[Let’s chat w/ HISSTERIA: Artist Interview]
Eleven questions about his drum n’ bass lifestyle, new music, plus his next event in San Francisco, and what’s in store for 2026 with HISSTERIA.
Snakes and drum & bass — fuse those two elements together and you get the coiled, high-voltage energy of California’s rising DnB force, HISSTERIA.
Slithering out of the underground with a lethal blend of rolling basslines, rapid-fire breakbeats, and hypnotic low-end pressure, he’s been steadily tightening his grip on the scene.
With viral singles like SNOBS and Fiesta Dub, plus wild remixes of chart-topping anthems from global headliners, HISSTERIA strikes with precision.
Each release and remix hits hard and heavy with gritty drum patterns, crazy synth design, and his signature snake hiss before every drop.
Now, as he prepares to shed another layer and rise further into the UV-lit spotlight of drum & bass culture, HISSTERIA is gearing up to support BASSTRIPPER on March 20th at The Midway in San Francisco.
The night also features direct support from CRUMB PIT and a back-to-back set from Jamal B2B Flaco, promising a lineup stacked with ground-trembling BPMs and heavyweight subs. (see Q9)
We caught up with HISSTERIA to talk about his venomous rise through the drum n’ bass ecosystem, the shows ahead, and what he’s quietly coiling up for 2026.
Let’s chat w/
HISSTERIA
Q1: Your latest single SNOBS takes a clever look at EDM subcultures and their die-hard fan bases. What sparked the idea to turn scene dynamics into a drum and bass concept track?
HISSTERIA: The idea actually stemmed from working with one of my mentors (Mike D from Evol Intent) when I was at Icon Collective production school. I had the drop arranged, and he was showing me a tape emulation plugin to add some fuzzy distortion to the main foghorn sound. Then he mentioned how “tape snobs” love this plugin, and the word “snobs” stuck with me.
Soon after, I had the idea to make the song about all the genre snobs in dance music, and I got cooking!
Q2: There’s a bit of social commentary in SNOBS about “uppity” attitudes in different genre circles. Was this meant to be playful satire, a real critique, or a mix of both?
HISSTERIA: Definitely a mix of both. I’ve been in the scene for around 8 years, so I’ve encountered my fair share of snobs in all subgenres of electronic music. I have a pretty dry sense of humor and really leaned into that with this concept and had a lot of fun recording the vocals (making sure to add some snobby attitude).
After I released the song and had some success on social media with a couple of viral reels, the snobs (and haters) really came after me saying “that’s not hard techno”, “that’s not dubstep – it’s riddim”, “jump-up isn’t real DnB” which really goes to show how there’s SO MANY SNOBS out there!
Q3: How did you approach the sound design on SNOBS to reflect multiple EDM genres while still keeping it rooted in DnB?
HISSTERIA: For this song, I utilized samples for the techno, dubstep, and trance sections. I’m not opposed to digging for the perfect sample when I need a super-specific sound that I don’t know how to make.
I focus my sound design sessions on weird bass sounds showcased in the DnB drops.
Before starting this project, I was a house artist and had a ton of fun making a tech house drop at 174 bpm. I, of course, wanted to make the focus of the track DnB while giving the house snobs the most time, otherwise, to pay homage to my previous project. Also, house snobs are for sure, the snobbiest of all snobs; so they deserve it!
Q4: As an LA-based producer, how has the local electronic scene influenced your take on drum and bass, which historically thrives in other regions?
HISSTERIA: One of the reasons I pivoted from house to DnB was because I’ve always been a basshead at heart. After being obsessed with dubstep and bass music, I discovered drum & bass through REAPER when he was releasing SoundCloud remixes in 2019. REAPER’s sound was heavy like dubstep, but faster!
Since then, DnB proved a challenge to produce, but once I got the hang of it, I was hooked. I think because DnB isn’t huge in the US yet, there’s room for potential breakthrough as a smaller artist vs. going with the dubstep route. Yeah, there are fewer shows and opportunities to showcase drum and bass, but I’m confident that if I keep doing my thing, it’ll work out!
Q5: Your remix/flips of tracks like ‘Movement‘ by Crankdat and ‘Lights Go Out‘ by John Summit show that you can translate bass-heavy and house energy into DnB. What’s your philosophy when remixing well-known songs?
HISSTERIA: After some recent success from my flip of Subtronics’ ‘Itchy Scratchy’ (including a couple festival playouts from the legend Dr. Fresch!) I wanted to keep the momentum rolling and remix some newer songs including SIDEPIECE & Bobby Shmurda’s ‘Cash Out‘ and Crankdat’s ‘Movement‘. The John Summit ‘Lights Go Out‘ remix was prompted by his remix contest, and it was a fun challenge to finish a remix in less than a week.
If you look back at my older remixes you can see I’ve remixed a ton of dubstep songs (that I was a fan of before I started producing). I remixed these songs because I wanted to add a DnB twist to them and show people that drum and bass can be heavy and weird, just like dubstep.
