Heady | adj. \’he-dē \

1. tending to intoxicate or make giddy or elated.
2. marked by or showing good judgment.
3. intellectually stimulating or demanding.

Aug 142014
 

Detroit-native GRiZ has been on a non-stop tour between shows and festivals for the past few months. He recently took some time before the HARD Summer Music Festival in Los Angeles to do a morning show for Jason Bentley who hosts a segment at KCRW titled Morning Becomes Eclectic. To start off his funky set GRiZ showed off one of his new songs that he hasn’t quite released for download just yet called “A Fine Way to Die”. His set continued with fan favorites such as “DTW to DIA” and of course “Gettin’ Live”. GRiZ also took a break in the middle of his set to answer some questions about his music and how he got into the industry. If your a GRiZ lover I highly recommend you check out the 45 minute segment below where he jams out on his saxophone and gives us a piece of his mind.

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Follow GRiZ on: Facebook | Soundcloud | Twitter

 Posted by on August 14, 2014 Funk, Interviews, Mixes Tagged with: , , , ,
Mar 312014
 

Rising the ranks with a fervent musical drive and a formidable sound, the collaborative efforts of kinsmen Christopher Lunde & Niklas Lunde has landed Lunde Bros. in the limelight of electronic music. Hailing from Stockholm, Sweden, the Scandinavian duo has quickly gained the support and recognition from some of electronic music’s most renowned figures like Pete Tong, Erick Morillo, and David Guetta.

With an all new compilation on John Dahlbäck’s Mutants Records under their belt, Lunde Bros. is posed to capture the attention and support of the electronic music’s most devout and new listeners with a surge of crisp, galvanizing, and shuddering 128bpm productions which they so tactfully craft in quick succession. Those new to the name, acquaint yourself with one of 2014’s most promising electronic music presences as the Lunde Bros. were kind enough to chat with us about their latest compilation on Mutants Records, deluxe Swedish dining, and their hopes for who picks up the World Cup trophy in Brazil this year.

HT: There are too many electronic music producers and DJs to name that have come from Sweden who have risen to stardom. Do you two ever attribute any of your success and influence to the fact that you grew up in a place that was bubbling with so much talent?

LB: No, we don’t think that we are so Swedish with our style. One thing that could be positive to be Swedish and producing in Sweden is the cold and dark weather. Then you have to do something fun and making music is one thing.

HT: Looking back, is there a specific, detailed moment or experience in your home country where both of you of realized that producing and DJing in the electronic music arena was the path you wanted to pursue?

LB: We realized quite fast during our first gigs that we got great reactions on the dancefloor, so it was almost like a “meant to be” moment. But of course with a lot of hard work, and we have never took a thing for granted.

HT: In regards to production, why did you two gravitate toward Logic and not a DAW like Ableton?

LB: We have tried all DAWs during our music education and we have felt that Logic is the most natural DAW to produce music.

HT: Beatport has time and time again miscategorized releases into genres that they really shouldn’t be in. There is so much genre overlap in electronic music it is almost irrelevant to dump releases into one genre, but do you two identify your sound with progressive house? The majority of your releases on Beatport fall into that category though a lot of them sound much too heavy to be labeled as such.

LB: Categorizing music today is really hard and we actually dont want to categorize our own productions. We try to be in between all genres so if we had to categorize our own music it should be to the Lunde Bros. genre.

How much planning went behind compiling the Mutants Records compilation? Can you to talk about what it represents, and how the selections and original productions reflect on your current standing as artists?

LB: It took about two weeks of planning and mixing the compilation. We wanted to make a different compilation with a new way of thinking and style. For us this compilation represent us as artists very well cause it is so wide in style and groovy.

Would you happily steer the reigns of Mutants Records if it was handed over to you guys?

LB: Mutants Records is a really cool label and if we would get the chance to work more with them we would take it for sure.

You two have gained support during performances from some major players in the industry like Hardwell, Guetta, and Romero. Do you two hope to get Lunde Bros. onto large international stages to play out your own tracks, and how do plan to attain that level of success?

LB: Of course! The plan is to work really hard and follow our own path to get there.

If you were speaking with someone who has never been to Sweden before but loves electronic music, what is the best club for someone to indulge in when visiting Stockholm for the first time?

LB: There is a bunch of cool clubs in Stockholm and it all depends on in what mood, taste and how drunk you are.

With Brazil coming around the corner so soon, who are you guys hoping picks up the FIFA World Cup Trophy in July?

LB: Zlatan!

Favorite and worst dinning experiences you two have had on the road thus far?

LB: We have had some really nice dinners and some bad. One of the best dinners we had was in Åre, in Sweden. We went to a restaurant called Supper which is just amazing!

Connect with Lunde Bros. Via: Facebook | SoundCloud | Twitter

Photo Credit: Oskar Brewitz

 Posted by on March 31, 2014 Interviews Tagged with: , ,
Mar 202014
 




Hailing from the City of Angles, gLAdiator, the musical vision currently pioneered by Dan Goodman and Ian Johnson, has illuminated itself as a promising and progressive presence in the electronic music arena. Goodman and Johnson have made a notable and and lasting impression on listeners as they have and continue to bring new life and flavor into trap, a domain of electronic music that is often over-saturated with repetition and lacking new, innovative musical ideas. But their influence does not stop there. Though the duo is quickly rising the ranks in the sphere of trap, they have showcased a keen capacity to produce across the spectrum of electronic music, bridging sounds and styles from the likes of moombahton to dub step.

With energy intensive live sets and a stedy stream of content for listeners to get their feet wet in, gLAdiator will undeniably be etching its presence into what is in store for electronic music in the months and years to come. For those not familiar, get acquainted with the duo through our recent interview where Goodman and Johnson silence critics on trap, touch on musical transitions, and reminisce on their learning experience from playing abroad.

Follow gLAdiator On: Facebook | Soundcloud | Twitter

 Posted by on March 20, 2014 Interviews Tagged with: , ,
Mar 042014
 

Emanating waves of sultry, polished, and progressive electro-soul productions from the Great Plains, Colorado’s emerging solo act Late Night Radio, spearheaded my the musical vision of Alex Medellin, is rapidly garnering support and recognition within the electronic music arena. Touting a catalog of canny, though-provoking, and savory musical compositions, Medellin exudes an engaging sound rooted in musical soils that are nourished with the stylings of hip-hop, soul, and funk. Earlier in the year we had the opportunity to speak with Medellin about collabs, early beginnings, and what the future has in store.

 

HT: What was the drive for forming Late Night Radio? What do you envision it representing musically and why did you chose the name?

The name, it kind of all wraps up into one little concept. Late Night Radio to me is non commercial. It’s not influenced by mainstream or anything. When you put on the radio at 3 in the morning, it’s whatever random DJ is sitting there, it’s whatever they feel like playing. It doesn’t have to be top 40 or any of that shit. It’s not influenced by any of that. So it was kind of like..for me, going with that concept, it kind of gave me the chance to produce whatever the hell I wanted to, from the hip-hop Vinyl Restoration mixes to more full electro soul releases …it’s kind of left an open concept as opposed to just pigeonholing myself into one genre.

HT: In regards to your production style, how did that come about? What got you into sampling and digging for vinyl?

I was doing more instrumental, organic hip hop beats and stuff, starting out. I started making music for snowboard videos and stuff like that. RJ[D2] was the one who really got me into it. There was just something missing with the motion and some times musical value when you’re just sitting putting everything into a computer. The context of sampling really brings that out. On my computer I can’t bust out an eight piece horn section, and a guitar recorded in 1968 through old pre amps and shit, so to be able to go through records and make stuff happen that would be impossible for me to even fathom being able to do, is priceless.

HT: Are you currently recording any live instruments into your productions? How do you balance sampling with creating original productions and sounds?

I’m trying to get a lot more live instrumentation. I’ve been working a lot on integrating more of my own guitar and bass into tracks as well as collating with a bunch of buddies. Like on this next album I’ve got Kevin Donahue of Sunsquabi laying down some guitar, Clark from Dynohunter playing sax, and then working on some other stuff.

HT: Do you draw inspiration from listening to music similar to your or does is stem from music that is not related all?

I listen to a lot of stuff I dig through. I really like listening to old funk, stuff like that. I have so many homies that are killing it right now, that’s my main influence honestly. Just all my friends and everyone around me. I’ve got enough to keep me going for days.

HT: Would you ever switch up your sound if it meant getting more exposure and fame, like producing an electro-house tune, or are you staying true to your musical style and roots for the long haul?

Nah. I’d never say change anything for the reason of more and more exposure. I’m not going to start making electro-house to try and get an electro-house fan base. I make music depending on how I feel. If I felt like making electro-house tracks, and it was something I could stand behind, and it felt true and new to me, then fuck it. That’s the thing with my music. I’m really not trying to put any boundaries or limitations on it. My sound needs to evolve. The Beatles are my favorite group of all time. Their sound evolved. Over ten years, if you didn’t know, you could barely even tell it was the same group. That’s kind go my goal. I’m not trying to completely flip the script, but push my sound so I never get tired of it, and listeners never get tired of it.

HT: Colorado, and Denver specifically, is a huge melting pot for electronic music producers. What has been the hardest part about pursing music as a career and separating yourself from some of the other producers in the area?

