that I absorbed that was around me on the radio and then I started to discover stuff through my mates. This introduced me to Electro and early Hip Hop, Indie and Alternative, Ska, Dub, Reggae and Hip House as well as in the 90’s discovering Rave/ Hardcore, Jungle and Drum & Bass.


You’ve released music on some serious labels... AKO Beatz, Omni Music, 24

Karat Recordings, Ghetto Dub, Warehouse Wax, UK Jungle and Dread Recordings.

That’s a strong list. Which releases across those labels stand out most for you

personally and why?

Honestly, I have to say that every one of the labels that I have had a release on has

inspired me to keep on writing and I am grateful to the support they have shown me.

I think the things that I felt most chuffed about was having the releases on Dread and AKO Beatz. It was nice to feel some sort of validation from the people who I looked up to when younger; Ray Keith and DJ Stretch with their associations with Dread and Reinforced etc.

I’m also grateful that Joe Shotter (Nebula 2) introduced me to John Vinyljunkie who runs Warehouse Wax and Ghetto Dub. Both Joe and John are stand up guys who are honest in providing feedback; I value that sort of interaction with people.



You mentioned things really shifted when you were asked to produce an album

for Skankaz Delight. What did that moment mean to you at the time, where is the

label now and how did it change the direction of your music or career?

To give some context, I spent a lot of the 2000s running a business with some mates. It was called Stone Soup and we worked in alternative provision; basically kids that had been excluded from school. This meant that my music, although a constant in my life, always took a back seat. Once I left Stone Soup, I had a child of my own and writing was still a struggle, what with work and parenting.

The Skankaz Delight thing came at a time of self doubt. I was actually thinking that I was gonna give up writing music. Aaron at Skankaz asked me to put together an album. This came out of the blue and I thought, why not? It felt nice to have someone show some interest in what I was doing. If it wasn’t for that, then I wouldn’t have linked up with Danny Styles at 24 Karat Recordings. That led me to collaborating with Keith Patience (Who I released music with on Omni and AKO Beatz) as well as BOTB.


You're involved in Dubplate Union with BOTB, which sounds like a really exciting

collaboration. How did that partnership come about and what do you think makes

your creative chemistry work?

Initially, I did some remixes for Ricki (BOTB) on his North Town label and he suggested we try and do something together. It just seemed to click. We both bring specific things to the writing and production process and it helps that he’s a really sound person too!

We both release stuff separately, so this is not the only project we work on. This means that ego is kept to a minimum as there there is an outlet for our respective solo works.

This allows us to not be too precious about stuff when chucking together the tunes. We also don’t have any specific finished product in mind when putting the tracks together and most of all we have fun with it.


Your first Dubplate Union release landed on 99 Records. What can listeners

expect from that project and what’s coming up from you both in 2026?

We have loads of tunes in the pipeline. I think we wrote about 14 tracks in four months and they keep coming…

There’s more coming out on 99 Records, Drum Rattle as well as Thames Delta

Recordings and we are looking to see what fits on other labels.


You're also supporting Ricki BOTB with the launch of Drum Rattle Recordings.

Starting a label is always a big step. What’s the vision behind the label and the kind

of sound you want to push through it?

I can’t speak too much for Ricki but I think he wanted to do something different from North Town which was primarily a Liquid DnB label. I’ve always been into Hardcore and Jungle and anything with a breakbeat and he suggested we do something together. If I am honest, Ricki is the brains behind the label (and an amazing producer to boot!) and I’ll get involved where I can.



You’ve produced across a wide range of breakbeat-driven styles... Jungle,

Hardcore, Nu-Skool Breaks, Future Jungle / 140 Jungle, plus Garage, Grime and

Hip-hop influences. Do you approach each genre differently when producing, or

does it all come from the same creative place?

I think it all comes from the same place really. I think I’ve always been more inspired by breakbeat driven, bass heavy music. However, I do try and take influence from outside the genre that I am writing in so that I don’t end up with something too formulaic.



You play multiple instruments... drums, guitar, bass and flute. How much do those

live instruments influence your production process when you’re making jungle or

breakbeat tracks?

I learned to play the drum because of my love of breakbeats and that influenced my

drumming style. It’s why I spend so much time fiddling with the drums on my tracks. I

reach for the other instruments when I need something extra. For example, I play bass and guitar on my release ‘Lord Have Mercy’ on 99 records and I recently played flute on a track for an amazing singer, and musician, Amber Ackerman. We have both collaborated on a track that’s due out later this year on UK Jungle.



