FiXT New Noise: Toronto Is Broken on Music and Milestones

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Known for his high-octane fusion of drum & bass, rock, and cinematic intensity, Toronto Is Broken (aka Christian Hoffmann) has carved a name for himself in the electronic scene with his emotionally raw production and genre-blending remixes. From remixing legendary artists like Celldweller, running his own label YANA, to surviving near-mechanical disaster on tour (don’t worry, the car made it… barely), Hoffmann has plenty of stories to share.

For our latest FiXT New Noise feature, we sat down with him to talk about musical milestones, dream collaborations, and coolant leaks because being an artist isn’t just about big beats, it’s about making it home in one piece.

You’ve just wrapped up a headline tour, congrats! What were some standout moments from being back on the road?

Toronto Is Broken: “Thanks! Yeah, this tour was a big moment for us because it was fully DIY. We organized everything ourselves with close promoter friends so we’d have complete control over the events, and called in every favour I’d built up over the past 15 years. It wasn’t about making money; it was about finally bringing our live concept to life.

“We’ve always had this vision of the three of us on stage, me DJing with the two vocalists, but doing more than just a typical DJ set. We structured it so some tracks played in full, with proper vocal performances, and everything was tightly rehearsed. It felt like a ‘proof of concept,’ especially since a lot of promoters don’t quite get why they should book me plus two others—it triples the cost with fees, travel, accommodation, etc.

“But I’ve got mates in small bands who’ve been grinding and touring on their own dime, even as newer acts. So I thought, why can’t I? That’s when I decided to just go for it, and it paid off. The reception was incredible. It reminded me that there are actual people on the other end of the music, not just numbers on a screen. Meeting them was surreal.

“We also dropped our Linkin Park cover on the final tour date, which happened to be the London show and also my birthday. Having all of that line up felt really special. Playing so many shows back to back helped us refine the set, too.

“One moment that really stuck with me was at that London show. The first act had just started, and I stepped outside for a smoke five minutes after the doors opened, expecting it to be quiet. But there was a queue down the street. I was like, ‘Wait… what? This is actually happening?’ It was wild.”

Did the tour experience inspire any new material or directions?

“Definitely. We learned a lot from the tour, especially about what Sebotage and REEBZ are capable of vocally, and how to write with that in mind. It made us more aware of how our songs will translate live, especially when we’re all on stage together. Normally, I’m just DJing, so it hasn’t always mattered before, but this tour really shifted that perspective.

“For the next album, the follow-up to the self-titled one we released on FiXT, we’re approaching it as a proper three-piece. Instead of it being Toronto Is Broken featuring REEBZ and/or Sebotage, we want to write it as a full collaboration from the ground up, with all three of us on every track wherever possible. We’re treating this as a proper group effort.”

YANA is about to hit 100 catalogue releases, which is a huge milestone. What does YANA100 mean to you personally and professionally?

“Hitting 100 releases with YANA is a massive milestone. When I started the label, that’s really when music became a viable career for me. It all started there, with the launch of YANA, then the Clare album, which we originally released on YANA before FiXT picked it up. That led to me signing with FiXT and fully embracing the metal and drum & bass crossover sound, which has since become my signature.

“If I’d stuck with traditional drum & bass labels, I don’t think that crossover style would’ve ever developed. So the version of Toronto Is Broken people know today, and the success I’ve had with it, wouldn’t exist without YANA. It gave me creative freedom and opened the door to bigger opportunities, like being able to reduce my day job hours and focus more on music.

“To celebrate, we’re putting together a YANA100 compilation album, with a run of singles leading up to it. It’s a proper celebration of everything the label has built so far. I think when I set up YANA was when music actually kind of became like a viable kind of career way of supporting myself from the birth of that label, because that started things and then from that, obviously, then I did the Clare album that we released on YANA to begin with, and then it got re-released on FiXT.

