Hello everyone it’s your host Daniel from Dulaxi, and today I have with me the exceptional artist, C’batch from White Plains, New York, United States. And C’batch is here to discuss their recent album “Fluorescent Buzz (Next Time – You Got Me Falling)” which was released on 11th April 2026. So, welcome, C’batch!. But before we begin our interview, to our audience; here is what you need to know about this artist.
Stephen H. Cumberbatch, professionally known as C’batch, is a composer, author, producer, and musician (guitarist) from White Plains, New York, United States, whose creative identity is rooted in decades of work spanning R&B, Soul, Pop, and house-influenced electronic music. He is also a keyboard, synthesizer, and sampler programmer, and a distinguished member of ASCAP, with a long history of collaboration across the music industry. His catalog includes contributions to notable works such as “I Need You Now” by Sinnamon, “Let Me Do You” by NV, “Playgirls” by Kreamsicle, and “Geisha Love” by Eleanore Mills, alongside releases and projects developed through his independent publishing and production company, Stevette Music, Inc., founded in 1984 with Yvette Cumberbatch. Through Stevette Music, he has overseen and contributed to works such as the re-mastered anniversary edition of “I Need You Now (Moplen Edit)” by Luca Locatelli, the album “Unfinished Business” by Cbatch & Herring, and EPs including “Send You My Love” and “Found What’s Right For Me (Back In Control Of My Life),” while continuing to expand a catalogue that reflects his evolving musical journey and influences. His recent creative direction is embodied in “Fluorescent Buzz (Next Time – You Got Me Falling),” a reimagined version of his earlier track “Next Time (I Won’t Be Falling),” which transforms an introspective, mood-driven composition into a more immediate, rhythm-forward, dancefloor-ready experience. Built on an R&B/Soul/Pop foundation with house elements, the project strengthens the groove, deepens the low end, and shifts the energy outward while preserving the original harmonic and melodic core, ultimately rebalancing emotional reflection with physical movement and positioning the track as a modern, dance-oriented reinterpretation designed for listeners drawn to nostalgic yet contemporary sonic textures.
Having this brief Introduction about C’batch, I’m sure new and current fans must be excited about our Interview today.
INTERVIEW SESSION
Daniel: Your career spans decades of music creation, production, and
collaboration. Looking back, what first inspired you to pursue music so
deeply, and how did those early influences shape the sound listeners hear in
C’batch today?
C’batch: Probably, the fact that I was always surrounded by and exposed to
different types of music from an early age. My mom sang, my dad played drums
and my grandmother, my father’s mother, played and introduced me to the piano.
Daniel: You’ve contributed to timeless records like “I Need You Now” and
“Let Me Do You,” both of which left a lasting impact on dance and club
culture. How does it feel knowing your work helped shape the evolution of
house, garage, and electronic dance music?
C’batch: It wonderful to know, as it was never something that I ever remotely
expected. Definitely, great to be aware that those compositions still resonate with
people and still continue to inspire a whole new younger generation.
Daniel: As a composer, guitarist, producer, and programmer, you’ve mastered multiple creative roles over the years. Which aspect of music-making feels most personal and fulfilling to you at this stage of your journey?
C’batch: I’d have to say composing. That has always been my real passion. It’s the reason I picked up the guitar in the first place. Although, I later realized that the
keyboard was the most important instrument with respect to song writing.
Daniel: “Fluorescent Buzz (Next Time – You Got Me Falling)” transforms an
introspective original into something designed for movement and energy.
What inspired the decision to completely reimagine the emotional direction of
the track?
C’batch: Again, as with “Trapped (I’m Doing Fine), entirely accidental and
experimental. “Next Time (I Won’t Be Falling)” was the first piece that I chose to
revisit and rework. The result was “Fluorescent Buzz”.
Daniel: The project balances emotional depth with dancefloor momentum.
How important was it for you to preserve the “emotional DNA” of the original
while still making the remastered version feel fresh and physically engaging?
C’batch: It was very important for me to preserve the the DNA of the original
song. However, I am not sure that I managed to completely achieve that.
“Fluorescent Buzz – You’ve Got Me Falling” seems to have taken on a life of its
own.
Daniel: One of the strongest ideas in the album description is the shift “from
inward-looking to outward, from late-night reflection to late-night motion.”
What does that transformation represent for you creatively and emotionally?
C’batch: I’m pleased that the song has its own unique feel, and characteristics that some might describe as having a certain type of groove or motion.
Daniel: The album carries a nostalgic pulse while still sounding modern and
rhythmically immediate. How did you approach blending classic house
influences with contemporary production sensibilities?
C’batch: I suppose that’s because the approach to my writing is usually
subconscious, and continues to be influenced by the music around me.
Daniel: The phrase “same emotional DNA, but re-engineered for motion”
stands out strongly in the project’s description. Do you feel that dance music
can sometimes communicate emotion more powerfully through rhythm and
movement than through words alone?
C’batch: I have not heard that phrase as it relates to this song. However, I do
believe that apart from harmony and lyrics, rhythm definitely communicates and
dictates emotion through movement.
Daniel: The low-end energy and tighter grooves play a major role in this
reworked version. What specific musical elements did you focus on to make
“Fluorescent Buzz” feel more alive and movement-driven?
C’batch: A faster tempo, upbeat drum pattern and groove.
Daniel: From the remastering process to the restructuring of the groove, what
was the most technically challenging part of rebuilding “Next Time (I Won’t
Be Falling)” into this alternate version?
C’batch: Trying to retain some semblance of the original song.
Daniel: Your music history includes collaborations, publishing, production,
and independent label work through Stevette Music, Inc. How has owning and
building your own creative platform influenced your artistic freedom over the
years?
