Mark Franklin presents: Oh Me, Oh My!
The Leeds producer revisits two decades of ideas through a drum and bass crossover that leans toward clarity, warmth, and forward motion.
Mark Franklin has spent years moving through the edges of UK electronic music, often in ways that resist neat categorization. Based in Leeds, Franklin’s credits stretch across labels such as Warp Records through its Artificial Intelligence series, Wax Trax, TVT Records, and several smaller imprints that value experimentation without excess. Alongside ongoing work as a co-writer and producer with Mudita, and the more recent Yorkshire Machines project launched in 2023, Franklin has maintained a quiet but persistent presence. “Oh Me, Oh My!” offers a focused snapshot of that long trajectory.
The single is drawn from Electric Fence, a ten-track collection that gathers unreleased material written over the past 20 years. Rather than sounding archival or dated, the track feels carefully selected and gently reworked, positioned to stand on its own while hinting at a broader personal history. Franklin approaches the release less as a retrospective and more as a chance to reframe older ideas with present intent.
At its core, “Oh Me, Oh My!” sits between drum and bass and pop, borrowing the propulsion of the former and the accessibility of the latter. However, there are many other elements in the mix as well, such as breakbeat or trip-hop. The rhythmic foundation is direct and steady, but never rigid. Beats are allowed to breathe, creating space for layers to unfold without crowding each other. Franklin’s production favors texture and movement over obvious melodic hooks, building interest through subtle shifts in tone and density.
The sound design carries a sense of scale that feels deliberate rather than oversized. Elements enter and exit with control, creating a cinematic impression without relying on spectacle. Synths and processed tones form a wide backdrop, while details closer to the foreground provide shape and momentum. This balance gives the track depth, encouraging repeat listens without demanding immediate attention.
Vocals are treated as part of the wider arrangement rather than a dominant focal point. They sit comfortably within the mix, reinforcing the emotional direction of the track instead of dictating it. The overall mood aligns with Franklin’s stated aim of positivity with a smile. It is not forced optimism, but a calm assurance that unfolds gradually, carried by pacing and restraint.
The influence of artists like Goldie and LTJ Bukem can be sensed in the track’s respect for atmosphere and flow, though Franklin avoids leaning too heavily on genre conventions. Instead of leaning into nostalgia, “Oh Me, Oh My!” reflects an artist who understands the language of drum and bass but uses it as a tool rather than a template. The pop crossover aspect emerges through structure and clarity, not through simplification.
As part of Electric Fence, the single also speaks to the value of revisiting unfinished or unreleased work. Franklin’s decision to assemble material from across two decades suggests confidence in the continuity of his creative voice. The track does not feel like a relic from a specific era, but like a piece that has waited for the right moment to surface.
“Oh Me, Oh My!” works best when approached without expectation. It does not push for urgency or drama. Instead, it settles into a steady groove that rewards attention and patience. In doing so, Mark Franklin offers a release that reflects experience without leaning on legacy, and positivity without gloss.
We also had the chance to ask the artist a few question. Keep reading for more.
What made “Oh Me, Oh My!” stand out as the right single from Electric Fence? It’s a lot of people’s favourite, based on the feedback.
How did revisiting material from the past 20 years change the way you approached finishing this track? “Oh Me, Oh My!” is a new track, fresh from 2025 ;-)
What does positivity mean to you in the context of electronic music today? Positivity is everything for me at the moment with electronic music. It’s great to see the synth revival happening right now too.
How have your experiences across different labels shaped your production choices now? No answer provided.
In what ways do projects like Mudita and Yorkshire Machines influence your solo work? I love working with other artists, and in particular vocalists. I like writing a track, then throwing it over to a vocalist, like I did with Mudita and Lyndsey Cawthra, to put their spin on it with fresh vocal melodies. With Yorkshire Machines, I worked with another drummer, Graham Brown. It’s less constrictive when working on my solo stuff, it’s just whatever mood I tend to be in as to which genre of electronic music I will make on a particular day.
When working within drum and bass, what tells you a track is finished rather than overworked? With drum and bass stuff, I find it quite easy to know when it’s finished, as I tend not to layer as many sounds as I would with house or techno. A track’s never finished till it’s finished! ;-)