“Deep Down” pairs Illyus Barrientos with Aden Rémai at a point where both are thinking clearly about function, economy and feel. It is a record built around groove rather than spectacle, shaped by small decisions rather than big gestures. The vocal is soulful but restrained, the arrangement deliberately lean, with everything locked into a rolling pocket that keeps its momentum without relying on obvious drops or peaks.
Released on Toolroom, the track reflects Barrientos’ long-standing instinct for what actually works in a DJ set, alongside Rémai’s openness to strip ideas back until they breathe properly. In the conversation below, they unpack how the collaboration came together, why subtraction mattered more than addition, and how trust and experience helped turn an early sketch into a record that holds tension from start to finish.
Deep Down feels built around groove first rather than any single hook. What was the earliest part of the track that locked into place and told you the record was working?
IB – In all honesty myself and Aden have got a mutual friend who told me about this record Aden has sitting that may need a bit of fine tuning but there’s a bangin idea in there. Soon as I heard the early stages of Deep Down I was hooked. The track needed stripped back and some percussive elements changed. Little tweak to the groove and we were good.
AR – Sometimes things just come together quickly, and this was one of those. I love the vocal – it has a soulful energy, so it was important to keep balance within the record.
In the end the record ended up with a great groove – it just worked.
Aden, stepping into a collaboration with Illyus Barrientos at this stage of your career, what did you want to bring to the session without overcomplicating it?
I’ve followed Illyus’ music over the years and played it out regularly in my sets, so to be asked to collaborate on ‘Deep Down’ was a great opportunity for me.
The original idea presented to Illyus had great potential but his knowledge of what to strip back to accentuate the groove really brought the record to life and made it dance floor ready.
The vocal sits very much inside the rhythm rather than on top of it. How did you decide how present it should be, and when to stop pushing it further?
IB – I think with most club driven records, that’s exactly how it should be. The vocal and the track need to complement each other, with the main focus always being the dance floor. I make music by imagining how a crowd will react, and with Deep Down everything had to sit in a balanced pocket so all the elements worked off each other naturally.
AR – I think it’s important to keep the vocal tucked in enough to create space for the rest of the track to keep that club dynamic.
The record has a rolling feeling, so it was vital that they roll together and I was really happy with how it turned out.
Illyus, you’ve made plenty of records designed to do a clear job in a DJ set. How do you judge when something is effective enough without adding unnecessary detail?
IB – Over the years I’ve learned that less really is more. When I think back to my early days of making music, I used to add so many elements because I felt like I had to show some kind of production or writing skill. In the end, when you keep things simple and let them breathe, you’ll usually know pretty quickly whether you’re working on a big tune or not. For me, if I keep feeling the need to add more, it’s usually a sign that something somewhere isn’t sitting right.
Aden, does working on a more stripped, functional club track change how you approach your own solo productions going forward?
AR – Most definitely. Its always good to keep learning and this experience has taught me a lot!
With the positive reaction the record has received it will influence my future productions for sure.
I’m delighted with how the track turned out and to release it on Toolroom Records was the icing on the cake.
There’s a steady tension running through the track that never really breaks. Was that intentional from the start, or something that emerged as you refined the arrangement?
IB – The arrangement definitely became more simplified as the track developed. What that did was simple. The continuous groove doesn’t give the dance floor a break. We wanted the record to feel energetic and uplifting, with a constant drive from start to finish.
AR – The record gained a more consistent drive as it progressed. A simple arrangement benefitted the track. Again, this was the influence of Illyus.
After seeing the reaction on the dancefloor, it really works.
Illyus, being so close to weekly releases through Toolroom Radio, does that sharpen your instincts for what works, or do you have to consciously tune that out in the studio?
Between the radio show and now taking on an A&R role with Electronic Nature, I’m constantly listening to music. I’m always curious about what DJs are playing, but at the same time I’m digging through records from every era, even the forgotten ones. There’s beauty in all genres of music, and I genuinely think that mindset sharpens my instincts more than anything else. In the studio, I’m always thinking about how a record might affect someone emotionally. Music really does have that power.
After finishing Deep Down, what did each of you take away from the collaboration that you’ll carry into your next releases?
IB – I loved working with Aden because he’s an up and coming producer with no restrictions on how he wants to make music. I wanted to be part of his journey, and hopefully he felt the same about being part of mine. At the end of the day, I just enjoy working with good people, and he’s a genuinely class guy.
AR – Where do I start?! Working with such a renowned figure in the industry you’re always going to take a lot away. Illyus has been great to work with and he’s helped me with not only this track but other aspects in my music career. The whole experience has been a pleasure.
Deep Down is out now on Toolroom