GUMR: "I try to bring back that authentic, unhurried energy"

Hailing from Southsea, GUMR has established himself as one of the UK's most authentic underground electronic artists. Blending Deep Tech, Acid House, and Techno, his sound draws inspiration from the raw energy of '90s warehouse raves while embracing a modern production approach. Influenced by pioneers such as Mr C, Terry Francis, and Bushwacka, his music is built around hypnotic grooves, rolling basslines, and finely crafted synth work that bridges nostalgia and innovation.

Over the years, GUMR has shared the decks with some of the scene's biggest names, won the prestigious BBC Radio 1 DJ Competition, and performed at iconic venues including The End and Superfreq. With the launch of his label Freaky Nation in 2025 and a growing catalogue of groove-driven releases, he continues to champion the spirit of the underground, delivering music designed for both discerning DJs and dancefloors alike.

Your latest release, "Acid Freq", perfectly captures the raw energy of classic Acid House while still sounding fresh. What was the initial idea behind the track, and how did you approach balancing old-school influences with a modern production style?

The track originally started on my laptop. My studio setup has actually been packed down for five years now, so I really needed access to proper hardware equipment and a fresh set of ears to take the idea to the next level. Collaboration always brings something special to the table that you just can't replicate alone in a bedroom.

I was heavily inspired by classic '90s acid house and wanted to blend that raw, hypnotic lineage with the sleeker, modern Superfreq sound. To bridge that gap properly, I booked a session in the studio with Steve Mac (Rhythm Masters) to track a real vintage Roland TB-303, run the mix through a Studer tape machine, and absorb some advanced production techniques from him.

We took my original laptop idea and completely transformed it through Steve's hardware chain to capture that authentic '90s analogue soul, while using modern processing plugins like UVI Shade to give the track its cutting-edge, modern dancefloor tension.

Your sound is deeply inspired by the '90s warehouse era and artists like Mr. C, Terry Francis, and Bushwacka. Which elements from that scene do you think are still missing in today's electronic music, and how do you try to bring them back through your productions?

What’s interesting is that we are actually seeing a massive resurgence of that exact sound right now. It's happening on a grassroots level, mainly through limited 200–300 run vinyl releases. Pioneer artists from that era—like Terry Francis, Grant Dell, Rob Pearson, Daniel Poli, Adam Collins, and Harold Heath—are either digging up forgotten, unreleased gems from old hard drives or crafting brand-new material with that original ethos.

For a while, a lot of modern electronic music lost that patience, analogue warmth, and raw room-shaking tension. In the '90s, tracks were built for long, hypnotic warehouse journeys rather than 15-second social media clips.

Through my productions, I try to bring back that authentic, unhurried energy—focusing on heavy low-end dynamics, real hardware squelch, and long-form arrangements that build tension naturally on a proper club sound system.

After decades in the underground scene—from winning the BBC Radio 1 DJ competition to playing iconic venues like The End and Superfreq—what has kept your passion for electronic music alive, and how has your creative process evolved over the years?

My day job as a Music Production lecturer has been a massive driver. Being surrounded by the next generation of producers keeps me constantly inspired. To give my students real value, I have to stay ahead of the curve with industry shifts, new software, and hardware trends—and crucially, remain active as a working professional in the industry to show them what’s possible. My mindset has always been: never give up, and it's never too late to make it happen.

On a personal level, my creative process has had to evolve quickly over the last five years while raising my son. With far less free time, I had to streamline, refine, and master my workflow so I can lock in, get ideas out of my head, and finish full arrangements fast.

Looking ahead, I am currently building a dedicated music studio in my garden. I can’t wait to unbox all my analogue gear after five years, integrate those machines back into my refined digital workflow, and get proper hands-on again.

This year you launched Freaky Nation, a label dedicated to Deep Tech and Acid House. What is your vision for the label, and what kind of artists or sounds are you hoping to showcase in the future?Question

Looking ahead, my vision is to shift Freaky Nation toward a boutique, scarcity model—much like the underground scene in the '90s. By 2027, we plan to move into limited-run vinyl pressings and strictly capped digital dubplate releases. There is a huge resurgence in collectors hunting for physical, limited-edition deep tech, and I want our releases to feel like true secret weapons in a DJ’s crate.

Following Acid Freq, our next drop features Acid Cats with remixes from legend Terry Francis, and we’re aiming to bring artists like Grant Dell and Rob Pearson into the family.

Beyond being a record label, Freaky Nation is an incubator. Once my garden studio build is complete, we're launching the Freaky Nation radio show and a dedicated music production coaching program. The goal is to find, nurture, and develop new talent—helping stuck producers master groove-focused arrangements, solve thin-mix problems, and refine their sound to release-ready standards.

The underground electronic scene is constantly evolving. Looking ahead, what excites you most about where Acid House and Deep Tech are heading, and what can fans expect next from GUMR?

What excites me most right now is the return to exclusivity. I’m genuinely loving buying vinyl again because of the smaller press runs and the scarcity of the tracks. In today’s oversaturated digital market, there is nothing quite like playing a set knowing you have a record in your bag that nobody else in the room has. That tactile, physical connection to music is coming back strong.

As for what’s next, we’ve just launched a couple of really successful Freaky Nation events, and our goal is to throw a showcase party alongside every EP release. It gives us the perfect platform to pair local, rising talent with established headliners, bringing people together and growing the Freaky Nation family on the dancefloor.

On a personal level, once the garden studio build is complete, I am locking myself in to finish off a massive pipeline of new tracks. Alongside the music, I’ll be sharing my production knowledge online—helping inspire, mentor, and elevate the next generation of underground artists.

Follow GUMR

Instagram / Facebook / Soundcloud / Spotify