“After FiXT signed me, and that kickstarted the whole metal and drum and bass crossover sound for me. It is now what my successes are and what I’m known for. I feel like, because obviously, it’s something quite different, and it doesn’t necessarily fit inside just the world of drum and bass.”

CANTERVICE “The Masquerade” (Zardonic & Toronto Is Broken Remix) single artwork

Can you tease what fans can expect from the YANA100 album and its upcoming first single?

“The first single dropped on July 18th, it’s a collaboration between MYKOOL and Lateral called ‘Stay.’ As soon as I heard it, I thought, ‘This is the most YANA-sounding track we’ve ever had.’ Those two are core artists on the label, so it made perfect sense for their collaboration to kick things off.

“We’ve followed that with a single from Skyfade, a newer addition to the roster. His track, ‘Aries,’ is out now and already making waves. There’ll be more singles rolling out through August and September, leading up to the full YANA100 album.

“Back when we hit 50 releases in 2022, we celebrated with a remix album. This time, I wanted to do something different, something that feels like a proper album experience. So YANA100 will feature around 15 original tracks, each strong enough to stand as a single on its own. No filler, no fluff.

“A lot of compilations just cram in 30 tracks for Beatport discounts, but I wanted this to feel cohesive, something you could burn to a CD, throw on in the car, and really enjoy as a full hour of music. It’s a celebration of where we are now and where we’re headed.”

So what’s been the most rewarding or surprising part of running your label?

“I think what stands out most is the people I’ve had the chance to work with over the years, in all kinds of capacities. Watching their journeys, from their early days to where they are now, has been really rewarding.

“One person who comes to mind is Aktive. He’s now consistently pulling in millions of streams and sits at around half a million monthly listeners. That all started with his breakout track ‘Sunchaser,’ which was one of YANA’s very first releases. Seeing that growth firsthand has been a proud moment.

“Another is Lateral, he’s now releasing on labels like Viper Recordings, which is huge. We’ve worked closely over the years, and it’s been great to see his progression and help build those industry connections along the way.

“We’ve also done a few free live events in the past that were really successful, not just online numbers, but actual people turning up to support the music. That’s the part that always hits differently, seeing real-life impact, not just digital stats.”

How did that Linkin Park cover of “Somewhere I Belong” come together? What drew you to the track?

“Honestly, I was just listening to ‘Somewhere I Belong’ one day and thought, ‘This would actually work really well as a drum & bass track.’ I’ve been a huge Linkin Park fan since I was a teenager; they’ve always been one of my all-time favourite bands.

“What really inspired me to move forward with it was their (Linkin Park) comeback last year with a new vocalist. I actually think their latest album is one of their best. That dual vocal dynamic—blending heavy and melodic elements—mirrors what we’re doing live, with REEBZ and Sebotage on stage together. ‘Somewhere I Belong’ is a perfect example of that structure: contrasting vocal styles sharing space, supporting each other.

“Covers are pretty common in metal and rock, but you don’t see them much in electronic music, at least not officially released ones. Originally, I thought we’d just do a DnB bootleg and maybe put it on SoundCloud. But then I realized if we did a proper cover—with the right licensing—we could release it properly, and make it something more meaningful.

“I wanted it to tie in with the tour, and it ended up being the perfect fit. Even from the first show, people were singing along, even though we were still playing a half-finished version. It just worked.

“The most fun (and challenging) part was recreating the track from scratch. You can’t use any original audio when licensing a cover, so I had to fully rebuild it, re-recording all the guitars, synths, drums, everything. Then I treated that as the base to remix from. REEBZ and Sebotage laid down their vocals to match the original energy, and it all came together pretty quickly. The song’s already written, of course, but we still wanted to keep its original vibe and structure while putting our own spin on it.”

Do you have any cool stories behind the collabs from the past year you’d like to share?

