What you give, you receive. Life always has a way of reflecting back what we put into it — at least in the best of moments, when everything falls into place. Like here: “There’s nowhere I feel more alive than during a live set. That moment when the crowd screams the lyrics and melodies back at you — it’s surreal every single time,” Primate tells us. “When I was younger, the spark felt almost overwhelming, like pure adrenaline rushing through me before every show.”
And that energy lies at the heart of his artistry. Growing up in Ghent in a family of writers, actors, and jazz musicians, Marcel Matheussen — better known as Primate — began experimenting with music at the age of eleven. Since his first Drum & Bass performance in 2018, he has become an indispensable name in the scene, balancing raw power with melodic depth.
With his new single About Us, he continues to explore that tension between grit and harmony. “You could say this shift from chaos to depth came throughout the years, as I became more comfortable with sharing more melodically tinted tunes,” he reflects. The fascination of when a tender melody suddenly drops into something heavy — it might not reveal itself to everyone at first, but its beauty is undeniable.
We sat down with Primate to talk about growing up surrounded by creativity, the shift from chaos to depth in his music, the story behind his new single About Us, and why nothing compares to the energy of a live show.
photography by Raf Thomas
Marcel, we’re really happy to have you with us for this interview today. How are you today? (smiles)
Thanks for having me! I’m feeling good — just came off two amazing shows last weekend, one in Seville, Spain, and the other in Nottingham, UK. The crowds were incredible, but the travel schedule was rough on the sleep. One day it was tapas in the Spanish sun, the next day pouring rain in England — my immune system had no idea what was going on. But overall, I’m doing really well.
Drum & Bass is a sound world that not everyone steps into right away. What was it that first pulled you into this universe — and how would you open the door for someone who hasn’t yet discovered its energy?
Honestly, like a lot of people from Belgium in the scene, it all started with Netsky for me — around 2011, 2012. I was just a kid, 11 or 12 years old, and my older sister was into Drum & Bass. She played artists like Netsky, Sigma, and Chase & Status, and one day I heard Netsky’s Give and Take on the car radio. That track just hit different — so powerful, so full of energy — I was instantly hooked.
From there I fell down the rabbit hole: more DnB, a bit of dubstep, the whole UKF era. My first rave was actually a Macky Gee show in my hometown, and hearing it live for the first time… man, that changed everything. The energy in the room, the bass shaking through your chest — it’s a whole new way of experiencing the music. For someone who hasn’t discovered it yet, I’d say start with the more melodic, accessible stuff — Netsky, Sub Focus, Chase & Status. Then go to a proper rave or festival, stand front row, and just let it hit you. If it doesn’t grab you after that, fair enough — but for most people, it sticks for life.
I read that you wrote About Us while going through some romantic difficulties, but that the actual idea for the title came more from the vocal and soul samples you used. How long does it usually take you to find the right name for a track?
It really depends. Sometimes it’s as simple as naming the track after the vocal sample — something people can remember and sing along to. Other times, it’s a longer process. I’ll have tunes sitting on my USB as just ‘ID’ or with a random placeholder name for months, sometimes even until right before release. If there’s no vocal, it can be trickier — you just go with the first thing that comes to mind. But every now and then, the right name actually gives the track a theme, almost like it tells you how to finish writing it. So yeah, sometimes it’s instant, other times it’s a slow burn.
“A track never really feels finished — but at some point, you have to draw the line and say: this sounds good, it feels right, it’s time to let it go.”
I really love the melodic passages in between. Can you tell us more about how those came together?
Thank you, I really appreciate that. The melodic passages between drops are actually something I put in almost all my tracks — and honestly, they sometimes take even longer to write than the drops themselves. There are so many layers you can add to create emotion and atmosphere without making it muddy. With About Us, it started from a tiny horn sample I found in the vocal. I built some simple piano chords around it, trying to keep it uplifting and natural while staying in key with the sample. Once the chords were there, it just opened the door — I added brass, little melodies, textures, anything that complemented the main harmony. I love that process because once the chords exist, you can go in any direction and it will always feel coherent. As long as the build-up and drop are solid, the in-between sections give you freedom to be creative and emotional — that’s where a lot of the magic happens.
So, what does it take for you to say: “Yes, this track is finished and ready to share”?
Oh man, that’s always the hardest part. A track never really feels ‘finished’ — especially as a producer, because you’re constantly learning. A year from now, I’ll know things that will make me want to go back and change everything I’ve already released. But at some point, you have to draw the line and say: this sounds good on a big system, it feels right, it’s time to let it go.