C’batch: Creating without restrictions. The freedom to be bold and release music
that truly reflects who I am as a composer. Hopefully, that honestly comes across
positively and gets appreciated by the listener.
Daniel: Having witnessed multiple eras of music culture, from vinyl club
records to modern streaming, what changes in the industry have challenged
you the most, and which changes have inspired you the most?
C’batch: The main challenge for me is promoting the music, be it by way of
modern streaming or social media. I think the changes that have inspired me the
most is the advent of new technology, that if used correctly as a tool, can enable
one to breathe new life into old ideas. It’s actually made me appreciate those ideas
that I had once pushed aside. Technological advances and innovation have enabled me to see and actually, for the first time in my life, really love what I had once created.
Daniel: “Unfinished Business” and your recent projects seem deeply connected to reflection and legacy. Do you see your current releases as a way of documenting your lifelong musical journey for a new generation of listeners?
C’batch: I never thought about that but, perhaps, it is a way of documenting my
musical journey. It would be wonderful if a new generation of listeners found what
I’ve done enjoyable and meaningful. That would definitely make all my efforts
worthwhile.
Daniel: Many younger producers study classic records for inspiration today.
What advice would you give to emerging artists trying to create music that
remains timeless rather than trend-driven?
C’batch: Well, I would say that learning the different ways of crafting or writing a
song is very important, and when it comes to lyrical content, try to tell a story. Try
to write a storyline that one can almost visualize in ones head while listening to the music. If you really listen to some of those compositions that are from the Vault
series, they tell tales. Some are fictional and some result from very real
experiences. Pay attention to and observe what’s around you because one can glean
a lot from real life events.
Daniel: Your catalog reflects decades of experimentation across soul, funk,
house, pop, and electronic music. What keeps you creatively motivated to
continue evolving after so many years in the industry?
C’batch: For me, music is a vehicle for self expression and that’s what mainly
keeps me motivated. It is also a means by which I feel I can share some of my
creativity with other people; Hopefully, in a positive light.
Daniel: How have longtime fans responded to hearing a more dancefloorfocused reinterpretation of “Next Time (I Won’t Be Falling)” compared to the original version?
C’batch: I think it is too early to really tell, but for the most part it seems to be
positive.
Daniel: Because your music connects both nostalgic listeners and modern
dance audiences, what does it mean to you when different generations find
common ground through your sound?
C’batch: It’s great; Good music should be ageless. When I was growing up, the
younger generation listened to the music of the older generation and vice versa. As
youngsters we could relate to, discuss the music that our parents listened to and it
was the same for them. It was a wonderful familial connection; There were no
boundaries. Sadly, you don’t really find too much of that these days.
Daniel: You mentioned plans to release more collections through Stevette
Music, Inc. What can listeners expect from these upcoming releases, and how
will they reflect the different chapters of your musical journey?
C’batch: The next release will be The Vault 3 – Club / Dance / R&B-Soul / Funk /
Pop / Techno / Etc., scheduled for release on May 21, 2026. Listeners can expect
more in terms of the wide range of styles
and influences that reflect different chapters of my musical journey and creative evolution over the years.
Daniel: As you continue building your legacy, what do you ultimately hope
listeners remember most about C’batch and the music you’ve created across
the years?
C’batch: It’s funny, but I never really thought of what I’ve done musically as
building a legacy. I suppose it can be viewed as that. Hopefully, it is my hope that listeners will appreciate, enjoy and remember that I tried to deliver good sincere music.
Having Had A Close Listen To “Fluorescent Buzz (Next Time – You Got Me Falling)”, Here Is My Thought On This Rhythm-driven Reimagining Of Emotional Repetition And Urban Solitude.
C’batch crafts an absorbing and emotionally layered listening experience with “Fluorescent Buzz (Next Time – You Got Me Falling),” a project that feels simultaneously nostalgic, futuristic, intimate, and movement-driven. From my perspective, what makes this release particularly compelling is the way it transforms introspection into rhythm without sacrificing emotional depth, allowing the music to function both as a personal emotional reflection and as a hypnotic dancefloor experience. The production is remarkably controlled and immersive, built around tightened grooves, pronounced low-end textures, ambient synth layering, and crisp electronic pulses that create a glowing late-night atmosphere filled with emotional tension and mechanical repetition. Every sonic detail feels intentional, from the spacious reverbs and diffused delays to the restrained rhythmic progression that continuously pulls the listener into a cycle of memory, longing, and motion. Vocally, C’batch embraces subtlety rather than theatricality, delivering intimate and inward-facing performances that feel conversational, vulnerable, and psychologically close, reinforcing the project’s diary-like emotional framing. What impressed me most is the conceptual consistency across the release, as themes of urban isolation, unresolved attachment, and cyclical emotional repetition remain embedded within every melodic phrase, rhythmic pattern, and atmospheric texture. Rather than relying on dramatic shifts or excessive arrangement, the project thrives through repetition, mood, and tonal contrast, balancing warmth and synthetic coldness with remarkable sophistication. The alternate and remastered interpretations further deepen the experience by reengineering the emotional DNA of the original into something more kinetic and dance-oriented, proving that movement itself can become a form of emotional expression. “Fluorescent Buzz (Next Time – You Got Me Falling)” ultimately stands as a refined fusion of R&B, soul, pop, and house-influenced electronic music that transforms emotional restraint into immersive sonic motion with elegance, intelligence, and haunting emotional resonance.
~ Daniel (Dulaxi Team).
Finally to our audience, I urge you to listen to “Fluorescent Buzz (Next Time – You Got Me Falling)”, add its songs to your playlist and be inspired by them, and on behalf of Dulaxi I like to appreciate you all by saying thank you everyone, See you on our next interview.
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