“I recently did a remix for a UK band called Eville for their track ‘Leech.’ The original already had this drum and bass and nu metal vibe, which really suited my style, so when they hit me up for a remix, it felt like a natural fit. We ended up putting it out through my new label, DRIPFED, which made the whole thing even more exciting. That was a really fun collaboration.

“At the same time, we’ve been slowly wrapping up REEBZ’s album. We’ve been working on it since I finished my last record, so around September 2023. There are just a couple of small bits left to finish. There’s also a collaborative remix with Zardonic, which has just dropped on FiXT for CANTERVICE, our second collaboration together, after our track ‘Neon Rain,’ which featured on his last album.

“Overall, it’s been relatively quiet for me release-wise over the past year, but things are starting to pick up again. I’ve begun working on my next album, and I’m looking to explore a bunch of collaborations, not just with vocalists or bands, but also with producers who come from the metal and alternative world.

“It’s a similar approach to what I did with George Lever, who produced for Sleep Token on my last album. I want to keep pushing that boundary, branching out, working with different people, and just building something that brings together a mix of creative minds where it makes sense.”

Do you have a typical workflow on your projects, or does it change depending on what you’re working on?

“It really depends on what we’re working on. With REEBZ’s album, for example, she’d come up to mine for the weekend and we’d start with a blank project — nothing written yet. I’d be jamming on guitar, messing around with riffs, and once something stuck, we’d lay it down. Then we’d build the track out from there, adding drums, layering sounds, all of that. REEBZ would be sitting next to me, making voice notes, scribbling down lyric ideas, and we’d develop it together from there.

“Sometimes it’s more remote. I might start something and send it over to Seb (Sebotage). There are actually a few unfinished collabs from my last album that we’ve brought back for this one. We took the vocals, changed up the tempos or arrangements, and gave them a new context.

“There’s no set formula, but my favourite way to work is definitely when REEBZ and Seb are up for a weekend and we’re just jamming in the studio. It’s got that old-school band energy, like getting together in a garage and writing music as a group. It’s funny because that’s kind of the opposite of how a lot of metal or electronic music is made now. Usually, it’s just one or two people behind a screen.

“I’ve always said this: I started making electronic music because I wanted to be in a band, but no one would be in a band with me. So I made music on my own, and now, I’m making electronic music as a band. Full circle.”

I mean, I guess since we keep bringing up REEBZ’s upcoming album, what’s your role in helping bring that to life?

“It was definitely a natural evolution. In a lot of ways, it feels like a continuation of how we worked together on my self-titled album. It’s not like we sat down and said, ‘Ok, my album’s done, let’s start yours now.’ We did have that conversation about what her album might look like, but by that point, we already had a bunch of ideas floating around.

“Even after I wrapped up my album, we just kept working. That collaborative energy never really stopped. We’ve always got loads of projects on the go at different stages, so transitioning into writing her album just happened organically. It flowed from one into the other.

“Credit-wise, I’m a producer, mixer, and co-writer on the whole album. And that’s also where DRIPFED comes in. DRIPFED is essentially a sister label to my main label, YANA Music. After my self-titled album dropped and my contract with FiXT ended, we looked into getting a distribution deal so I could go back to being independent for a bit, like I was before.

“We also wanted to self-distribute REEBZ’s album so we could retain full control — all the rights, everything. That freedom to do things our own way was really important for this project.”

Toronto Is Broken (aka Christian Hoffman), photo by Philippa Revitt

How does DRIPFED Music fit into the YANA universe? Is it a side label, creative collective, something more?

“After wrapping up my time with FiXT, I realized that the newer Toronto Is Broken material had started getting too heavy to really fit on YANA anymore, at least not consistently. There’ll be tracks that will be released via YANA, but I’ve had to be more selective about what actually suits the label.

“Something like a DRIPFED release wouldn’t make sense on YANA, but tracks that lean more towards the club side, like ‘Blood Rites,’ still belong there. I’m still writing that kind of stuff, so it’s more about being intentional with where each track lives, rather than trying to force everything into one genre box. I didn’t want to pigeonhole my music into just drum & bass or just metal.