I came over to Colorado from California. I was living up in the mountains. Just pretty much being a snow bum. I pretty much came here because I felt like if I could make it with what I was trying to do with the people that were doing it here, it could stand out anywhere. At least for the whole electro-soul moevement, Colorado is on the forefront and has been really pushing the scene. To be able to stick out over here, you have to put in your time. It was really hard to get through. Even a year ago I was playing shows with, shit, like 18 people. This last year was crazy for me.

HT: Where you self booking and managing when you first moved over to CO and playing shows wherever like Cervantes?

Yes and no. I had my buddy Brett Mitchell, who was working at a bar out in Boulder for a while and he made a lot of good connections for me, artist wise. It was pretty much just the two of us just putting it out there, taking any opportunity we could find. We were kind of doing everything on our own and then this [past] summer is when I made the switch over to Madison House and Anonymous.

HT: You’ve had some previous successful collaborations with some guys coming out of Colorado. Are there any collabs in the works right now that you can give us details on?

Really cool one is The Geek x Vrv, out of France.

HT: Yea those guys are doing big things.

Yea, The Geek x Vrv. We just did a track. Still don’t even have the title for it yet but we have a finished song so we’re going to be getting that out soon. But that’s something I’m real stoked on. Real hip-hopy soulful tune. It was fun. It was crazy to just link up, go on Facebook and link with this dude killing it in France, and then make a track. It was real cool.

HT: How hard is it to do collabs over the internet?

In general, I don’t really do collabs like that. It’s a pretty personal thing, so to collab with someone I really don’t know is kind of an awkward thing for me. Even with Robotic Pirate Monkey, when we did our first collab we weren’t that great of homies starting out. Through the first collab we started kicking it a lot more and then by the next one, that one was easy peezy. It was just like kicking it. The one with The Geek x Vrv, that one actually worked out really well. Our styles worked to where it was pretty simple to make a track.

HT: How was it playing for the crowd at Decadence back in December? Would you return again this year if the opportunity presented itself?

Oh for sure. That was awesome. Normally I’m kind of at a smaller venue kind of scene. To be able to get in a huge room like that, and to be included with those names was crazy to me. Break Science killed it. It was definitely an experience I won’t forget.

HT: How much has your production style changed since ‘Far Into The Night’? Are you still satisfied with the release or do you feel like you’re eager to get new material out to showcase the latest sounds in your music bank?

In my mind, the tracks I was just starting to produce when ‘Far Into The Night’ came out were already on another level. I’m my biggest critic. Nothing is ever good enough for me. On this new album, I’m really trying to push pretty much every aspect of my production.

HT: This full length compilation that you’ve mentioned is in the works, what can we expect to hear on that release?

It’s pretty all over the place. ‘Far into The Night’ was a little bit darker, this one is a little bit more not as lonely dude in the basement I guess (laughter). I think with ‘Far Into The Night’, I was wondering what was even going to happen with my music and I was really just a lonely dude in a fucking basement. Now I’m getting out and playing a little bit more so I feel like that has spilled over into my music a bit. I really wanted to push for a timeless album and produce something with musical value beyond whats “hot right now”.

HT: I know a lot of this has to be kept under wraps but, with the summer music festival circuit pending, is there any chance we’ll see you come out for some festivals over on the east coast?

I definitely have my fingers crossed. I know we’re working on a lot of stuff this spring and moving into the summer. Last year I got on Sonic Bloom, and I’m hoping to get on more this year and keep it going.

HT: Musically, what artist has you fixed on their sounds right now? Is there an album or a track that you have on repeat?

Out of the genre, I’ve been bumping a lot of Chance The Rapper lately. Chance is my go to. There’s a bunch of good music going around right now. Krooked Drivers, Michal Menert, Artifakts, The Geek, Sunsquabi, RPM. Like I said I pretty much listen to stuff I dig and the homies. That’s pretty much where my time is spent.

HT: Most inspirational comment from a fan or an artist that you received in 2013 that will keep you going in 2014?

Comments wise, I’ve gotten a couple. Every once in a while I get like “thank you for doing what you do” and that probably means the most out of anything. I mean I’ve put in my life into this music so just to hear that it means something to anybody, that means the world to me. There’s days where I don’t feel like making music anymore and I’ll get a comment like that or a message, and I’m just like fuck, and I sit my ass down at the computer for 10 hours. They definitely help keep motivated . Shows, road life, everything just keeps getting better man. It’s been an awesome ride.

Follow Late Night Radio: Official | Facebook | SoundCloud | Twitter

 Posted by on March 4, 2014 Interviews Tagged with: ,
Feb 192014
 

If you reside in or near a major city in the North American continent, you’ve most certainly felt the waves created by the SMOG City Tour; a full scale show circuit headlined by bass music icon 12th Planet alongside 2014’s number one artist to watch according to the BPM Network, Protohype. Earlier in the month they were kind enough to sit down with us to discuss a host of topics ranging from their recent collaborations and age restrictions at shows, to their thoughts on instruments’ role in the future of electronic music and Star Wars that they live through vicariously.

Follow Protohype On: Facebook | SoundCloud | Twitter
Follow 12th Planet On: Facebook | SoundCloud | Twitter

 Posted by on February 19, 2014 Interviews Tagged with: , , , ,
Feb 102014
 

Fresh off their ‘Seven Bridges’ album, The Big Apple’s prolific duo Break Science, envisaged by Borahm Lee and Adam Deitch, is rapidly etching its name and sound in the history of our generation’s body of electronic music. Seamlessly piecing together gritty and thought-provoking compositions, Lee and Deitch tower over many of their contemporaries with peerless amalgamations of blissful, energetically profound, and resplendent productions. Striking with heavy soundscapes that are delicately balanced with profound musical intricacies, the Break Science sound is moving through the airwaves with an enlightening and electrifying vibrance. During a recent stop in their winter tour, we were fortunate enough to have the chance to chat with them about their recent album, forthcoming releases, touring with the Pretty Lights live band, and the nature of sloths.

HT: How have you guys been handling the snow on this tour so far?

Adam: It’s the frozen tundra tour. The winter wonderland tour. It’s great (laughter). We just want to send a shout out to everyone that came out to the shows, in the cold and traveled long distances, sometimes through snow and adverse elements. We appreciate the love

Boram: Those people who showed up definitely make up for those people who might have shied away because it’s too cold, cause they’re just extra amped to be there.

HT: Any favorite stops so far?

Adam: Philly was great super live.

Boram: Awesome new venue down there.

Adam: Underground Arts.

Boram: Yea it’s called Underground Arts. Sounds great and we had a pretty much sold out show and we are really looking forward to today and tomorrow. You know tomorrow is our last show in our hometown.

Adam: Portland, Maine, was great too.

HT: Is there a reason why you guys are taking the month of February off from touring?

Adam: We are just trying to hit all the major markets at the right time and not oversaturate. I feel like anytime that gives us time to record new music and finish up the ideas that we were working on that got bumped off ‘Seven Bridges’, so we can get those out. We have some remixes we gotta do. You know, it gives us time to put some music out and finish mixing some stuff that we’re working on so that’s good.

Borahm: We’re also going to be half-way relocating our base to Los Angeles. I’m going to be staying out there for a little bit…use that time for a little transition. I know Adam’s got some Lettuce dates also. They’re doing an awesome run in February too. March we’re coming back and we’re doing another two weeks in March.

HT: You guys recently gave several aspiring producers that chance to open for you on this tour. What was the reason behind setting up those opportunities and is there a particular contest winner that really caught both of your attentions?

Adam: I think it’s great. Everyone that’s opened has been great and it gets a lot of attention from the local crowds. If it’s someone from the town and everyone kind of knows that they’re bubbling, and they’re a good producer, and like, next thing you they’re opening up at big show you know, it’s a good vibe. They’re really excited and they help promote the show and we get to hear all the new young producers and what they’re working on so, it’s a win-win situation for everybody.

HT: You two have a life long history living in New York. Is there a reason why you’ve stayed fixed on the area, like Brooklyn, for any particular reason, maybe musical or personal?

Borahm: Yea I just mentioned I’m moving to LA soon but I mean New York is always going to be our home you know? It’s my home forever. What’s kept us there so long you know, besides the fact that all the great musicians and producers are in New York, so many of them are we can meet up with them easily and everything like that. It’s more about the hustle bustle and the edge of it. The cross culturalism, and we’re also night people too so, New York never sleeps and it accommodates our schedules pretty good, cause we’re up till sunrise all the time making beats, making music and we can just go right to the Bodega and grab a sandwich or a beer or whatever we need at that time. It’s just doesn’t sleep like us. Something for a lifelong New Yorker that I know, is you can only really apreciate it if you get to leave sometimes cause it can also be a hard place to live too. It’s real fast paced but New York is always home for us and we couldn’t have made ‘Seven Bridges’. You know the title ‘Seven Bridges’ is basically how many bridges we saw from our studio in Brooklyn, and representing the different kinds of music. New York is like that, there’s so many streams of culture that you don’t have time to really hate on any of them and you have to accept them all.

HT: Before you musical careers really took off in New York, how much time in your music making lives were filled with digging for vinyl to find breaks and samples?

