The Upbeats: Biography, Discography and More | EDM Encyclopedia

Introduction

The Upbeats are a drum and bass production duo based in New Zealand. Active since 2004, they have established themselves as consistent contributors to the Australasian electronic music scene. Their career spans two decades, with a first release in 2004 and their most recent output arriving in 2024.

New Zealand has a distinct drum and bass culture, isolated geographically from the genre’s UK birthplace. The Upbeats emerged from this environment, building a discography that reflects both local influence and international collaboration. They have operated within a relatively small domestic market while maintaining output that reaches global audiences through labels and digital distribution.

The duo consists of two producers who share writing and production duties. Their working method involves detailed sound design and programmed percussion, common techniques within drum and bass production. They have performed at festivals and venues across New Zealand and Australia, including events like Rhythm and Vines and Bay City Rockers.

Over twenty years, The Upbeats have released five full-length albums, along with numerous singles and EPs. Their longevity in a genre that frequently reshuffles its roster of active artists marks them as a stable presence. They have worked with labels including Virus Recordings, a UK-based imprint run by Ed Rush and Optical, which released several of their projects. This connection placed their music alongside other technically focused drum and bass producers.

Genre and Style

The Upbeats produce primarily within the drum and bass spectrum, operating at the standard tempo range of 170 to 175 BPM. Their specific approach leans toward the darker, more technically driven end of the genre, often categorized as neurofunk or techstep. These subgenres emphasize complex percussion programming, heavy low-end frequencies, and synthesized bass textures over vocal samples or melodic hooks.

The electronic Sound

Their sound design process involves extensive manipulation of audio through software and hardware synthesizers. Bass patches in their tracks frequently feature multiple layers of distortion, modulation, and filtering. This creates a textured, aggressive tonal quality that defines much of their output. Drum programming follows similar precision, with tightly quantized breakbeats and emphasis on syncopated snare patterns.

Unlike some drum and bass producers who incorporate reggae, hip-hop, or pop vocal elements, The Upbeats generally maintain an instrumental focus. When vocal elements appear, they tend to be processed, fragmented, or used as rhythmic components rather than lyrical focal points. This keeps their work situated firmly within club-oriented listening contexts rather than crossover territory.

Across their albums, certain production hallmarks remain consistent: layered sub-bass, rapid-fire drum edits, and atmospheric pads that provide contrast against percussive intensity. Their mixes typically prioritize low-end impact and high-frequency detail, leaving the midrange relatively sparse. This mix approach suits large EDM sound system playback, where physical bass response matters as much as musical content.

Key Releases

Their self-titled debut album, The Upbeats, arrived in 2004. This initial release introduced their production style to the New Zealand electronic community. The record established foundational elements of their sound: detailed percussion work and emphasis on bass weight over melody.

• The Upbeats
• Nobody’s Out There
• Big Skeleton
• Primitive Technique
• De-Evolution

Discography Highlights

In 2007, Nobody’s Out There marked their second full-length effort. This release expanded their reach beyond the local scene, catching attention from international DJs and labels. The production quality showed advancement from the debut, with tighter arrangements and more sophisticated sound design techniques.

Big Skeleton followed in 2009. This third album demonstrated further refinement of their technical approach. The record contained material that found its way into the sets of established drum and bass DJs, increasing their visibility within the global scene.

After a four-year gap, Primitive Technique arrived in 2013. This release represented a period where the duo consolidated their methods rather than dramatically shifting direction. The album contained some of their most precise production work, with emphasis on rhythmic complexity and bass texture variation.

Their most recent album, De-Evolution, was released in 2017. This record continued their exploration of technically driven drum and bass. The production reflected changes in available music technology, incorporating updated synthesis techniques while maintaining their established tonal characteristics.

Beyond these five albums, The Upbeats have maintained consistent output through 2024, releasing singles and extended plays that fill the gaps between larger projects. This sustained release schedule has kept their music in rotation among DJs and listeners who follow contemporary drum and bass output.

Famous Tracks

The Upbeats, a New Zealand drum and bass duo comprising Jeremy Glenn and Dylan Jones, built their discography across five studio albums over thirteen years. Their self-titled debut, The Upbeats, arrived in 2004, establishing their technical production style within the antipodean electronic music scene.

2007 saw the release of Nobody’s Out There, followed by Big Skeleton in 2009. These mid-career releases coincided with the duo’s growing presence in the international drum and bass circuit, particular in Europe where New Zealand bass producers were gaining recognition for their distinct take on the genre.

Primitive Technique dropped in 2013, showcasing a refined sound that balanced aggressive basslines with intricate drum programming. Their most recent full-length, De‐Evolution, arrived in 2017, arriving four years after its predecessor and demonstrating the duo’s continued commitment to evolving their EDM production approach.

Live Performances

The Upbeats have maintained a steady presence in the live electronic music circuit, performing at venues and festivals across New Zealand and internationally. Their sets typically feature a mix of their own productions alongside selected tracks from other artists in the drum and bass space.

Notable Shows

As a duo, Glenn and Jones split their live duties, with one handling track selection and mixing while the other manages additional elements. This two-person setup allows for a layer of flexibility that standard DJ performances cannot achieve, enabling live edits and on-the-fly adjustments to suit the energy of the room.

New Zealand’s geographic isolation has historically presented challenges for electronic artists seeking international touring opportunities. Despite this, The Upbeats have managed to establish connections with European promoters and labels, allowing them to perform for audiences far beyond their home country. Their willingness to travel extensive distances for gigs reflects a practical dedication to their career that predates the era of easy global connectivity.

Why They Matter

The Upbeats represent a specific strand of New Zealand electronic music production that emerged in the early 2000s and maintained relevance through consistent output rather than viral moments or mainstream crossover attempts. Their five-album discography spans over a decade, a longevity that many electronic acts do not achieve.

Impact on electronic

Their existence as a duo in a genre often dominated by solo producers offers a different model for creative partnership. Glenn and Jones have sustained their working relationship across multiple albums, adapting to changes in production technology and genre trends without fundamentally altering their collaborative structure.

For the New Zealand music scene, The Upbeats serve as a proof of concept: EDM artists from a small, isolated market can build international careers through persistent output and networking. They did not relocate to Europe or North America, choosing instead to remain based in New Zealand while building their reputation abroad. This decision influenced subsequent generations of NZ producers who now have a visible example of a domestic act maintaining international credibility without abandoning their home base.

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