Into The Groove: TER3NCE Dissects Talkative EP Process 

TER3NCE is set to release his first solo EP on LFLF (Love For Love Frequencies). Talkative EP consists of five tracks and serves as a showcase of his versatile take on drum and bass, as well as the further refinement of TER3NCE’s signature sound. 

The Dutchman from Utrecht, who’s patiently been working throughout 2024 on this release – chronologically puzzling together the release track by track – hails it as a personal highlight. One that symbolically is captured in the name of the EP on different levels.

To underline the intent of really pushing the envelope in 2025, TER3NCE not only signed with MB Artists, but also celebrates the release of the Talkative EP in style. At renowned Cheeky Monday at Melkweg, Amsterdam, to be precise. The release party at this weekly drum and bass night (essentially one of a kind in The Netherlands) welcomes none other than Posij as the headliner. 

Overall, plenty of reasons to do an interview, so we caught up with the avid knob twiddler in anticipation of these pivotal moments. Expect some reflections on the journey so far. As well as outlining how his philosophy as a student – but also as a teacher, is applied to the art. We also will look further ahead. Like, when to expect the first album from the now 21-year-old creative. 

Read on for some valuable insights into his mindset – and those who aspire to similar achievements: observe and absorb.

How would you describe what makes this release special to you?

This release really marks a turning point for me. It’s the sound I want to develop further, something I truly found over the past year, especially in 2024. The EP took shape at the start of the year, and I gradually put together all five tracks.

Initially, I just wanted to do another solo EP on LFLF, so I started working on some tracks—maybe two or three at first. As things progressed, I realized I had something cohesive, and more tracks naturally followed. Eventually, it felt like a solid, well-rounded EP with a strong identity that I’m really happy with. This sound is something I want to push further.

For me, this release is just the beginning of a lot more to come.

So it sounds like you had a full year to shape your sound without any pressure. That must’ve allowed you to refine things and experiment more freely

Exactly. It was a lot of trial and error. Over the past few years, I’ve focused heavily on sound design and creating drums, and that all led up to this moment. It also came together perfectly with Bardo (Nymfo) launching his new label—I was involved early on.

The first EP I did for LFLF was with Julian (Lian Feldd), and those were tracks we had made years earlier, but hadn’t found the right place for. With Bardo creating this platform, it motivated me to further develop my sound and take things more seriously.

Since it’s a relatively new label still, does it feel different from working with more established ones

Yeah, definitely. It’s exciting to grow alongside a label. I really appreciate emerging labels in the drum & bass scene. I’ve previously released on Stellar Audio, Yamatai Records, and In The Lab—all relatively new labels that are super supportive of up-and-coming artists.

Bardo himself was almost like a mentor, helping me shape the EP. There was no rush, no pressure. Ironically, I initially set an early deadline for myself, but taking extra time allowed me to really refine my sound and be confident in the direction I’m heading.

The EP title, ‘Talkative’—does that reference how much discussion went into the project.

It’s funny because I struggled to find a title for a while. Usually, I name EPs after one of the tracks, but this time, I wanted something different.

‘Talkative’ has two meanings. First, there are a lot of spoken-word samples in the EP—clips from old movies, TV shows, and even a NASA recording. It’s an instrumental EP, but those voice snippets add character. Second, it reflects a part of my personality. I can be quite talkative myself—maybe even a bit too much at times—so the name just felt right.

What was the biggest challenge in putting this EP together?

Finishing it. Choosing the right tracks. For example, The Photosphere was the last track I made, around late 2024. The EP came together almost chronologically—starting with Lost Your Mind, then Side Roller, Laser Lights, I Only Speak In Basses, and finally The Photosphere. I didn’t even realize it at first, but when I saw the final order, it made perfect sense.

Originally, there were two other tracks on the shortlist, but they didn’t quite fit the overall sound. That was tough because I wanted to release them, but I also wanted the EP to be cohesive. I like concept-driven EPs—a consistent sound or vibe throughout. That’s something I plan to continue in my career. Maybe someday I’ll do a neurofunk EP, or a liquid one. I enjoy versatility.

Speaking of bigger projects—would you consider doing an album in, say, 2026?

That’s a tough one. Maybe not 2026. I’d love to do an album eventually, but to me, an album is a massive project—almost a life’s work. It wouldn’t be just drum & bass; I’d want it to be a full artistic statement.

If I do it, I’d want to take at least six months to focus purely on music, without distractions. I’m thinking about it for the future, but for now, I’m sticking to EPs.

What (sub)genres would you include?

Definitely some 140 BPM stuff, halftime, maybe dubstep or garage. I’d want it to tell a story, so it would include interludes, ambient soundscapes—less club-focused and more of a listening experience.

Looking back at 2024, what were your biggest highlights

There were two standout moments. First, playing at NOX on King’s Day, alongside Nymfo and VOXI. That was the biggest crowd I’ve played for—literally tens of thousands of people. Just a sea of faces.