Borahm: Our musical background comes from instruments. We were digging into our instruments for so many years but we definitely have a very strong, deep rooted appreciation for people who dig into the crates, who find that one sample, that one record that nobody’s found. Anytime we’re around that or we find it, we always share it with each other and we make sure it’s like “have you heard this break”….

Adam: What’s that thing you played the other day, that piano thing that you were like “that’s all samples”. You played some amazing thing the other day….

Borahm: Sometimes you don’t even remember.

Adam: He has like a jazz encyclopedia so he has like eight million jazz songs compiled from different vinyl records and like

Borahm: We definitely approach it from the other angle of you know, because we love this music and we know how it sounds and we know how it should be made, but we are coming from the perspective of the musician rather than the DJ so we like to create those samples and sounds to as well you now? But we are totally open…there is like no one correct way, there’s not one that is better than the other.

Adam: We don’t rely on samples but we don’t shunned them. We like to put them in with the live instruments and with the synths and the drums. So it’ll go in and it’ll just be a part of it. It’s not like it’s this big sample and some drums and a baseline and some stuff. We kind of just sneaking in the sample so it has all these kinds of layers and stuff.

HT: Aside from the recent ‘One Day They’ll Know’ remix for A Color Map of The Sun, you two haven’t put out very many remixes. Is that due largely because you’re focusing on original sounds and productions and is there any chance you’ll tackle some fun new remixes like the MGMT or Nicki Minaj remixes that were put out a while back?

Borahm: It has been a while since we have tackled it. We definitely have a bunch on the plate right now that are waiting to be released but you know, yeah we had to focus on ‘Seven Bridges’ and just honing our own sounds. A lot of times remixes they are either pushed upon us by management or they’re kind of like tasks that sometimes they give us. As were just getting to be to make stronger relationships with electronic music community, we became good friends with the guys from ODESZA, there is artists that were really starting to learn about and enjoy also like Cherub, were are going to be tackling, remixing one of their songs. We’re working with Sonya Kitchell who is on our record, we are doing a remix for her. There are a couple that are marinating right now.

HT: I know you guys had two sets, one as Break Science and the other with the PL live band, but how was it playing Decadence in Colorado for New Year’s Eve? Was it your ideal way of rolling in 2014?

Adam: That was totally epic. That was a highlight. I don’t think we have ever played in front of 19,000 people before.

Borahm: I mean we had the Break Science show the day before the 30th and it was a perfect. We did a long tour with Derek leading up to that so it was kind of just the cap on that tour. We basically got to play a Break Science show the day before. It was our biggest show to date I believe. Most people we play for so far.

HT: After the Red Rocks debut, have you two ever felt like touring with the PL band has and might continue to take time away from focusing on the Break Science vision?

Adam: That was just a moment in time where we wanted to debut that thing and we wanted to be a part of that event. It was a huge thing, a huge tour where Derek was going out, trying out a new band. We felt that it was the right time to take a little time off of Break Science as far as our recording schedule, we still were doing after part is the whole time.

Borahm: And we were making music on the road too. We made a new song when we were in Reno and had a few days off. Actually on the contrary, it helped us focus our thing, because when we came back to Break Science we had a new perspective on it, we definitely learned things, how to approach the music, production techniques, all kinds of stuff that just made us look at in a different light. Like Adam said, even though we were on tour with him for two months, we did like 12 Break Science after parties that always really well. It was only positive things for us.

Adam: As far we know, we don’t know what he’s going to do this year. He knows we need to focus on this. He’s really into this project, like Break Science. He’s expressed his want for us to tour and he wants to help in every way. It’s just a really good vibe over there right now, with everybody.

HT: On night two of the band’s debut at Red Rocks, some listeners noticed quote on quote “mistakes”, if you could call them that, namely around heRobust’s remix of ‘Let’s Get Busy’ and that transition into the Datsik remix of ‘Around The Block’. How do you recover from “mistakes”, or deviations, from the planned set in a live setting, both in the PL live band and in your own Break Science sets?

Borahm: A mistake is an opportunity. That’s a Duke Ellington quote. You know I don’t remember that specific transition that your are circling in red but there was actually a lot of flack that I got from some hard-core PL fans that we repeated a couple of songs the second night.

Adam: Oh the first Red Rocks?

Borahm: Yeah the first Red Rocks.

Adam: We’ve come so far since then.

Borahm: Yeah it was the first time. We didn’t really have that much time to prepare. We had to put together three hours of music for a live band. This is a full live band with a horn section and two keyboard players…

Adam: We spent 99% of the time in rehearsals, hanging out and getting sounds perfectly right, the sounds. Then when that was done, we had one percent of the time to learn 70 songs.

Borahm: It was like 100 hundred.

Adam: One hundred songs or something like that. So Derek just felt, sonically, it had to be right. It was more important than us know in the music exactly perfect. Then it came time for Red Rocks and it was like ok, “we’re just going to repeat a couple songs because we don’t know the entire thing.” And the crowd was cool. Everyone had fun, it was just that was just the one thing.

Borahm: And we came back around to Denver at the end of the tour. We finish the tour, and people saw the transformation.

Adam: Yea, three hours of no repeat.

Borahm: Half of the stuff was new material that we composed throughout the whole tour. We made of whole records worth of new material, just improvising and thinking of stuff at every sound check, on the road with Derek. We are really excited to see how he decides to produce everything.

HT: Do you guys anticipate that that record might come out?

Adam: We hope so. We hope he’s feel strongly enough about it, and doesn’t shelve it. But you know, it’s up to the boss. Whatever he wants to do with that.

HT: I guess you’re always going to get that with PL fans that have been to 30 shows.

Adam: Yeah I mean as they should. They want to hear everything in its own world, every song it is own world, it means something. When you hear it twice in two days, yea I understand that. I’m glad they spoke up. It means they’re listening and they’re into it. Not many other artists you’d play for, the fans would complain about that. Shakira’s fans aren’t going to complain that they are playing the same song in two nights. But we like that, it’s cool.

HT: Do you two ever see yourselves maybe departing from the band and maybe even PLM to pioneer your own image, sound, and vision from an independent platform?

Adam: The starts with having a label I think. We have our own sound and they just felt like our sound would fit in since we’re so into hip-hop. We love electronic music, and they are really into hip-hop. It just worked out that they dug are sound and that they didn’t want us to change our sound. We just really enjoy being around them and how much we learn from everyone’s styles and productions. It’s definitely going to come a time where we are going to be doing our own thing. Like Gramatik has his own thing. He jumped ship, but everyone’s not like “Gramaitk is not with PLM” because he is still boys with everybody. He’s still homies, but he’s got his own Lowtemp thing. The time will come when we are able to stand on our own two feet, and then we’ll see what happens at that point. But right now were totally cool with the situation.

HT: Adam, for fans that still do not know your background well and might think you are exclusively a drummer, can you touch on how assist Borahm with creating melodies and chord progressions, and Borahm, could you touch on how you and Adam balance both of your creative impulses?

Adam: I am a Pro tools guy. I haven’t adapted to the new style of Ableton. But I am very in touch with Pro Tools and as far as chopping samples, adding baselines. I play keyboards, a little bit, not like him, but enough to put it down, to put sounds down. I have tons of bootlegs from all different recordings that I’ve done that I will take and chop into different pieces, or have a keyboard part, or maybe like a whole hip-hop beat, and I’ll extract each track and bounce them all to waves and send them to him. and he’ll add his things. That’s the way it happens sometimes. Basically, I’m working on Pro tools he is working on Ableton, and we’ll just join them up together, and mix them together. That’s one way it happens with us.

Borahm: ProTools and Abelton, there is things that we have changed about the platforms that you use, but really it’s ultimately about the person that is wielding the tools. Adam is just a super creative person, doesn’t matter, because before he was on Pro tools and Triton, and before that he was on his parents keyboards at home, and if you have that creative thing in you you’re going to make it work no matter how. We are fortunate enough to be able to use these programs to really express ourselves, and the most important thing is we trust each others ears. We know what our strengths are individually and we might allot certain duties to one guy or the other but we will always be able to do the other guys thing to, to some degree. I can program some drums but obviously it’s not going to sound the way that Adam would do it, Adam, play some chords, maybe I would approach a different way. A lot of the times though we will end up using Adams keyboard parts and some drums that I put down, or the reverse so there is never one specific formula you know what I mean? That is the best part about it.

Adam: I have been producing hip-hop beats for years. I’ve worked Talib Kweli, Redman, KRS-One, a lot of “hip-hop” guys. I’ve been doing it for years. That is another one of my passions. Drumming was just part of the equation to me. Producing, making beats, I will be doing that forever. Some people know me as just a producer, they don’t even know I play drums. I know people that just know my tracks and know my beats. It doesn’t matter if people know or not, it’s just that’s how we work. I’m a producer, he’s a producer, and we work together and make Break Science.

HT: Do you guys ever tout parts of your resume like working with KRS-One and Kanye West?

Adam: It’s part of the story.

Borahm: I mean resume for who?