This helped shape my vision and sound for the project, and I’m looking forward to remixing some older (non-EDM) songs this year!
I suppose my general philosophy is that I’ll give it a couple of sessions and see if I make something that I think sounds cool. If it works out, then sweet, I have a new remix! If not, oh well, at least I tried and probably learned something along the way.
Q6: When you remix a popular track, do you aim to preserve key melodies for familiarity, or do you prefer to reimagine the track in your own style?
HISSTERIA: I think a good remix has some resemblance of the original with the remixer’s unique flavors added. I try to preserve at least one catchy melody, bassline, or vocal when flipping/remixing a popular song to keep it familiar.
Q7: DnB is having a global resurgence right now. Where do you see your sound fitting into the current wave of the genre’s evolution?
HISSTERIA: Hell yeah it is! My sound is definitely on the heavier, weirder, bass music side of DnB, and while I’m not making the mainstream stuff that’s hitting the big stages, it’s what’s true to me and my vision for HISSTERIA. I’m really trying to appeal to the basshead audience with my sound and win over some of those dubstep fans just like REAPER did for me!
I was a huge dubstep snob and ended up loving drum and bass, so I know firsthand that people can be receptive to the sound if they hear the right songs!
Q8: Can you walk us through your typical workflow when building a high-energy DnB drop? From drums to basses to the final polishing.
HISSTERIA: I start all my songs by cooking up some nasty bass sounds and then start laying down patterns and grooves. My music heavily utilizes call and response with the bass elements, and because most of my sounds are made using similar techniques, they seem to all gel well together.
Then I’ll work on the drums and fills. Lately, I’ve been reusing a lot of drum samples and loops from old projects to save time and build that familiarity in my sound.
Once I have the basses and drums locked in, I think of a concept for the vocals, and this is where the process is different for every song. I write vocals, work with vocalists, come up with dialogue (like SNOBS), or sometimes I’ll dig for the perfect sample.
Whenever I get stuck on the vocals, I hunt for inspiration in everyday life or pass it along for a collaboration with another artist.
Q9: Looking ahead to 2026, what goals are you setting for yourself – labels you want to release on, tours, or dream collaborations?
HISSTERIA: As I’m branding my music “CRAZY DnB for the BASSHEADS” I’d love to release on artist-owned labels like Cyclops Recordings (Subtronics), Gud Vibrations (SLANDER), Subcarbon (Ganja White Night), and Deadbeats (Zeds Dead).
A couple others on my radar are Space Yacht and Play Me Records (I might have a release with them soon!).
My main goals this year are to release a ton of music, stay consistent on social media, and get more DJ support! These are the things smaller artists should be focusing on because they will lead to consistent touring and big collaborations down the road!
A couple of long-term goals are playing multiple tour support slots for Subtronics and collaborating with REAPER!
I think I’m still a bit out from proper touring, but I have an upcoming show at the Midway in SF supporting Basstripper on March 20th!
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Q10: For listeners just discovering you through SNOBS, what aspects of your artistry should they expect to hear more of in upcoming releases?
HISSTERIA: More crazy bass sounds and more original vocals! SNOBS was my first release with my voice on it, and I’ve been experimenting with more dialogue and even some rapping for a couple of my IDs. I’m sitting on so much music, and I’m super stoked to share it with everyone!
Q11: Who would you like to give a shoutout to? Any rising acts who need a little extra spotlight in their direction or who may be killing it from your line of sight?
HISSTERIA: I have SO many homies doing cool things in DnB right now! I gotta give a shoutout to Spectral Murda, Dr. Apollo, LMNOP, Skanka, Tristan Chantz (aka SPLATA), MAYLAY, FALKO, XLVR, Dxfferentxal, Gracie Van Brunt, Koji Aiken, & Ziimba.
These are the next generation of DnB artists that are pushing boundaries and making waves!
Thank you for chatting with us, HISSTERIA!
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Written by:
Monsoon Season’s
Founder & Editor-In-Chief
Garth Jones
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ABOUT GARTH JONES:
Garth Jones is an author, blogger, and founder of Monsoon Season, an EDM-focused media platform dedicated to spotlighting rising and underground electronic talent. With a sharp ear for forward-thinking bass, house, techno, and experimental electronic music, Jones covers emerging artists, new releases, premieres, and in-depth project reviews that bridge the gap between underground culture and wider discovery.
In his role at Monsoon Season, Jones is responsible for artist features, album and single reviews, press coverage, and promotional editorial strategy. He works closely with artists, labels, and PR teams to ensure accurate representation, compelling storytelling, and timely coverage—often serving as a conduit between creators and new audiences.
Jones’ previous work spans press releases, curated reviews, artist spotlights, and long-form editorial pieces that emphasize authenticity, growth, and creative identity. Known for his detail-oriented approach and genuine investment in the artists he covers, his contributions to Monsoon Season help reinforce the platform’s mission: championing the next wave of electronic music and the individuals shaping its future.
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