“Instead, I’ve been focusing on building a sort of self-contained musical sphere, our own little ecosystem that floats around doing its own thing. I’ve talked to a few bands and solo artists about this, too, because I’ve been getting more into production work for others. That opens up the possibility of using DRIPFED as a platform for those collaborations, maybe releasing a one-off single or EP here and there.

“Right now, the two main projects on DRIPFED are REEBZ’s album, which already has three singles out, with more planned through the rest of the year, and my next Toronto Is Broken album. We’re aiming for REEBZ’s full album to drop toward the end of the year.

“It’s definitely not going to be as busy release-wise as YANA. But because DRIPFED is more niche and experimental, it gives us the chance to really spend more time and attention on each release, something that’s harder to do with the faster-paced schedule we keep on YANA.”

So that kind of leads into the next question. What excites you most about the side projects and your team’s growth?

“Right now, it’s still in the early stages, just a handful of really rough, scratch demos at the moment. But I do have a plan for it. I already know the album title, and I’ve got a rough sense of what it means conceptually and how the tracks will reflect that. I’m thinking a lot about what I want to say with this record and the roles each track will play in delivering that message.

“One thing I do know is that there needs to be more singing on this album than on the last one. I really want to lean into that more. I also want to channel all the influences that have been in my ears over the past year or so, kind of a melting pot of everything, including remixes and the heavier stuff I’ve been listening to.

“For example, the Knocked Loose album last year was easily my album of the year. I’ve also been into the new Turnstile record — it has that post-hardcore, punky energy that really hits. Both of those bands bring a raw, emotional intensity that I want to explore more in my own way.”

Will YANA100 and your new material intersect in any way, thematically or sonically?

“Like I mentioned before, I’m leaning a lot more into melody this time, bringing in more atmosphere, maybe even touching on some shoegaze elements. I’ve noticed a lot of bands heading in that direction lately. Thornhill’s latest album, for example, really nails that vibe. And of course, there’s all the nu-metal stuff we’ve been working on too, which is still a big influence.

“I think the goal is to evolve the really rough, aggressive, messy sound from the last album, take what I learned from that process and refine it. Writing REEBZ’s album at the same time has also been refreshing. It’s been great not having to think about DJs or dancefloor structure when writing songs. With drum & bass, there’s always this pressure to stick to a strict format so it works in a set.

“But with metal, we’ve had total freedom; we can write at whatever tempo we want, mess around with structure, and just let the song be what it wants to be. That’s something we’ve really embraced, and I want to bring that approach into this new album as well. We’re still early in the process. There are just a couple of tracks left to finish for REEBZ’s album, and then we’ll be able to shift our full focus to this new record. That’s the plan for the summer, really dig in and shape where it goes next.”

How do you feel you’ve evolved musically between your last full-length album and now? Certainly got heavier.

“Honestly, I still don’t fully know yet; it’s very much still evolving. There are definitely going to be moments that are just as heavy as before, but like I said earlier, I want to lean more into melody too. I’m a sucker for a big chorus, and I think the last album maybe lacked a few of those in places.

“So this time, I’m focusing more on the songwriting itself, not just building around drops or breakdowns, but actually experimenting with structure and seeing how different ideas work within the framework of drum & bass and electronic music. It’s about trying new things and seeing what sticks.

“I’m also really excited to explore a wider range of tempos. I’ve always worked across different BPMs, but when you’re combining metal elements with drum & bass, you can only write so many grooves at 174 BPM before it starts feeling a bit limiting. Working on REEBZ’s album and even the VA stuff really helped shift my mindset. It reminded me to just focus on the song until it feels right, regardless of genre rules.

“So yeah, I’ve got a rough idea in my head of how I want this album to sound, but anything can happen. Come back to me in 18 months when it’s nearly done, I might actually have a proper answer by then.”