Adam: Yea we don’t really…yea right? (laughs)

Borahm: Yea, it’s definitely like important parts of her career and if we’re asked about it, or something, but you know its like…

Adam: We’re not like championing like “Borahm Lee off Kanye West” you know? It’s not about that. He was dope before Kanye West. To me, Kanye can’t make beats like he does, but you know whatever. It’s about what he’s doing. It’s not about everything we’ve all done. It’s not about Grammy nominations. It is just about what we’re doing now, and the fact that we can be as creative as possible when we are working together. That’s what it’s about.

Borahm: And all our previous musical relations, bands, associations and stuff, we love to be able to incorporate into Break Science. All the guest vocals that we’ve had emcees, like Talib Kweli, Adam produced on Talib Kweli’s record, and same with Redman. That kind of developed the relationship for them to be able to come record on our things. So none of it is wasted. It is all important to get where we are now.

Adam: So why don’t you get Kanye on a track man?

Borahm: It’s happening. We have to get on a certain level first, I guess, you know? (Laughter)

HT: Pretty much every release on ‘Seven Bridges’ featured a vocalist or a new instrumentalist. Is this the new direction you two envision Break Science heading, consistently working with emcees like Redman or CX, and really building on your hip-hop roots, or will your forthcoming releases move away from that and divert more focus on the musical elements?

Adam: I was going to say that we have both worked with vocalist individually for years and been in their bands and worked in the studio with different vocalists, and it is always about the vocalist’s vision. Which is cool. If that’s your job, you got to make the vocal is happy, and you do it. The way we’re doing it is a whole different way. It’s our vision of what the vocalist could be. The MC may think he needs to rap over 48 bars straight, over the beat, but we think we only need two lines of what he said, here, and two lines of what he said here. The singer could come in just in the middle during the drop, or before the drop happens. So that’s just our version of what working with vocalists is about, from our vision of where are vocals really needed and where do they become overkill and too much you know.

Borahm: It’s almost like when we were playing in their bands they use us as instruments so now it is our vision and we can use their voice as our instrument. And they almost become an instrument and we are the main thing. Our concept is the main thing.

Adam: We work with vocalist that are cool with that and they trust our vision. Every vocalist after they heard the way we chopped them and move them around and took half their verse and put it here and took half their verse and but here and reversed the last line, all that stuff. When they hear it they are like “wow I never would’ve thought of that.” That is part of the fun of working with vocalists now. I foresee us doing more of that now and working with it in the way we like to do it.

HT: In regards to vocals, how do you get emcees to flow on an instrumental track that you present them with? Do you give them an idea of what you’d like them to iterate or do you let them have at it several times until you like what they come up with?

Adam: A lot of times the title will will get them going. If we have a title, it helps them so much. The hardest part for emcees is to hear a track and come up with a concept. If we come with the track and the concept, and they’re like “oh great let’s go with that.” I told Redman ‘Who Got It’ could mean a bunch of different things, it could mean which girl is the best dancer in the club, who is really throwing down, it could mean who’s got the weed…

Borahm: Like ‘Brain Reaction’, we got the title through his rap on that one. He was just inspired. He was just really feeling the track. He was like “let me throw something down to this”, and we got his vocal, and we were like we got to call it ‘Brain Reaction’. Sometimes it happens like that you know? There are some emcees that we just feel comfortable letting them do their thing and then other people we want to give a concept to.

Adam: CX, with ‘Zion Station’ or ‘Victory’, we told him we want kind of like that last satellite, the last human city, and he gets a really quick. The more concepts we present the more in line with the track emcees get.

HT: Is there a reason why you debuted ‘Who Got It’ at Electric Forest, and do you guys have plans to come back to Rothbury?

Borahm: Rothbury has been consistently one of our most favorite festivals to play. That was kind of our first big gig it felt like, when we first did Rothbury that one year, I don’t even know how many years ago that was. We always want to play it. We always want to be back. That is definitely no question. In terms of the track being debuted there, I think it was just the timing. We just happened to finish it at that time luckily.

HT: The recent album really exposed us to some sounds that we had never heard before. ’Breath of Space’ for example, it is clean, crisp, and doesn’t really encompass any heavy or gritty sounds but it was still an absorbing and thought provoking production from the musical composition to the arrangements of the vocals. Can we expect to see more, and I hate to use the genre classification, chill-out, maybe trip-hop flavored releases from you two?

Adam: He calls it “chill-trap”.

Borahm: Yea, chill-trap.

Adam: Yeah I mean we love all different kinds of music. Different times of day for different kinds of songs. At night when we’re chilling out after the show, when someone asks us to place Break Science we are less likely to play ‘Nasty’ as we are to play one of the songs of Sonya. We felt like we needed that. We like that. We like to chill out also, we’re not always just wilin’ out, crazy dudes, so that all made sense for us and were definitely going to do more stuff like that. We will always have the bangers. Growing up in New York in the 90s with that hip-hop, everyone jump, that’s the feeling I love a lot. We just try and balance it out. Will have more balance to the bangers and the chill stuff.

Borahm: I get excited about introducing the electronic element with the trip-hop. I feel like a lot of music happens in 20 year cycles. I feel like 90s hip-hop is kind of resurging now. Just like in 2000 it was 80s, it was all about the 80s and 90s is 70. Stuff like DJ shadow, all the stuff we love, RJ, we love that sound but we want to just update it a little bit and bring a little bit of 2014 electronic productions. Even elements of trap, maybe some sounds that come from other drivers of music that you might not necessarily like, like dubstep, but you can use a part of it introduce into this new environment.

Adam: If you take away the rules of the genre and just take the pieces that you like, you could make something hopefully new and yours. That’s where we come from, we love all the genres but we really don’t adhere to any rules of each one, so it’s kind of like we take what we like of each one and make our own stew.

HT: What are your views on substance use on stage by DJs and performers? Do you feel like artists are robbing their audience of the full potential of a show by performing inebriated?

Adam: Every guy is different. Every guy is doing it for their own reason or whatever. We are not one to judge. If it is really effecting the shows than they should think about it. We are just diehard about the music so, we would never get to that point. We’re so into the show being right.

Borahm: If it is not helping the music then it’s not happening. I understand if somebody needs that one beer just to loosen up or that one cigarette. Whatever it is, people have their vices. There is going to be the people that are a little bit more extreme. People promoting to young artists is this very negative but, if it’s their own personal thing, and helps them do their thing and in it aids them in functioning and making music, then we’re definitely not anybody to judge.

Adam: One thing I’ll say is music comes from you and your experiences in your heart, and some cats think they need this or that to get into that zone and make a track, to make quality music and they’re afraid to make music sober. I’ve met people like that. It’s like, “don’t be afraid to do it because it’s coming from you anyway. Embrace who you are just as you are, without having to be like “I need to drink this to work on music or whatever”.

Borahm: It’s a delicate balance of knowing that it’s in you at all times. You need don’t need anything to be you, but at the same time, be open to different perspectives. A lot of the times experimentation with different drugs help people see things in a different light, and the that can be healthy if it’s done the right way. You just always have to know that you don’t need it.

HT: What is the biggest take home message you want listeners to walk away with after hearing a live set?

Borahm: That music is the greatest thing in life. I want a fan to go home with an ecstatic feeling, that no matter what’s going on in their lives, no matter how bummed or depressed they are, whatever is going on, that this will last forever. It’s more just about feeling what our life inspiration is like. We dedicate our whole lives to music. We put all our eggs in that basket. We want people to feel that same feeling.

Adam: I didn’t grow up in a religious family but I used to play drums in a gospel church, Baptist Church, and I was the only white guy in the whole church. That was really an amazing experience for me, to just to be a part of when music gets to a certain level, the crowd, the people in the church just lift up and everyone is singing and dancing and you get the chills and you get this amazing feeling. So it’s like you have to break down…does it have to be about a certain specific higher power or this or that or can it just be about, with the thought of bringing people up and you exude those vibes from you as your plane and hopefully they pick up on it and they feel uplifted. If people want to just spin in a circle or whatever you want to do…get on the ground. People all react differently to sound waves. We just want, in the back of our minds, our spirits, we want to project an upliftment and just a good feeling. We also like to express dark and light in our music. The world is in all perfect and it’s not all bad. I feel like our music has equal parts of light and dark in it that are intertwined and create what is Break Science. If it makes you think about the dark things were getting dark, if it makes you think about good things were playing the lighter stuff, that’s good. That’s what we’re about.

HT: If you had to take the Break Science sounds into a musical era or decade before your time, which would it be?

Adam: With our technology?

Borahm: We can bring our technology back. It’s like back to the future. I kind of be interested to see what like Bach and those cats would think about it. Way back when, when it wasn’t even decades, centuries but…

Adam: Yea, I would like to jumpstart everything, create riff and just show Mozart or Bach like…

Borahm: You’d come back to the future and everything would be different. That wouldn’t be cool (laughter)

Adam: I’d love to go into the late 60s, early 70s, with the funk thing and play them like all this electro-funk going in the future, like “you guys are laying the groundwork”

Borahm: I would love to go back in the 50’s but I don’t think Miles [Davis] would be into any stuff we were doing, maybe Miles…

Adam: Miles would..

Borahm: Miles would but… cause I’m such a jazz cat, but it’s a pure time too for jazz. But yeah definitely 60s, 70s, and mind expansion. Everything got flipped upside down.

HT: Craziest scientific fact you guys have learned recently?

