Jason Flynn aka. Cyrus is one of the staple names when one thinks of Dubstep. He has been pushing the sounds since it very beginnings. His sound is unique with the emphasis of  a pummeling subbed out bass and complex percussions. With a back catalogue of releases on esteemed labels such as Techtonic, Chestplate, Black Box, Southside Dubstars and Deep Medi, Cyrus has shown he is a true force to be reckoned with in genre! He has Collaborated with the likes of Tunnidge and Distance and as well as having a busy Dj schedule, Cyrus is also pivotal to the running Getdarker.com. Subrewind considered itself utterly privileged to have a little chin wag with the man in question.

So, where did it all start? Who were your earliest musical influences and memories, and what hooked you onto electronic music?

I’ve been brought up listening to all types of music from pop to rock, reggae to hardcore. I never really took much notice of artists until later on. I just liked the music.

For those that don’t know, how did you originally get involved into the scene? Was Dubstep a natural progression from what you were listening to at the time or was it more an instant found love?

I was a UKG DJ doing my thing on pirate radio. I was always into the heavy, darker side of the genre playing tracks from people like Horsepower, Wookie, Zed Bias, EL-B,  Artwork etc… After years of playing other people’s music I decided I wanted to make some of my own so I bought a pc, got a copy of fruity loops and learnt to write beats. There was no name for the genre back then and we knew it as dark garage and then FWD music. We were just trying to make UKG after all.. not start a new genre.

Speaking from personal experience, as someone who has grown with musical instruments , how did you get to grips with software? It can be head wrecking!

It’s taken years and I’m still learning. I’ve used a few different DAWS over the years but for the last 4 I’ve stuck with cubase. Like I say, I’ve barely scratched the surface.



How would you describe your sound, how much do you think it’s changed over the years and how do you see it changing and keeping fresh?

I’d have say my sound is unique . I don’t try to follow trends or do what’s  supposedly ‘cool’. My sound has had a natural progression as I’ve improved with my production.

What was the single most pivotal moment that made you realise I could really make something of myself here?

I’m not to sure. I weren’t one of those lucky people that just jumped into a flourishing genre. It was a slow progression from the start of nothing to what it is now.

How did you get your early productions out there to gain recognition? Was it merely a case of sending out promos and pushing them as hard as you could? Who were the people you approached.

Things were so much different back when this was starting. There were only a handful of established artist that were pushing this new unique sound so getting your music to the right person was maybe a bit easier than.

Then again you  had to go out and give a CD directly to someone instead of sending it over the net. For me the 2 main people were kode9 and hatcha. Kode9 was actually the 1st person to play one of my tunes out and on radio.

So you decided to launch your own label; Random Trio productions, would you like to tell us about Random Trio and why you set the label up?

The story behind random trio is a bit of a long one and you can find more out on my bio (links below) so I wont bore you with that. I set up the label just to enable people a little more choice as there were only maybe four other labels at the time, and of course to give myself an outlet for my own productions.

How did you land a job on Rinse, tell us about your time there?

This would have been 2004 and was hooked up by Hatcha. Again there were only a handful of us playing this new sound and rinse being the biggest station was obviously the only choice. Being part of rinse was a huge deal and maybe one of my highlights. Unfortunately I had to give way to my show due to other commitments but thankfully still do a lot of guest shows on there.

You then started to release tracks on the likes of Tectonic, Southside Dubstars, Blackbox , Chestplate etc… But most recently with Deep Medi. Did you approach Mala with the interest of releasing on the label or did he approach you?

My Medi release came about from a special B2B2B show myself and mala done on Kiss fm with Hatcha. I’ve known mala for years but just never got round to talking about having a release with them. Doing this show we could hear how my sound worked with what he was doing. We met up a week or 2 later, went through some tracks and that was that. Medi is a label that everyone would love to be part of so to have the opportunity was an honour.

Now no one can deny that Dubstep hasn’t changed a lot over the years but it has always been a genre focused on progression. There seems to be a solid revival now of the darker original sounds. Do you feel this is the case or do you feel it’s getting pushed out by the more mainstream dance floor stuff?

Progression is a good thing but changing a sound completely is not. The ethics behind what started dubstep had been lost. However I do feel the deeper sound is making a come back. The kids are growing up and finding out for themselves what they like instead of following a trend.

Get Darker has become a landmark institution in the Dubstep scene, I think it’s safe to say, how did you originally get involved with site?

I’ve known Darkside since the early days and actually only live 2 minutes down the road from each other. I’ve always been a supporter of  his website ever since darksideriddem.com and offered my services to help push the brand further.

What’s your main role in the running of Get Darker?

one of my main roles within GetDarker is managing the GetDarkerTV section from line-ups to remote streaming opportunities from clubs and other venues.

It’s even got its own label now with some high-profile releases getting good feedback. With Truth, Tunnidge and Kromestar & Dark Tantrums on its back catalogue. Are we allowed know any other producers you’re working with for future releases?

The record label is solely down to Darkside so I can’t give you too much info on that I’m afraid. I can tell you that the next 2 releases are pencilled in and ready for release early next year.

It must be a challenge getting the acts in week after week, how the hell do you do it!

We know a lot of them personally so that can help. Some don’t like the camera so that has been the main challenge. We’ve also had a lot of them on before they made a name for themselves in this scene. Who knows? Maybe it was being on Get Darker.

As a Dj; vinyl, mp3 or cd?

I had to make the change to CD last year. It was solely down to majority of venue/events not having their turntables in working order.

Do you prefer being in front of the decks or sat behind the monitor?

I may have said producer up until earlier this year but I’m a DJ 1st and foremost which I think people tend to forget.


Most memorable gig to date?

All of them in one way or the other.

Who’s on your to watch list, any up and coming producers that we should be looking out for?


Razor Rekta and Sleeper & District are coming with some serious music at the moment. Also, not up and coming but my boys Distance and Tunnidge. (Besides me obviously). Basically the full chestplate family.

When you’re not in the studio what can Mr. Flynn be caught doing in his spare time?

I’ve recently become a golf fanatic. I’m rubbish but I’ve spent a lot of time out there hitting golf balls the last few months. Other then that , and most importantly, the majority of my spare time is spent with my family

Future plans for yourself, any up and coming releases that you’re allowed to mention?

I’m just gonna keep on doing what I do. Educating the masses. I do have 3 releases coming out next year but I can’t say too much until the labels give me the green light or they smack my bum.


And while we’re not going to leave you trapped on a dessert island to think about what songs you would have on your ipod; if you had to pick three tracks that had the most impact on the genre, in your opinion what tracks would they be?

I’ve been stuck on this question for a while… I really can’t choose 3. I’ll have to get back to you.









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