Then, getting booked for Motion in Bristol. That felt like a full-circle moment. I’ve been making and playing music for nearly a decade, and finally getting booked internationally by people who appreciate what I do was a big realization—like, wow, this is real. Bristol is such a hub for the sound I love; it almost felt like a second home.

And looking ahead to 2025 – any news you can share

Yeah, I’ve got something cool coming up. On April 14, I’m doing a release party for the Talkative EP at Cheeky Monday. It’s almost like an unofficial Love for Love Frequencies takeover—I put together the line-up with artists I really like, from upcoming talent to bigger names. Posij is headlining, so that’s gonna be sick.

For those unfamiliar, how would you describe Cheeky Monday

Cheeky Monday has been running since around 2005—every single Monday. It’s an institution in a sense, and a community. There’s a dedicated crew that always shows up, they book incredible artists, and it’s just a crazy vibe.

Who even goes out on a Monday? Turns out, a lot of people. I first played there in 2023 with Julian, and the venue—Melkweg—is one of my favourites. Playing there was a dream come true. Now, getting to host a release party there? That’s next level.

Do you ever think about where you’ll be in five to ten years?

I’d love to be doing this full-time—getting more regular bookings, releasing music consistently. Ideally, I’d have a platform where I can put out a variety of music. That’s possible now, but in five years, I’d like to be even more versatile, both as a producer and DJ. I enjoy a lot of different styles, though drum & bass is my main thing.

Would you consider running your own label at some point

Absolutely. I think about that a lot. It would be great to provide a platform for artists who might not otherwise have the opportunity, and to create a strong creative environment. That’s why I admire what Bardo does—it helps the scene grow. I really believe that discovering new talent keeps everything moving forward.

Are there any common pitfalls in this industry that you try to avoid

One big one is losing your creative edge—producing just for the sake of it rather than truly creating. I think it’s important to develop a signature sound, something recognizable. But at the same time, I want to leave room for creative side projects. I don’t only make drum & bass in my free time, and I’d love to release some of that other music in the future.

So you experiment a lot outside your main releases

Yeah, definitely. It’s music for myself, to try things out. That doesn’t mean the music I release isn’t personal—it definitely is—but there’s a difference between making music with an audience in mind and just creating freely.

As someone who also teaches, what are some mistakes you see beginners making

One thing I struggled with in the past was finishing tracks and actually sending them out. I’m much more consistent with that now. Laziness can be a real trap—settling for “good enough” when you know you could push further. I had to come to terms with that over the last year and really commit. This is what I want to do, so I need to put in the work.

It’s easy to get caught up in the image of being a producer rather than the actual craft. Do you see that happening?

Definitely. This industry revolves around self-promotion. You constantly have to put yourself out there, which can be overwhelming if you’re not mentally prepared for it. It’s important to stay grounded. I’ve seen plenty of people build themselves up too much, but that kind of attitude doesn’t always last in the long run. Staying humble is key.

What’s your approach when starting a new track

Lately, I try to map out the entire track in one session—spend a full day just getting the whole concept down. Then I go back and refine it. I used to overproduce, but I’ve learned to trust that a track is “done” rather than endlessly tweaking. Less is more. My latest EP really embodies that—just drums and bass lines basically talking.

Do you try to eliminate distractions while working

Yeah, I have to. I’ll literally turn my phone off. Distractions kill creativity, especially when you’re in a flow state. You have to stay in that moment. Of course, taking breaks is necessary too—your ears need rest. But when I’m working on music, I try to be fully present.

Can listening to your own demos too often be a trap

For sure. If you keep replaying an unfinished track in random situations—on the way somewhere, for example—you start to accept it as is, instead of making improvements in the studio. You hear the same version so many times that you get used to it, even if it’s not actually finished.

You mentioned reading Rick Rubin’s book. Has anything from it stood out to you?

Yeah, it’s been fascinating. A lot of it is about understanding the creative process and overcoming mental barriers—like imposter syndrome or the urge to abandon projects when they’re not clicking immediately. Instead of stopping, I’m learning to push through those moments. It’s about recognizing those blocks for what they are and refusing to let them control the process.

Do you think learning an instrument helps producers?

Absolutely. It can help you come up with different melodies, chords and overall ideas faster when you’re playing it on an instrument, for example. I play piano and started when I was eight. In high school, I was in a few bands, which helped a lot with performing. I’d love to play in a band again someday, maybe as a keyboardist. But right now, my focus is on production.

Are your lessons one-on-one?

Yeah, all private lessons.

Would you say private lessons are a good investment for producers?

Definitely. Learning from someone more experienced speeds up the process. I mostly taught myself through YouTube tutorials, but going to the Herman Brood Academy gave me time and space to focus on music. That’s when I really committed to drum & bass. 

There weren’t many other producers in that genre at the school, but I connected with Julian, and we learned a lot from each other. Collaborating is one of the best ways to improve. Besides that, taking lessons from someone you admire can really accelerate your growth.