Borahm: I read a really crazy one, a New York Times one, about the sloth, and the ecosystem that goes on in the body of sloth. It’s really kind of weird and freaky. There’s all these kinds of moths that in a sloth. It’s this amazing process where it has this whole ecosystem where the moths produce this fertilizer on the fur of the sloth, so the sloth eats its own furs and it goes back, and it creates this whole system in the sloth. And it actually goes down once a week to go to the bathroom at the bottom of the tree and that is where it somehow reacts with the bugs and stuff down there and it goes back up, and its this the whole amazing thing….

Adam: Wow..

Borahm: (Laughs) Yea, it’s pretty wild. Made me think science, somthing crazy…

Adam: Sloth science. I can’t believe you just told a story about a sloth.

Follow Break Science On: Facebook | Twitter | SoundCloud

 Posted by on February 10, 2014 Interviews Tagged with: ,
Jan 272014
 

Pioneering the movement of #digitalfreedom, a push towards dismantling and reshaping the current covetous industry standard of music distribution, Gramatik has established himself, in the eyes of many, as one of the great musical mavericks of our generation. With a catalog of productions too rich and complex to be pigeonholed into one overarching genre, Gramatik’s presence and mentality serves as a poignant reminder that music is all-encompassing, and that regardless of its origins, it is eternally art, no matter the form it takes. In the wake of his highly anticipated career milestone LP release, ‘The Age of Reason’, Gramatik was kind enough to sit down with us to talk Lowtemp, ‘Street Bangerz’, live performance and the contributions that he plans to inject into the future of electronic music.


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HT: So where are you guys coming from today?

Today we actually came from New York cause we were suppose to play Output on the 21st and the show got postponed to Monday.

HT: Weather?

Because of the weather yea. I actually live in New York too so it was awesome to have two days off in New York?

HT: What’s the reason for such a short tour? Do you maybe anticipate that you’ll embark on a tour exclusively performing with EXMAG?

The short is because it’s like a January run that we just decided to do some markets that we skipped on the fall tour and spring tour. Obviously no body wants to tour too much in the winter you know (laughter)? It is really fucking cold most places. As far an EXMAG tour it is definitely going to happen. I’m not apart of EXMAG live. I’m an EXMAG studio member, so the four of them are the ones that actually tour live. They just started doing it frequently and there is probably going to be a tour that they embark on in the spring, either on their own or with somebody bigger.

HT: Looking back to December, can you tell us a little bit about how your SnowGlobe set turned compared to last year from the crowd presence and just the way you guys laid down you set this time around?

Last year we played one of the smaller stages, in a tent which was cool. This year we played the main stage which was really cool (laughter). It was really cold too but luckily they set up the warmers on stage and everything. I really enjoy playing SnowGlobe it is just I’m not fan of winter festivals just because I come from a Mediterranean Sea town. We have snow one every four or five year so it’s just like I prefer to be at summer festivals. But I loved SnowGlobe. It was a great time. We did the after party too. It was really cool.

HT: Favorite summer festival you have in mind for this year?

Oh it’s definitely…my favorite festival of all of them is Electric Forest. It just has the best vibe and I always have the best time there.

HT: In regards to samples. Did you ever feel a sense of competition where you needed to be the first one to find a sample and incorporate it into a release when you were making ‘Street Bangerz’? For example, ‘Flip The Script’, the vocal sample used in that release was used so many other times after. What are thoughts on recycling samples?

I actually never cared. I was always just trying to find samples that I would want to flip regardless of how many times it was flipped or who did it before me or whatever. I just never looked at music making as a competition of any sorts. It’s just art you know? I’m not trying to compete with any other artist or anything. I’m just trying to make the music that I like, that I think would be worth listening to you know? I approach the sampling part of my music making process the same way. If I hear a sample I want to sample I don’t care what it is, I’m just going to do it. It’s always going to be in my own way too you know? As long as you do it in a creative way you can always recycle art. Like collage sampling especially. Combining samples from seven, eight different song from different musical eras. That’s my favorite thing to do with sampling.

HT: Last year you put out ‘Street Bangerz Vol. 4’, which silenced the part of your fan base asking for more ’Street Bangerz’. Even so, many of them were dissatisfied with the length and depth of the compilation. How do you respond to that and do you have plans to return with a Vol. 5?

Well Volume 4…I found those beats. They were leftovers from when I was making Street Bangerz Vol. 1. I had like 100 beats at that time and then I took like 20 of them and then made it Streeet Bangerz Vol 1. It’s just not something that I was planning to release as an album or anything it’s just a collection of my beats that I put out on Beatport and I thought, “nothing was ever going to happen with it”. Recently, when I released, I guess it was a couple of months ago or whatever, I just found this whole entire folder of leftovers from Street Bangerz Vol. 1 and I decided to just select another 20 of them and release them as Street Bangerz Vol. 4. I totally thought I had lost it. I found it on a drive that I misplaced for years. I never even knew I had it. So it was really cool I just retouched the waves. It was just bounces. It was just two minutes. Most of the those sessions were lost too you know? So I just retouched those waves and released them a Street Bangerz Vol. 4 while everyone was waiting for me to finish ‘The Age of Reason’, so I thought it would be cool to drop something like that. And I might do a five too. I still have a bunch of them left that I could put into 5 and I can make some new ones too, eventually.

HT: Back in the summer of ’13 you posted a track from Emiljo A.C. on Facebook. How does it feel to know the capacity to go on social media and post a track from an unknown artist and have them get some exposure after that and bring them into the spotlight?

I think it’s cool you know? If you find somebody like Emiljo A.C who’s from my home country, Slovenia, which only has 2 million people and he was inspired by me and he’s 14 years old and he’s making Street Bangerz type shit that is really fucking dope, why not you know? When I was his age, I started making beats at 14, the same age he is right now and I could only pray or hope that someone would plug me like that. There was not even a platform like that, back in the day. When I started making beats when I was 14, it was the year 2000. There was no Facebook or MySpace. It was just forums and web. There was no platforms, not even close to as powerful as Facebook is today. I guess it would be stupid not to help somebody out that you really like…in his particular case I just felt like I saw myself in the same situation. I was inspired by people that were making beats before me, and coming from a place like Slovenia where there’s not much of a scene to begin with, I feel kind of obligated to help other people out because I would’ve died if someone helped me out.

HT: Is that one of the underlying reasons you started Lowtemp, to expose artists up from the underground exposed, and what is your criteria for bringing people onto Lowtemp?

No not really. I started Lowtemp primarily just because I wanted to have my own label for me to release my own music whenever I want to. Not having to deal with any middle, anything. Just release my own music, on my own terms, on my own label, without having to talk to anyone about it. I just want to get all that all that bureaucracy out of the way cause it’s just fucking annoying (laughter). I just want to make music. And then obviously to help my friends too who are making music with me, so that they can have a platform to release music and use my fan base to expose their music too. And that’s pretty much it. I never actually started Lowtemp with the purpose of trying to find artists and bring them out. I’m too consumed with my own shit to be caring about that at this moment in my life. Maybe later on in life I’ll use Lowtempo to actually run it as a label, cause I don’t want to make music anymore for some reason, maybe that happens, who knows? Right now I’m just too overwhelmed with my own stuff and my own ideas in my head that I want to execute. I just don’t have time you know? I don’t want to put it in somebody else’s hands to run it the way I wouldn’t. So for now it’s only go to be a platform for me and my friends.

HT: Do you ever think you’ll ever get tired of playing E Zoo, E Forest, things like that?

Who knows. You can never say for sure. I’m 29 years old. When I’m 39, who knows how I’m going to feel about all this shit. People change, mature, change in interests. I never even want to say that I will be making music for the rest of my life because I can’t say that for sure. But I’m definitely going to always be doing something creative.

HT: To briefly touch on ‘The Age of Reason’, musically, how does it rival and compliment ‘#digitalfreedom’? Some people are saying nothing has really changed. Did you channel the same energy and same personal feeling when making TAOR?

The Age of Reason is pretty much the continuation of what I tried to do on ‘#digitalfreedom’, even further, more mature musically because I had all the EXMAG guys as my disposal to sample them because they’re like great musicians. There’s a lot of vocals and original vocal tracks that I didn’t have the chance to do in ‘#digitalfreedom’ because I didn’t stumble upon the people that I wanted to work with until now. It’s fifteen tracks of the most diverse genre bending that I’ve ever accomplished so far in my opinion so, I’m eager to see what people think about it.

HT: We tend to ask a lot of people this question to get a baseline of where major players in the industry feel like this movement headed. In what direction do you envision electronic music evolving toward and how do you see yourself playing a roll in getting it where it is today to where it is in two years , three years, ten years down the road?

I don’t know man. I never considered myself to be any kind of trendsetter or inventor of anything. People always ask like “how did you go about inventing all these new cross genres or whatever?. I’m like “I never did anything of that shit”. I just sat down and made some music, and whatever came out, came out. I never said down with intent like, “I’m going to create a new genre”. I just hate putting shit in compartments like that. I just like to make music that I like and you know, hopefully other people like it too.