For me, if all the main sections are there — the intro, the drops, the little melodic bits, the outro — and it flows smoothly without mistakes, sounds good both in the club and on smaller speakers like a phone or car stereo, then it’s ready. I’ll still tweak it right up until the deadline, but if the idea is complete and the energy’s there, that’s when I can finally let it go.
“Growth comes from small, honest changes. If you keep improving little things over time, a year later you’ll look back and realize how far you’ve come.”
If you could collaborate with any artist outside of Drum & Bass, who would it be and why?
That’s a tough one, but I always come back to the artists who first got me into electronic music. Netsky was obviously huge for me early on, but not long after that, Martin Garrix became another big influence. I’ve always admired how he blends those big melodic moments with the kind of energy that makes a dancefloor explode. To be very honest, I don’t follow his work as closely these days, but the idea of combining that melodic, festival-ready sound with my own style would be incredible.
And of course, there are legends like Skrillex or Diplo — people who completely changed the game in their own way. Any of them would be dream collaborations for sure.
In a recent interview you said: “Don’t get me wrong, I still very much love carnage, and I’m very aware that some fans much prefer my older sound, but I think if you stand still and keep doing the same stuff over and over, you’ll never reach your true creative potential.” Do you think this also applies to life in general, beyond music?
Yeah, absolutely. I think it applies to life just as much as it does to music. When I was younger, if something bad happened, I had this habit of just sitting in it — overthinking, replaying it in my head, not actually doing anything to change it. That’s what I mean by ‘doing the same stuff.’ If you stay stuck in the same habits and negativity, nothing really evolves. I think growth comes from small, honest changes. Not by comparing yourself to others, but being honest with yourself and asking, ‘How can I do this better?’ It doesn’t have to be drastic. If you keep improving little things over time, a year later you’ll look back and realize how far you’ve come — and that can completely change your quality of life.
On Instagram you often share live impressions, and the energy is almost tangible. Do you still feel that spark before every show — or has it transformed into something different over time?
Oh, for sure. There’s nowhere I feel more alive than during a live set. That moment when the crowd screams the lyrics and melodies back at you — it’s surreal every single time. When I was younger, the spark felt almost overwhelming, like pure adrenaline rushing through me before every show. Now, it’s a little different. I still get that energy, but there’s more thought behind it. I think about the set structure, the moments I want to stand out, how to build the energy across the set. And of course, when you’re playing four shows in a weekend, you can’t physically have the same intensity at every single one. But even now, the second the music starts, that same spark from day one comes flooding back. It never really goes away.
“As long as I feel free to make what I want, I’ll keep following where the music takes me.”
When you look ahead, do you imagine a clear path for Primate — a certain sound or direction you want to grow into — or do you prefer to let things unfold naturally, wherever the music takes you?
When I first started making music, I thought you had to pick one path and stick to it so people would ‘know your sound.’ That’s how it always looked online. But over time — and especially after meeting other artists — I realized it’s much more about creating what feels good in the moment. You never know which song will connect with people or which show will become a sellout, so why box yourself in?
I have plans for bigger shows, and there are certain types of tracks I still want to make, but I love the freedom to follow whatever direction feels right. If one day I make a techno tune and I think it’s a banger, I want to be able to release it without overthinking whether it ‘fits.’ That freedom is one of the most powerful and blessed things about being an artist. As long as I feel free to make what I want, I’ll keep following where the music takes me.
Looking back at the past few months, I feel like time has passed so quickly. If you could hold on to one thing forever from this time, what would it be?
This summer has honestly been one for the books — so many amazing shows, incredible crowds, and moments I’ll never forget. It all flew by so quickly, and now we’re already storming into club season, which is crazy to think about. If there’s one thing I’d love to hold on to, though, it’s the sense of community in the scene right now. That might sound a little cliché but there’s never been a better time for upcoming artists. Everyone’s supporting each other, big names are playing tracks from the newer producers, and it doesn’t feel overly competitive the way it sometimes did in the past. I think that openness is really special — it gives new artists the chance to grow so much faster, to get heard in ways that weren’t possible before. That spirit of collaboration, that feeling that we’re all in this together rather than against each other… I hope that never changes, because it’s what makes this whole thing so exciting.
Follow Primate for more:
www.instagram.com/itsprimate
www.facebook.com/primatednb
www.tiktok.com/@itsprimate
