As an imported UK prince to Brisbane’s exclusive drum n’ bass scene, DJ Operon has emerged as Queensland’s leading DnB expert. Otherwise known as Ashley Hanson, he pushes the boundaries of where drum n’ Bass can go while applying his substantial experience to the genre, thus lending no end of credibility to the local scene. With his quaint English accent and strongly held opinions, Operon remains a flourishing figure in Brisbane’s dance industry. As an undisputed leader alongside DJ Erther, the moniker of DJ Operon remains a shining light upon all DnB fans in this fine state.

As a youngster, Operon was bred on a diet of UK indy, from Stone Roses to Jesus Jones, their resolute guitar chords leaving a lasting impression on his musical psyche. However, Ash notes that when he left school, “underground techno started dominating my life. I started mixing back in 1996,” he reflects. “Glastonbury festival in 1995 gave me my first taste of dance music in its proper environment, and I was hooked straight away. I started going to UK free parties and listening to a lot of acid trance and techno. I still buy and mix techno to this day. I always messed about [with drum n’ bass], but when I moved to Australia I found there wasn’t a scene for acid trance or techno and [since] it was hard to find labels I liked, I started buying and mixing more DnB.” However, Operon notes that his musical tastes are varied. “As diverse as my tastes are,” Operon comments, “there are two or three pre-requisites a track must have for me to think its something special: have musical and/or aural depth, strange and interesting sounds, and a solid groove. But there are always exceptions. In accordance with these pre-requisites, there are only two or three styles of DnB I like – the rest just does my head in. If there were enough hours in the day, I would try and be involved with all the genres I like equally, but I have to specialise in something and that just happens to be DnB.”

Confessing that “music is a multi-layered cultural monster that I can’t get enough of,” beats and basslines are undoubtedly an important aspect to Operon’s life. As cofounder of RudeBwoyz alongside fellow DnB King DJ Erther, RudeBwoyz has breathed life into Brisbane’s formerly dead area of UK breakbeat; lasting the test of time with a devoted following at each monthly party and dedication to the thrilling bass heavy grooves and meters. Defying the mould of ‘mere DJ’, Ash has gained much credibility as a performing artist and producer, having studied Bachelor of Music Technology under sound architectural wizard Andy Arthurs, DJ Operon has fused his DJing experience with his production abilities to emerge as a resplendent producer on the Australian scene.

When Regolith was picked as one of nine finalists in the 2004 Nokia ‘Connecting Beats’ competition, this lead to the track being burnt to CD and distributed Australia wide. “Its hard at first not really knowing if your music is being listened to by anyone of relevance or even if your music is up to scratch in the eyes of those at the top of the game,” Ash comments. “You see, the only things that inspires me as a DJ is to do something different in front of an appreciative and vibing crowd. If the punters are liking it – I’m happy. I never mix at home. I have been doing it for twelve years and I have taken it as far as I want to. Producing is where it’s at. Production wise, I’m inspired by lots of stuff. I make a lot of music: house, minimal, dub and of course DnB. Mainly I’m inspired by hearing something out that’s really new and fresh. I’ve recently been exposed to some interesting really jackin’, fucked up glitch minimal and deep progressive techno. I have been experimenting with those styles and intend to start incorporating some elements of it into my DnB productions.” When asked what studio equipment Operon likes to work with, Operon’s answer is succinct: “Phat synths and big speakers, nuff said!”