As far as the future of EDM, there is no way anybody can predict that. The way the technology and the skills of young generations are evolving at lightning space you know, it can go anywhere. Personally, I’m always going to be keeping it musical. For me, EDM without the funk, the soul, the blues, the jazz, it just doesn’t have any real value. So that’s what I’m going to be doing as long as I’m interested in making music. I’m always going to be basing it on those four elementary genres that I feel are essential, which obviously electronic music evolved from those four genres. In my eyes there is no EDM without the funk soul, blues, and jazz. So, that’s going to be my road for the next couple of years.

HT: Are there any emerging breeds of electronic of music that you’re excited about and that you think are going to grow in popularity and catch hold future?

I just think that shit that we did with EXMAG and the stuff the people like Mr. Carmack, and Lindsay Lowend, and those guys, I think that that’s a kind of a style that’s fresh and really really intricate right now, to me personally. Because as much as it is clubby, and trappy, and steppy, it’ still like based on serious mature music, and musical chords progression and some serious musical knowledge that not anybody can just produce. And for me that is really awesome. I hope that it going to be at the forefront in the next couple of years. The neo-soul vibe with the real EDM.

HT: What did you to develop your musical skills? Did you play instruments when you were younger?

I just played a little bit of keys when I was younger. Nothing too serious. I wouldn’t call myself an instrumentalist. I’m good at manipulating music. As far as being an instrumentalist I’d rather worth with people that are actually good at it and then I sample them as I would sample a song from the 60s or whatever. It’s even more fun to sample somebody that is your friend and really good at instruments. As far as my skills, I don’t know. I’ve just been fuckin’ hashing out beats since I was fourteen you know (laughter)? I wouldn’t call myself particularly technically a good producer but I always just go with my feeling you know whatever I’m doing. I don’t focus as much on the technical side as some people as some people do in the EDM scene because I feel like it takes away from the moment in which I’m in when I have this creative impulse. If I don’t seize it the right way, if I get lost in the technical side too much, then I forget what it was that actually inspired me to even start making this song and then I just close the session and just go to bed. So you know (laughter), I guess I have a more romantic approach to it than technical.

HT: How do you feel about the often binary way that performers interact with their audience? At a lot of shows there is simply an artist playing behind the decks with little to no improvisation, at others you find DJs throwing cake or spraying champagne into peoples face. Do you think that type of performance style adds to the experience or do you think it attracts a creates a crowd that is unable to appreciate the musical nuances of your type of music?

I don’t know. It’s hard to say those things because there’s different parts of an audience you know? Once you amount a certain type of following there’s always going to be different people that listen to you for different reasons. Us as DJs or producers or whatever the fuck you want to call us, some of us are more socially awkward than others, some of us are less self confident than others you know, which you can also see reflect on stage. It’s hard. Everybody is trying to find their own way through this because if you think about it in a realistic way, like we’re just a bunch of nerds that started bringing our laptops on stage and playing our music that we’ve been making in our rooms you know? And now all of a sudden that’s cool. Nerds never used to be cool like that. So that’s like a completely new culture that we have to find ourselves in and figure what works for us the best and for our audience or whatever. It’s a never ending progressing process I guess. I guess you got to be comfortable with yourself and then you can do whatever you want and people will accept it as long as it’s positive.

HT: A lot of people are asking and longing for an answer but can you give us any details on the Grizmatik EP?

Well now that me and Grant are done with our albums, we definitely want to make a Grizmatik EP in the near future. That’s definitely going to be happening there’s just no way of telling when because both of us are touring all the time and doing all this shit for our own careers, and then whenever we have time we get together and make a track or two. So in the next year we definitely plan to drop a Grizmatik EP.

HT: Headiest nug, paired with your headiest tune, what would it be?

Headiest nug, paired with my headiest tune? I don’t know (laughter). That’s a good question. I guess Collie Buddz’s ‘Come Around’ and, I don’t know (laughter)…Blueberry Kush. Something like that (laughter). It’s funny cause like as much of a pot that I am, I’m not that much into the pothead scene I just like to smoke weed. But I don’t get involved as much as people would think into the whole scenery, I guess the culture of it you know? Like I said I’m always consumed by my music making life. It’s hard for me to keep track of everything. But yea, weed man. It’s fucking good (laughter).

HT: If you could create a festival and have five people perform, doesn’t have to be electronic music, for a one night thing, who would you pick?

I guess I would do Justice, The Black Keys, D’Angelo, Erykah Badu..that’s four right? I’ll be fifth (laughter). That’d be fun. Those are all people that I really like. That’d be awesome.

Download ‘The Age of Reason’ Here

Follow Gramatik On: Facebook | SoundCloud | Twitter | Official

 Posted by on January 27, 2014 Interviews Tagged with: ,
Jan 212014
 

Birthed from Luke Sims and A.P. Adair, Bass Physics is emerging as one of Colorado’s preeminent electronic music duos. Cultivating a sound and style that resonates with a unique and eclectic fervor, Adair and Sims have provided listeners with a vehicle into the deepest realm of electro-soul, where instrumentation, harmony, hip-hop, soul and funk all coalesce and give rise to an immersive and profound musical memento, ripe for the taking. As their sounds continue to percolate through airwaves, those who have yet to be graced by their productions, do take note. Bass Physics is a humbling reminder that even as electronic music moves into the mainstream media spotlight for riches and fame, there will always be entities that are coming into the industry from an angle of true passion for the art of music. Earlier in the year we had the chance to talk with Luke and A.P. about their recent EP, live performances, and some of their favorite Colorado mountains to shred snow on.
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HT: As a brief introduction, could you tell us how you both met and how soon after that that you guys decide to make Bass Physics official?

Luke: We met in a music tech class in high school and then we kind of started to collaborate on a project the summer after our freshmen year of college, and that is kind of how Bass Physics started.

A.P.: Yea, we collabed on that first track which was ‘Loco’. We started making music in that music tech class. It was senior year of high school. Summer of freshmen year of college is when we started pursuing Bass Physics, really trying to collaborate together.

HT: Where did the name originate from? Was that something one of you came up with?

A.P.: That was actually a collaboration between our two original personal identities. They weren’t really serious identities. They were just what we called ourselves as producers, individually. Luke was Data Bass and I was Applied Physics, and my name being A.P., it kind of went with Applied Physics so I just went with that. Together we brought together Bass Physics that way.

HT: More and more it seems like free music is inevitably the future for music distribution. What are your thoughts on that? Do both of you plan to continue releasing music for free?

Luke: I think releasing music for free is really the best way to go to get your music out there. People are going to find ways to hear your music anyways so if we can get it to people the fastest way, and people love free stuff, that’s the best way to go.

A.P.: And it’s a great marketing tool too. The way things are changing now, it’s the new standard I suppose. Along with the music, depending on how you’re doing it, it is easier to create, if you look at it compared to back in the day where you had to be in a recording studio to make music. It’s definitely a whole different system now and I think that free music is going to open everything up and it really will free music, in a sense.

HT: ‘Where Do We Turn’ received a ton of support around the web and with your fan base. What was the motivation behind that release? Do you guys feel like that was your best work to date or is there something even better hidden up your sleeve?

A.P.: I would say, ‘Where Do We Turn’, our motivation behind that was kind of to direct ourselves and give more of a window to see into what the future of Bass Physics could be. As you can tell it is a little bit different of a style than ‘Loose Your Mind’ is, our first album, and that is just because some of the songs on there are a lot more original and some of the songs on ‘Loose Your Mind’, we used more samples on. So we’re kind of starting to take more of a direction toward where we want our style of music to go and ‘Where Do We Turn’, the name itself, it kind of like, “What is next? What’s going to happen?”. Right now we’re working on a couple releases coming up on this year and hopefully one of them will be pretty big…it was kind of a path changer I suppose, just kind of leading us in the right direction where we want to go.

HT: Are you guys thinking of moving away from sample based music and just focusing on more original production?

A.P.: Not so much. Whatever our listeners like and whatever we like, we’re going to go ahead and create. So we’re not going to limit ourselves to not using samples, but it is more of a challenge and it’s more fun for us to try and make the “all original”. When we’re composing, one of the tools we use, I’ll write a piano riff or a guitar riff or something, and we’ll just use the actual audio clip from that and Luke will take that sample and chop it up and use it in the song, so it’s kind of like we’re using our own samples. That’s where ‘Where Do We Turn’ really started heading, is using more of our samples and using less of other people’s music and clips from different songs and stuff. That’s just more of an added challenge for us to have fun with. It’s definitely helping us to evolve our skills.

HT: Production wise, how do you guys work on drums? Does one of you specialize or do both of you work on them? What do you usually do to get your drums to sound big?

Luke: Well as far as the drums, we just have some of hip-hop drums as well as electronic, kind of more dubstep sounding if you will, snares and kicks. We’ve found a pretty good combination of what goes together and what sounds good.

A.P.: Usually Luke will do more of the electronic style drums and making sure the drums hit hard where they need to hit hard. I come in with the more hip-hop, acoustic drums. We use the blend of both of those things to really make our kits.

Luke: That’s kind of how our sound is. AP has a certain style, I have a certain style, and it comes together pretty well that way.

HT: What does your live set up consist of? Do you feel like the Bass Physics production and performance style is changing were you anticipate that you’ll have to switch up the gear that you bring up on stage?