A lot of producers talk about the importance of breaks in Jungle. Do you have a

favourite breakbeat that you keep coming back to or love working with?

I am a big fan of the Amen break funnily enough (lol) and also Think, Sweet Pea, Soul

Pride and all of the stock breaks you find in Jungle/ Hardcore. When I am writing my Drum Funk-style tunes I tend to find other breaks from these as this sub-genre suits more diverse sources for your beats.



The jungle scene right now feels like it’s having another big wave of energy

globally. From your perspective, how do you see the scene evolving over the next

few years?

I like the fact that loads of younger people are now discovering the music of my youth. They don’t have the same tribal affiliations that existed when I was growing up and as a result they seem to be more open to taking influence from other more genres like Drill, Grime, Afro-beat and even Rock and Metal. I think it makes for a healthy creative update on what has gone before. I’ll be interested in seeing how the music develops over the next 30 odd years (if I am still around by then!).


You’ve lived in both Essex and now Nottingham, have those places influenced your sound or your connection to the underground music scene in any way?

Growing up in Essex in the 80s and early 90s meant that Rave was a big part of what was going on at the time. That had a big impact on me. Moving to the Midlands in 1993 meant that I got involved in the scene up Norf (sic). So, in addition to hearing the stuff from labels like Reinforced, Suburban Bass etc, I got to meet artists such as Adam XTC (RIP), Joe and Richard (Nebula 2), MC Spyda, the amazing DJ Fever, Derby’s KGB and MC Monty; I suppose I am an honorary Midlander now!

Let's talk production for a minute. What DAW do you use in the studio and why

does it work for you?

I have been using Cubase for quite some time now and I am just used to working with that software. I find that all of the different DAWs have commonality with each having strengths and weaknesses. I’ve used Logic, Acid, Ableton, Pro Tools, Reason and Fruity Loops as I’ve taught these as well as produced stuff using them.


Hypothetical question: If someone handed you £10,000 tomorrow to upgrade

your studio, what equipment would you invest in and why?

Jeez, that’s a tough one; there’s so much out there! Firstly, I’d spend a few grand on

updating my PC as I am constantly using outdated hardware (Thanks to Keith Patience for gifting me his last one!). I reckon I’d probably get myself an AKAI S3000 or MPC as I love the gritty AKAI sound, I’d also buy some sort of DJ Controller as they are so expensive nowadays. I’ve got some 1210’s and Serato SL2 but the new stuff is just out of my price range! I used to have a Soundcraft Ghost 32 channel desk and I’d love to have the space and money to have some hardware again!


When you start a track, what usually comes first for you? The drums, bassline,

atmosphere, or a sample that sparks the idea?

It all depends on how I am feeling. I often do start with drums as that’s what I love messing with the most but sometimes it’ll just be a sample of random sound. I quite like the newer subscription platforms such as Loopcloud and Splice as they speed up the process quite a bit and save me money on buying sample CDs / Packs that I might only use one or two samples from.


Finally, for producers just starting out who want to make jungle or breakbeat, what advice would you give them about developing their sound and staying motivated in the scene?

I would say that it’s good to listen to what others are doing, especially in terms of

production as it can influence you and spur you on. Never put out anything that isn’t quite finished, as once it’s out there, it’s there for good. Listen to feedback from your peers, as advice is always good, even if you don’t use it. Don’t let constructive criticism put you off and try and be resilient as knock-backs are common.

Also, don’t try to write music for the labels, try and write for yourself. This is a trap I’ve fallen into in the past and I am much more happy just producing stuff that I am happy with and then trying to find a home for it.


Thanks so much for your time! It's been fantastic picking your brains.

 

With a catalogue spanning multiple respected labels and a sound rooted firmly in the heritage of breakbeat culture, Sasha Khan continues to push his take on Jungle forward while staying connected to the foundations that inspired it.


Through new collaborations like Dubplate Union, fresh releases on emerging labels, and his involvement in projects like Drum Rattle Recordings, it’s clear there’s plenty more to come. Keep an eye out for upcoming releases in 2026 and make sure to check out the mix below for a taste of what Sasha Khan is bringing to the scene right now.  


Interview By Missrepresent  14th June 2026

JDNB Family 


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