With confidence under his production belt, Operon commenced collaborations with My Ninja Lover’s Manta Ray on vocals; the final result being signed to UK Label Phuzion Records. Operon’s cup is running over. “There’s an interesting story behind the creation of Airports ,” Operon smiles. “One of my folio requirements for my uni major was to emulate the style of a producer who inspires us. DJ Nookie is a seminal producer and helped forge today’s jungle scene. He has consistently written stand out works in the arena of jazzy, atmospheric DnB – so he was my natural choice. As for Manta Ray, we have known each other for a while and had been intending to co-write a piece for months so we got together and found we worked really well together. After production was complete, both Manta and I felt we had a really strong track on our hands, so I felt confident about sending it to some labels. The first person I sent it to was Gavin Nookie, as I thought he would probably like it. It turns out he did ‘cos he emailed me a few hours later fretting about who else I had sent it to. I said it was his if he wanted it and he snapped it up straight away for his label Phuzion. At the moment, it’s out on promo and selling well.”

With Airports reaching #15 on the Juno DnB sales in the first week of promo, Operon enthusiastically proclaims that the release should be out by the end of this month. And how has the experience changed Operon? “It has been a great experience,” Operon acknowledges, “and the signing has boosted my confidence and drive in my music. There are a lot of names in the scene giving my music support and playing my tunes out. I have also been approached by the massive Nu-Urban Music Group who want to represent me as my publisher. This is a fantastic opportunity and I am eagerly awaiting the contract in the post!”

As a mainstay in Brisbane’s dance industry, DJ Operon has many observations on our electronic development. “The independent dance scene in general is in a bit of a lull at the moment,” Operon declares. “Event participation for niche genres in Brisbane tends to fluctuate in 3-4 year cycles where in that time, a dance genre will get massively commercial and popular. The popular style will suck the life out of the smaller parties as more younger generations will be caught in the hype,” he observes. “After a year or so the hype dies down and these younger people will start hearing some more niche sounds and then the marginal scenes will flourish again. First there was Paul van Dyk and the trance explosion. Then hard house – now it’s electro house. I estimate it will be another year before we see underground parties taking off again. I would like to see the festival hype start to turn cold,” Operon articulates. “Contemporary festivals tend to reinforce shallow dance-scene stereotypes and stagnate musical creativity. They are usually more about the ‘I waved my hands in the air to Fergie’ factor than getting anything out of the music or appreciating the cultural nuances of the dance scene. The sooner the mainstream commercial hype dies down, the sooner people can get back to keeping it real and appreciating dance music for what it truly represents.”

In a resolute stance in ‘keeping it real’, Operon endeavors in presenting a fresh and relevant form of DnB with the onset of Liquid Sessions at BarSoma, commencing February 2. When asked why Liquid Sessions was seen as necessary for Brisbane, Operon’s answer is weighty. “As I have stated: the Brisbane DnB scene – as well as other niche scenes – are in a lull,” which in addition to the reasons stated before, he also blames on too many crews putting on niche parties and competing in a limited market. “Now don’t get me wrong,” Operon asserts, “every promoter has as much right as the next to throw a party, and so they should. It’s just an unfortunate circumstance that Brisbane can’t support it… The idea behind the Liquid Sessions is that we can showcase drum n’ bass at a venue that attracts a regular upmarket crowd who may not have heard DnB before. Now the idea is that we want to identify musically with the BarSoma regulars,” Operon states, “and obviously we are not going to do this with the tear out, hard tech drum’n’bass which is the usual fare at Brisbane DnB events. We’re going to start the night off with some funk, soul and hip-hop, before going into deep, soulful drum n’ bass and then ending the night with more energetic but friendly dancefloor vibes! Hopefully after two or three events we can develop an even stronger reputation for RudeBwoyz events and hopefully attract enough new fans to strengthen the Brisbane jungle scene as a whole.”

With plenty of determination and willpower boosting his efforts, a successful release climbing the charts, a busy gig schedule, radio program duties and the promise of more tracks to come, Operon remains a stalwart to Brisbane’s dance scene; he’s sure to long retain his title as Brisbane’s Prince of drum n’ bass. DJ Operon will continue to flout the boundaries of tradition while gently guiding the efforts of a blossoming local industry – and long may his rule reign supreme.

Liquid Sessions featuring DJ Operon debuts at BarSoma this Saturday February 2nd.