A.P.: We’re always evolving our live performance set. That’s something that with more time and money and resources we’ll be able to evolve it and get it more involved on stage. We’re currently working with Luke’s violin to perform on stage as well. So he’ll have an instrument and we’ll get the violin and guitar harmonizing on stage and that’ll be really cool. We have plenty of ideas to adapt ourselves and make ourselves more involved on stage. Right now we’re limited because we’re both at school. Luke is in Iowa and I’m up at Fort Collins so we’re currently collaborating on our music over the internet and working on our live physical performance aspect is difficult. Although, we’re very involved on stage already. We want to make it and take it another step further, and to do that, I really feel that that’s going to be once me and Luke are living in the same area.

HT: Is there a lot of improvisation going on up stage? Can you guys recall a performance where that went terribly wrong?

(Laughter)

A.P.: As far as improvising, with the instruments, a lot of what I do is improvising. I have a set direction with where I want to go with a solo and where I want to end up at the end of it, just so that I can do the transitions for the song right. But in the middle of the solo there’s been multiple times live where I’ll get off track from where I was meaning to go with the solo, and then I have to improv and kind of bring it back together. There’s definitely been times where you choke up and sure, during practice you can improv and recover from making a mistake on the guitar, but when you’re in front of people and when it’s a live crowd and you have adrenaline going, sometimes you choke up and all of a sudden you forget everything you’ve ever known. That’s sometimes scary.

Luke: I feel like on stage we’re there to take the audience on a journey through our sound so there really hasn’t been times where its been like “oh my gosh, I messed super bad where everyone is going to know”. We know when that happens, we’re in control.

HT: How was it playing for the crowd at the Colorado Convention Center for Decadence in December? Would you guys return again this year if the opportunity presented itself?

Luke: Absolutely. It was so much fun. It was an incredible show. Just the whole event itself. The whole thing was amazing.

A.P.: The production value was unbelievable.

Luke: Yea. The sounds system, and the lights. It was amazing.

AP: Me and Luke have been a local act for a little bit and to be alongside bigs acts like Break Science, Beats Antique, and Bassnectar, it was very surreal. It was just a dream honestly.

HT: Did you guys stick around for both days of the festival?

Luke: Oh yea. We both went to both nights and they were equally as awesome. I’d say.

(Laughter)

HT: I know there was a lot of talent there, but was there a favorite set that you guys remember better than others?

Luke: For me I’d say probably Bassnectar’s [set]. That’s the first time I’ve ever seen him. I’ve always wanted to see him. I was definitely satisfied after seeing that. It was incredible.

A.P.: Yea Bassnectar’s set was pretty dope.

HT: So SnowBall just announced its return. Word of mouth is that they couldn’t lock in another contract at Winter Park because it got trashed. Would you guys be interested in playing the festival even though it might have a different feel since the venue is changing?

A.P.: Yea absolutely. I personally went to Snowball last year at Winter Park and it was an amazing event. I thought it was really cool and it was really well put together. It’s a shame that there was so much trash left over and that they’re not welcome back there again. But you know I think that that would be not only great exposure for Bass Physics, but it would be a great time. Me and Luke have a lot of friends that go to that event each year. It would be really cool.

HT: Are either of you guys snowboarders at all, and if so, do you have a favorite mountain to snowboard on in Colorado?

Luke: We both love to snowboard. I haven’t been in like a year…I’d say my favorite mountain is Winter Park.

A.P.: I’d say Aspen Highlands. Aspen Highlands is some of the best skiing that I’ve ever had.

HT: What is the biggest goal you guys have set for yourselves in 2014 and how do you plan to accomplish it? What can we expect from you guys as the year rolls on?

A.P.: Well we had a meeting and I think we set our biggest goal to headline and selling out a show in Colorado over the next year. Hopefully we can fulfill that goal and bring it to either a Denver local venue or the Fox or something like that. That’s our goal for this year and one way we hope to accomplish that is to keep pushing forward and keep releasing new music and hopefully we can get up to making that happen.

Huge thanks to A.P., Luke and their management for taking the time to sit down and chat with us. Be sure to show them some love and pick up ‘Where Do We Turn‘ if you missed it.

Follow Bass Physics On: Facebook | SoundCloud | Twitter | Official

 Posted by on January 21, 2014 Interviews Tagged with: , ,
Dec 312013
 

For a little over a year we’ve had the pleasure and privilege of sharing and following the sounds of one of California’s most prolific producers, SirensCeol. Pronounced “sirens soul”, this musical project birthed from the musically gifted mind of Steve Burke has flooded the ears of electronic music listeners with productions from all regions within the spectrum of electronic music. Be it dubstep, electro-house, glitch-hop, or nu disco, Burke combines scintillating melodies, crushing bass, emotive vocals clips, and seismic drum-work to give rise to engulfing electronic productions. Earlier in the month we had the chance to catch up with Burke to get his thoughts on bedroom producers, pet peeves, forthcoming releases and his upcoming New Year’s Eve performance at SnowGlove Music Festival in Lake Tahoe.
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HT: You’ve had a tremendous year. Your name and productions are really catching speed within the electronic music community. Do you feel a sense of obligation or intensified motivation now, where you can’t stop making music because you’ve come to far to stop?

I wouldn’t so much call it an obligation. When it comes to finishing projects, to keep things going, sure I feel obligated because it’s kind of like you said it’s at the point of where I can’t really turn back now. That would just be stupid of me. It never really feels like I’m obligated to do anything. It’s more so just complete overall passion for it. I mean I’ve been writing music for like, twelve years now so, it’s not really work to me it’s more so just fun. It’s really like an experience basically. It never really feels like an obligation though.

HT: Do you have an idea where you want that experience to land you in the future?

The music industry is obviously constantly shifting and it is really hard to say how long the whole EDM phase is going to last. It’s going to be here for a long time and I love it. I hope that by the time it all kind of gets to its peak I can be in it for a good amount of years. I’ve always wanted to work in the music industry for almost my whole life now and so ultimately the goal would be to get into the industry enough where even if the whole EDM thing blows over, which I hope it really doesn’t because I love it, that either way I can still always progress a bit and always be writing music as an artist or producer. I really want to take the career to a point where I can almost do anything in the industry including being a producer and DJ.

HT: You produce across a range of style and genres. Is there one that you fall back to more than others or maybe one that you like to produce within more often than not?

Honestly there is not one that I like more than the other. It really is just what I’m feeling at the time. When I put on say like iTunes, I have so many different styles of music and I can get inspiration from anything from like Beethoven to John Mayer to like Mateallica you know? Stuff like that. It’s really just when I hear sounds I like I kind of have an idea in my head for what style it would sound good in. I don’t really have a bias towards one or the other. A lot of the new productions I’m working on are a lot of mixes of genres. Along with my album, I’m also going to work on an EP that’s a cross-genre. I made some songs that have jazz elements, some song with hip-hop elements. So I really don’t have any limit to the genres I like cause honestly I like them all so I can’t really just stick to one you know?

HT: As someone who experiments with so many sounds and styles, how important do you think it is for up-and-coming producers to have a catalog that isn’t strictly focused on one genre or style? Do you think being able to produce and create genre-blends is important in getting your sound recognized?

The way I kind of see that – it is definitely not a bad thing if you have one kind of style. At most times it’s better to be really good at one thing than mediocre at bunch of different things. My advice would be for some just starting out – I feel like their best bet to get really noticed is to make something unique because it is something new that people don’t hear and they kind of attract to that artist because what they are making isn’t what all the guys on the top ten charts are making. I think in the early stages it is really crucial to kind of experiment with your sound and really try and produce everything because if you have skills in all areas, you can always, at the end, take what you learned and put it into one style, realistically. So for people just starting out I think it is really detrimental that they practice everything.

HT: Do friends ever ask you to play house parties for them still, or is that something they have to take up with your manager now?

(Laughs) I don’t think so really. Honestly I don’t think…actually yea I have done a house party before but not really. If I do it is kind of just for fun. I don’t really see it as like “oh well if you want me to play the house party, like, you’re going to have to pay me”. I don’t really see it that way. I mean I’ve done, even really recently, a show where I haven’t been paid anything because at this point for me it is really about the experience and exposure. Honestly money can’t even compare to the feeling you get when you’re playing for a huge crowd of people. Afterwards obviously it is nice but like 90% of all this is the experience. It’s just amazing and without support of people, even friends asking me to play house parties, I don’t think it would be nearly as fun.

HT: Was there ever a time where you had to like give up something you were doing, maybe something that you thought you wanted to do and then music came in and you abandoned that ship and boarded the other one?

Kind of. I’ve been playing guitar and piano for a really long time, and I used to actually do a lot of singing song-writing. Ever since I was introduced to EDM and I started producing a lot, that kind of fell off. I still do it every now and then but I’m not striving for it as much as I used to. It has kind of switched. I think that is the only thing that is music relatable. Of course I have other things going on like school and sports. It’s tough but it’s so close to being over it wouldn’t be worth letting any of those things go at this point. I might as well just power through it and once I’m done with everything I can fully focus on music. I’ve definitely had to make a couple of sacrifices to really get big into the EDM scene but I think it is going to be for the better in the end. And then once I tough out life stuff out, it is really going to pay off. So I’m really just being as patient as possible.

