Get to Know Bass Powerhouse Defunk

Defunk stops by to drop off a stellar mix and discuss his latest EP, how he balances personal and professional life, and the future of the project.

Canadian bass maestro Logan Anderson has been captivating fans under the moniker Defunk for over a decade. Since his debut, the skilled producer has explored various genres, eventually finding a niche within the bass music community.

Specializing in “dirty funky bass music,” Defunk has built a career packed with innovative original releases, crowd-pleasing remixes, and an iconic mix SoundCloud series. Releases on Trippy Bee Records and Circus Records, along with several appearances at Shambhala, have helped propel his career forward as Defunk continues to carve out his path in the genre.

Now settled into the groove after recommitting to his project, the genre-blurring artist has released his latest EP, Bloom, which pushes the boundaries of his sound and dives into a new production aesthetic. Ahead of 2026, we sat down with Defunk to discuss the makings of Bloom, what this EP signifies to him, and what’s on the horizon for the multifaceted producer and DJ.

Read along for a glimpse into the clever mind of Defunk, and be sure to give his exclusive mix a listen on SoundCloud!

Stream EDMID Guest Mix 487 || Defunk on SoundCloud:

Earlier this year, you were a part of LSDREAM’s record label launch, and now your EP, Bloom, has arrived on CloZee’s Odyzey Music. What has it meant to receive support from two of the biggest artists in bass music, and how has it helped expand your reach as an artist?

It’s been incredible as they’ve both truly been big influences on my sound over the past five years. It’s such a rewarding and shocking experience to see your music played out by some of the best in the scene. It really means a lot.

Plus, being a part of a label opens doors to a ton of new listeners from that label or its artists, as well as opportunities for potential showcases or takeovers at festivals. On a personal level, it feels like being welcomed into a new family, and family is such a big part of the music scene.

Bloom marks your first EP in two years, and you’ve mentioned it carries a deeply personal message. What story were you trying to convey through these tracks?

After losing a bunch of opportunities due to COVID lockdowns, then having a child and returning to a full-time agency career to support the family, I entered a very dark phase with the project. It felt like I was falling behind; the algorithms on social media were bringing me down, and I struggled to find the studio time I needed to produce the amount of music I was before. Everything felt like it was falling apart.

I was faced with the option to either leave the project or double down, write a bunch of newly inspired music, and get back on the horse. I chose the latter, and this EP embodies this story and the act of “blooming” after a long winter. It’s a comeback story.

The opening tune, “Young and Free,” blends heavy bass with futuristic, atmospheric textures, lending to a dreamy, space-leaning sound. What was the inspiration behind exploring a more ethereal sound?

In the past few years, I’ve noticed a bigger appetite for melodic bass music, perhaps in reaction to such a strong movement towards the heavier bass music of the last decade. There has been a sound of nostalgic melodic dubstep coming through from artists like YDG, Mersiv, HEYZ, and CloZee. I really wanted to push myself to write something beautiful, but also deep and heavy.

I spent the past few years really diving deep into the heavier, harsher sounds of dubstep and midtempo, and I felt I needed something for my live set that could bring a melodic softness into my library.

Your new collaboration with Slynk, “With You,” continues a partnership dating back to when you first teamed up in 2020. Now on your third track together, how has your creative relationship evolved, and how did it translate into this song?

We’ve really enjoyed working together on these collaborations. Each time is a ton of fun, and honestly, each song gets a bit smoother in the collaboration process.

Slynk is great with his sound design and ideas, whereas I try to really focus on composition, catchy hooks, and overall replayability when I sit down to write. This one started from a drop idea and turned into an upbeat, groovy bass track with a nicely swung drum pattern. Our goal wasn’t to put the pedal to the metal on heaviness, but instead make something that has a nice flow and groove to it.

Historically, your tracks have been very funk-driven — hence the name Defunk. Yet Bloom leans into a darker sound than your typical “dirty funky bass music” productions. How do these four tracks reflect your evolution as an artist and add to your overall discography?

Yes, up until about 2018, there was a lot of funk influence in most of my music. But I’d grown up around bass music, so after 2018, I started to circle back to my roots and integrate darker, more bass-oriented sounds.

This EP, Bloom, was written with the Odyzey sound in mind — specifically the sounds of CloZee and LSDREAM‘s collaborative LSZEE project.

You’re wrapping up a few remaining 2025 shows before closing out the year, including an appearance in Austin on New Year’s Eve. As a Canadian artist who regularly tours in the United States, how would you compare the dance music landscape of Canada to that of the US?

There is a lot of crossover and, to be honest, little difference. I would say the US generally has an incredible variety of venues, both legendary and new, and intimate and expansive. In contrast, the Canadian scene is much more about the strong promoter relationship and their tie to the community.

You’ve spoken about being a devoted father, even recently remixing Lady Gaga’s “The Dead Dance” for your daughter. How do you balance life as a DJ with being present at home?

Funny enough, this EP is partially about this topic. I struggled for the first few years after COVID and my daughter’s birth, trying to balance it all. I said yes to everything, tried to take on all opportunities, and was averaging about five hours of sleep a night. I made it work, but I was in rough shape.

Nowadays, I’ve found a lot more balance and acceptance of what I’m able to do. I normally fly out Fridays and Saturdays, get home early Sunday so I can hang out with my daughter, and work through the week. I split my studio time between writing music and making social media content, and overall, my mental headspace is a lot better now.

Your SoundCloud is filled with gems, including fan-favorite remixes and your beloved Dirty Funky Bass Music mix series. When you approach crafting a mix, where do you begin? Do you start with a theme, a mood, or specific tracks you’d like to highlight?

I usually start with a small, short list of some of my absolute favorite music at the moment, along with any new tracks I’m working on and anything I’ve recently released. That forms the base, and from there, I try to weave a journey by searching meticulously for the right music in the proper keys.

A good mix usually takes me a week or two of scanning to pull together. The more substantial mixes, like prime-time festival sets or radio mixes, I’ll work on for months, crafting edits and transition tracks.

2025 was a major year for your artistic progression. Looking ahead, what’s on the horizon for the Defunk project?

Lots of collaborations. With this “blooming” back of the project, I’ve reached out and have started working with tons of talented producers. I’m aiming to broaden my reach, tapping into new audiences by working with as many people as I can through as many releases and remixes.

All of this while I maintain a Patreon community and a side project for my drum and bass productions. I’ve got my eyes set on a bigger festival season and hoping to come back to markets I haven’t hit in a while!

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