Megatronic on ‘There’s Truth In Gospel’, Collective Spirit and Letting Go Through the Remix
- Undrtone Blog
- 16 hours ago
- 5 min read
When Megatronic released There’s Truth In Gospel through Razor-N-Tape in 2025, its foundations reached well beyond the conventional parameters of a club record. Gospel provided a starting point, but the UK-born, Lisbon-based artist approached it less as a fixed musical tradition than a means of exploring soul, community and collective expression through her own global musical perspective.
Now the project is being opened up again. Jamie 3:26, JAMIIE, Karizma and Sotomayor have been handed its component parts and given the freedom to reshape them for the dancefloor, turning something deeply personal into an increasingly collective piece of work. Grab your copy here.
“The entire experience was deeply refreshing,” Megatronic says. “There is nothing quite like hearing a rework or re-edit of a piece of art you created.”
What makes the process particularly interesting is that most of those involved were artists she had admired without actually meeting. Their inclusion was not an afterthought devised once the original EP had been completed either. Megatronic already had several of them in mind while writing it.
“They were on the tip of my tongue from the start because I knew their sound and direction would elevate the project into a completely new record, rather than just a collection of edits.”
That distinction matters. Rather than commissioning remixes designed to make slightly more functional versions of the originals, Megatronic wanted the artists involved to impose their own identities on the material. Once those choices were made, she stepped away.
“I took a total hands-off approach,” she explains. “These artists were chosen precisely because I wanted their distinct artistic visions to pull the tracks into new directions, styles and rhythms. They had complete creative freedom.”
Jamie 3:26 and JAMIIE provide perhaps the clearest demonstration of that philosophy. Both reinterpret ‘In Our Soul’, yet arrive at markedly different destinations. Jamie 3:26 takes it deeper and more soulful, while JAMIIE pushes towards a more percussive, driving framework.
For Megatronic, the common thread between them is what happens to the voice.
“Both renditions are absolute fire. They bring such distinct perspectives, yet both push the vocal performance right to the forefront,” she says. “Above all, both versions highlight the incredible vocal power of Fawziyya Heart.”
That relationship between Megatronic and Fawziyya remains intact even as the musical surroundings change. “She truly understood the assignment, and it’s wonderful to hear how our voices continue to complement each other across such different sonic landscapes.”
Karizma’s treatment of ‘All I See’ takes another route entirely. The Baltimore veteran strips the record towards its rhythmic core, building around stomping drums, repetition and a looping piano figure.
Megatronic’s response was immediate.
“I loved it immediately. He made it so bouncy. As we’d say in London, ‘it’s hard.’”
The collaboration also carries a personal sense of continuity. Karizma has occupied Megatronic’s record collection long before appearing on one of her own releases.
“Karizma is a master at manipulating vocals over a thumping bassline,” she says. “Having played his track ‘Spirit’ and so many of his other works in my sets over the years, I knew I needed him on this EP.”
It has since become more than a remix she admires from the sidelines. Karizma’s ‘All I See’ is now a regular feature of Megatronic’s DJ sets, while JAMIIE’s interpretation of ‘In Our Soul’ has been incorporated into her live PA performances. The remix project has therefore started feeding back into the way the original material exists in front of an audience.
Sotomayor’s transformation of ‘Mother’, meanwhile, provided the biggest surprise.
“That might be the remix with the most intriguing result for me,” Megatronic admits. “It feels more like a complete reimagining than a standard remix.”
The Mexican duo pull the song into Afro-Latin dub territory, changing its rhythmic language while retaining its emotional core. “It brought such a fresh, unexpected perspective to the track. It caught me completely by surprise, but I absolutely love it.”
That geographic and stylistic breadth feels particularly appropriate for a project concerned with gospel. The remixers bring connections to Chicago, Amsterdam, Germany, Nigeria, Baltimore and Mexico, but Megatronic is wary of reducing their contributions to where each artist happens to come from.
“Historically, gospel has often been presented through a strictly American lens in popular media,” she explains. “But for me, gospel isn't just about a specific church culture. It’s about a collective spirit, consciousness and shared voice.”
That interpretation gets closer to the heart of both versions of There’s Truth In Gospel. Different musical histories inform the remixes, but Megatronic sees their connection as something more fundamental.
“It’s less about regional identity and more about a universal human reaction to a shared feeling.”
The dancefloor is an obvious environment for that idea to manifest. House and its surrounding forms have long turned repetition, voice and rhythm into collective experiences, and Megatronic always suspected the original material could make that transition.
“I knew right from the start that once remixed, these tracks would naturally translate to the dancefloor,” she says, noting that ‘In Our Soul’ was already working in clubs in its original form.
Yet she deliberately avoided allowing functionality to dictate the songwriting.
“It can be risky to write songs strictly for the dancefloor, especially when they are vocal-heavy and rooted in classic songwriting. I realised early on in the project that I just wanted to make great music that people could connect with anywhere, at any time.”
That decision ultimately gave the remixers more to work with. Instead of simply rebuilding club tracks for slightly different club environments, they were responding to songs with voices, emotions and ideas strong enough to survive significant changes in rhythm and arrangement.
Hearing those interpretations has also changed Megatronic’s relationship with the original EP.
“The process has given me an even deeper appreciation for the original work and the incredible collaborators who helped bring it to life,” she says. “I still listen to the project regularly, and it’s still a bit surreal to realise that this is something I created.”
There is validation in hearing respected peers find their own meaning within it too.
“Having artists of this calibre reinterpret the EP has reassured me of the work's quality and vibrancy. Receiving that kind of recognition and care from your peers is a really beautiful thing.”
Perhaps that is the most fitting evolution There’s Truth In Gospel could have had. A project built around the idea of collective spirit has stopped belonging solely to its original creators. Different artists, cities, rhythms and dancefloors have entered the conversation, each finding something different within the same songs.
The result does more than reposition Megatronic’s EP for club play. It extends the very idea sitting at its centre: individual voices becoming more powerful when they are allowed to move together. Get it here.