Toronto Is Broken (aka Christian Hoffman), photo courtesy of Toronto Is Broken

Well, I will put you down for artist of the month in 18 months. You’re on the record.

“(laughs) Cool.”

Well, I know you’ve done a lot of stuff with FiXT. Are you open to more cross-label collabs in the future, like what you’ve been working on?

“It really depends. First off, I need to actually like the song and feel like it could work in a drum & bass context. I’ve had people approach me with remix requests where I just couldn’t see how the track would fit the drum & bass formula or the vibe I’m aiming for.

“It’s important that the remix fits with the direction I want to take my music. Luckily, working with FiXT meant we were pretty much on the same wavelength about that, so it wasn’t an issue there.

“But yeah, ultimately it comes down to the right song and the right situation.”

Alright. What inspires you lately outside of music?

“I’ve actually been super pumped about getting back into collecting and painting miniatures for tabletop games such as Warhammer again. I’d taken a break from it for years! Chantal Holmes (FiXT Distribution Manager) and I used to geek out over it on Discord sometimes. I’ve been into Warhammer since I was a teenager, but lately, I was only painting like five models a year, maybe spending just a single weekend on it, and then putting it down.

“But now, being in between albums and having a bit more free time, I’m loving picking it back up. Plus, my girlfriend’s really into it too, and she’s insanely creative, so it’s been awesome spending quality time together just painting and diving into our hobbies side by side.

“I’ve been painting so much I actually need to snap some photos and get them up on my hobby-focused Instagram!

“Honestly, I think having interests outside of music is so important. For most people, music starts as a fun hobby and then somehow turns into your career, which is incredible. But sometimes, when your passion becomes your job, it can get overwhelming.

“That’s why it’s been really refreshing to create just for fun, not constantly thinking about ‘How do I pitch this on Spotify?’ or ‘Will this track perform?’ It keeps the love for what I do alive.

“Throughout my career, I’ve definitely had my ups and downs with motivation and passion, like anyone, but having creative outlets like painting helps me keep that balance and stay excited.”

Toronto Is Broken (aka Christian Hoffman), photo courtesy of Toronto Is Broken

Well, how do you balance being a label owner and the artist in it? Does one side ever overshadow the other?

“It’s definitely a juggling act! I do a lot of production for other people, too, not just with REEBZ, but I’ve been working with some house producers and others on their projects. So managing time and not overworking myself is a big part of it.

“Two years ago, I actually had to take a break from my label to finish an album because I was losing the love for it. I was pushing releases every week or every other week, rushing them out, and it was just me handling everything, no team, no backup. When you’re doing that nonstop, your quality and mental energy start to dip.

“Freelance work and label duties often overshadow Toronto Is Broken stuff, partly because that’s what pays the bills. So it’s about prioritizing, food first, right? And taking it step by step.

“It’s tricky because Toronto Is Broken is really what people know me for. Through that, people discover YANA, DRIPFED and my other projects. So I try not to force anything, just let things happen naturally.

“There are times when I’ll spend a whole weekend in the zone, barely sleeping, up until 3 or 4 am, knocking out a couple of Toronto Is Broken tracks. But then I might not touch those projects again for weeks or even a month because I’m busy with other things.

“So, it’s about prioritizing and thinking about the return on investment, including time. Scheduling isn’t just day-to-day stuff; it’s about planning release windows, too. Like, ‘Ok, we have a release here, then six weeks off because I know this part of the year will be quieter or busier.’

“Honestly, I procrastinate a lot, so I’m probably not the best example! But if I weren’t such a procrastinator, that’s exactly how I’d handle it.”

Ok, we’ll slide into that next question then. What advice would you give to artists looking to stay independent while managing their own releases?

“I know it might sound obvious, but even independent artists usually have a team or a network of people supporting them. For me, having REEBZ and Seb has been huge, especially on tour, where Seb handled all the flyers, social media videos, and promo stuff while I focused on putting the set together. REEBZ was doing her thing, and I’ve also got management and a booking agent.

“Honestly, the best advice I can give is: don’t be afraid to ask for help.

“If someone says, ‘We’re fiercely independent and we’re going to do absolutely everything ourselves,’ that’s cool, but it doesn’t have to be that way. If you can afford to pay someone a bit to handle social media or other tasks, do it. Or you’ll meet people along the way, build connections, and start creating a support network. Being independent doesn’t mean doing it all solo.”

Favourite DAW plugin you can’t live without…

“One of my go-to tools is Ableton’s built-in Amp plugin. Even though it’s designed as a guitar amp simulator, it sounds absolutely brutal on a lot of the bass sounds I make. Many of the distorted, gritty, and squeaky bass tones I’m known for come from taking a pretty basic sound and running it through Ableton Amp.

“What’s cool about it is how sensitive it is; even the tiniest tweaks or subtle changes in the signal chain before it hits the amp can totally transform the final sound. So I spend a lot of time experimenting with small adjustments, because they can have a huge impact on what comes out the other side.”

Last track you had on repeat?

“Honestly, I’m more of an album listener than a single-track kind of guy. When a new album drops, I usually dive into the whole thing. For example, even though I thought the latest Sleep Token album was a bit ‘meh,’ I’d give it like a five out of ten, it’s still on my repeat playlist.

“That said, the title track, ‘Even in Arcadia,’ is absolutely amazing. I’ve loved that one.

“If we’re talking just one song, I’d say the new Bilmuri single, ‘More Than Hate,’ has been on heavy rotation. If you don’t know Bilmuri, he’s this crazy mix of country, western, and metalcore. His music is wicked, and I love how funny he is online, really tongue-in-cheek and immature humour, but then the lyrics hit you in the feels. Plus, his music videos are hilarious. I watch them and think, ‘Man, I want to be American,’ and then I remember what’s actually going on there… maybe not!”

Dream artist you’d want to remix you.

“Ok. Let’s have a think. I’ve never really thought about who I would want to remix me.”

Ok, who would you want to remix?

“Who would I want to remix?”

Yeah, dream artist. That’s someone you want to remix, unless you’ve already hit them all.

“I’ve actually done Celldweller twice now, which has been incredible. But remixing artists on the scale of Sleep Token or Bring Me The Horizon? That would be next-level. Not only are they some of my all-time favourite bands, but because of their size and reach, they would be almost career-changing opportunities.

“It reminds me a lot of when I did a remix for Netsky years ago, just before I started diving into the crossover stuff with Clare. That remix really blew up and helped me grow my audience from under 20,000 monthly listeners to consistently 40 to 50,000.

“So yeah, remixing bands like Sleep Token or BMTH wouldn’t just be huge inspirations for my own music, but the sheer opportunity on paper would be amazing.”

Alright, last question. Most chaotic moment from the tour that you can share.

“I’m pretty sensible, I don’t drink or anything wild, so nothing too chaotic happened. But we did almost get stranded in Swansea after the first show! The morning after, my girlfriend and I got in the car, and it flashed a warning: coolant level too low, please turn off the engine. We went to Halfords, that’s like a UK car parts chain, and the guy took one look and said, ‘Yep, you’re not driving home.’ I was like, ‘What do you mean? We’re like four and a half hours from home!’ He said the engine would blow up if we tried.

“Turns out there was a coolant leak, so we added some stuff to fix it temporarily and topped up the water. I had to stop every 30 minutes at service stations to check the coolant level, but luckily, the car held up.

“That could have been a major disaster and an expensive one at that! I did a lot of driving on the tour since I was solo for the most part. The shows weren’t back-to-back either, usually a couple of weekends apart, so I’d just make the drive up when I needed to.”