HT: Do you ever find yourself hesitant to use the acronym EDM? Do you think it is a little juvenile and just not an accurate way of describing what it is that you feel involved in?

Yea definitely, especially with my family, my parents, aunt, and uncles and that kind of stuff, cause they don’t really know what it is. Usually when I tell people what I do I just say I produce electronic music and DJ. One of the most annoying things is when people say like “hey, this is my friend Steve, he makes dubstep”. For some reason people love to call electronic music dubstep – everything. I don’t know why but it is a huge pet peeve, or techno. That’s the worst, oh my god. I don’t make techno. But yea, there is definitely an interesting rep around the name “EDM” because when you say “EDM” to an average person they’re like “oh that’s that thing where people do drugs and listen to the guy press buttons”. It definitely has an interesting rep to its name but then again the crowds kind of did it to themselves. I think the scene really needs to mature, in my opinion, if it is not going to blow over. I mean they’re canceling all these events now and at some point people need to realize, go for the music not to just get fucked up and party. So usually when I tell people that, I usually just say electronic music cause I feel like that is the least threatening way to tell someone what I do without them looking at me like “oh you’re another one of those guys”. When in reality I’m just another kid with a computer in my room who happens to play shows every now and then.

HT: What do you feel about the term “bedroom producer”. Do you think it is kind of undervalued in the sense that there is a lot “bedroom producers” coming out with a lot of talent and a lot of good sounds?

Honestly there is so much advanced equipment out nowadays and programs and what not, I feel like the studio days of setting up a legitimate studio are kind of over. A lot of these guys, sure they have a studio but at the end of the day, I can do almost everything they can do with just my laptop here and a nice set a speakers as someone would in $100,000 studio. Unless it comes to recording live instruments, that is a whole different story. But when it comes to electronic music, I feel like quote on quote “bedroom producers” can pretty much make anything. The availabilities of all these programs and what not are just incredible and the quality of music you can put out with just those things is awesome. I produce in my bedroom too. Most of these guys really do especially the upcoming ones so there’s is nothing really wrong with it in my opinion (chuckles).

HT: With SnowGlobe in the weeks ahead, are you going to be doing some extra prep for that performance? How excited are you to hit up Lake Tahoe?

I’m really excited. I’m thinking of trying something new. One of my friends who is a vocalist, might come out and we might try and do some live vocals for that. I’m even considering maybe even starting to play my guitar more live on stage. Granted, the supply and demand for EDM is so high now that tickets prices are ridiculous. At some point people are going to expect more than just a person with DJ decks. I feel like the era of legitimate live performances is coming into play so, maybe I’ll try something new for SnowGlobe. We’ll see.

HT: How did SnowGlobe get locked in? Do you see yourself hitting up festivals of that caliber next year, maybe in the summer?

Yea I’m really hoping so. I played at EDC this last summer I’m hoping to go back again this summer. That’d be great. I’ve been talking with some people from other music festivals and what not. Nothing really gets locked in for sure. I don’t want to say that I’m doing anything and get my hopes and then not get booked for it. Everything right now is in the works I’d say.

HT: Aside from the Culture Code collab, you don’t have very many collaborations. Is there a reason for, I can only imagine that you get a lot of requests right now.

Well, collaborations are tough to do. Not only are people really bad at sending things, it is a huge ordeal to send files. They are a lot more difficult to do than people think. Unless you are sitting down in the same studio together and bouncing ideas off each other – that’s probably the easiest way to do it – but when it comes down to it there is just a lot of technical aspects to them that take a while. You could send someone an idea and they just completely forget about it because they are so busy working on their own stuff. I’m guilty of that myself, having started collabs and they just never get finished. It is one of those things that gets put on the back burner.

HT: Earlier in the year you put out a glitch-hop production ‘Breakdown’. Do you have any plans to venture into those lower-tempo around 110?

Yea, I have a couple songs I’m working on in that area that are for my album. You can definitely expect something from almost every sub-genre of EDM in the future.

HT: I’ve seen a few requests for tutorials. Any chance you’ll put out a full tutorial soon?

I’ve actually thought about it before. Now that my school semester is coming to an end I have a lot more time to do stuff like that. Every time I get inspired to make one I want to make one, but then I realize that I don’t have any video editing software so (laughs). I’ve just got to get all prepared to do it but I definitely want to do something like that. I feel like giving tips really helps your reputation and people come to you, even if they don’t like your music, they’ll come to you to learn how to produce their own [music]. It is definitely something I want to venture into.

HT: Did you ever utilize any YouTube tutorials?

Oh definitely. I mean, I’m probably more educated from YouTube than I am anything else in my life. To be honest (laughs).

HT: Well I feel like nowadays it is so much easier than it would be back in the day, where you might have had to take a class to learn how to do certain things.

Oh no, I don’t know how people used to do it. But then again, they weren’t thinking “Oh this is going to be so much easier in the future, why am I doing this?”. They were probably thinking the same thing as us like “how did people back in the 20’s or 30’s do this”. It is all progressive, but at the same time the music itself is getting so much more complex that we need these tools available.

HT: I remember we first discovered you when you released your ‘Save Me’ track. I feel like that was a really long time ago.

I was actually thinking about that yesterday. I was like “it feels like almost a year ago today that I put that song out”.

HT: Well you know man, when the old SoundCloud was out, maybe at the end of the day I would just search through some tags and you can’t do that now with the new SoundCloud. That’s how I stumbled upon it.

Yea the new SoundCloud sucks. I don’t like it.

HT: Yea it’s terrible. I’m still in classic but they disabled that feature and it came up on one of the complextro pages. It is just crazy to see how far you’ve come since then. What are your thoughts when you look back on some of those earlier releases? How much have you advanced technically with production and where do you see your sound evolving towards in the future?

Like I was saying I really want to start incorporating live instruments with electronic music. I just think it sounds so cool and I feel like my overall production is just getting a lot better. I just want to make what I’m feeling honestly. I listen to a lot of music to get inspiration and stuff but where I see it going, I honestly have no idea (laughs). I’m such a last minute person. I’m really bad at planning things like that. It is just day-by-day. I really couldn’t tell you. I definitely like the more melodic side of things. That is what I am able to say.

HT: Favorite film of the year so far, which would it be?

Favorite film of the year…uh…shoot. I don’t even know man. I barely go to the movies anymore. Let me think.

HT: It’s so expensive now. It’s like $15.

Yea, right? Fuck, and then like $20 for a 3D movie. I mean the most recent one that I loved that I saw was ‘Ender’s Game’. That was really good. I can’t really think of a favorite that I’ve seen this year. I’d have to sit down for twenty minutes and think about it (laughs).

Follow SirensCeol On: Facebook | SoundCloud | Twitter | Beatport

 Posted by on December 31, 2013 Interviews Tagged with: , ,
Dec 202013
 

Erupting out of Seattle, WA, ODESZA, the brainchild of Harrison Mills (Catacombkid) and Clayton Knight (BeachesBeaches), has rapidly captured the attention of the masses with a progressive and unrivaled sample-based electronic music style. In a little over a year, ODEZSA has rapidly secured its position in the stream and limelight of electronic music with their hypnotizing catalog of energetic productions that penetrate the airwaves with melodically rich and emotionally-laden electronic vibrations. As they prepare to wrap up their incredibly successful year with a performance at Decadence in Colorado for New Year’s Eve, we had the chance to sit down with Harrision and Clay to chat about upcoming tours, live performance, and grammy nomination picks.
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HT: I hate to use the phrase but there is an agreed upon claim that ODESZA is “blowing up”. What does that description mean to you guys and how have you both internalized all the recent successes that ODESZA has experienced?

Clay: It’s still kind of surreal right now. I see the numbers and stuff and the numbers keep growing, which is always nice to see, but it hasn’t really like manifested physically I guess. We’ll go play shows and the crowds are getting bigger and it’s awesome and stuff but it’s still all pretty surreal right now.

Harrison: Yeah I don’t know if it’s really hit us. Every time we get an opportunity we don’t want to blow it so we’re just kind of keeping our head down and trying to work as hard as we can. But yeah, we’ve definitely seen that there’s more support, especially locally. We’ve been really lucky.

HT: The official Facebook popped up a little over a year ago. What was the final push that got you two to make ODESZA official and at that point in time, what was ODESZA about? Has anything changed since?

Harrison: I went to school for graphic design so there’s a major focus on branding, so it was just kind of out of fun that we were kind of building a Facebook and a Twitter and like pictures, logos, and stuff like that. We weren’t really trying to make it a business or anything, or thinking that we were going to, you know, start doing this as real jobs. But we just figured, as we were both graduating when we started doing this, that this is the best time to just try to have fun, when we don’t’ have a lot of responsibilities, to do something like this.

HT: It has been out for a few months now, but are you guys still getting a bunch of feedback on ‘My Friends Never Die’? What has the feedback been like?

Clay: Yeah, it’s been a little bit but the feedback’s kind of slowed down. All the response we’ve got has been pretty positive. It’s definitely a difference sound, and we were kind of worried when we put it out that it may be a little too different, but it ended up working out well. People have received it pretty well so I’m pretty happy with it.

HT: It is significantly shorter than your debut compilation ‘Summer’s Gone’. Is there a reason for that, maybe after its success did you guys want to spread your releases a little more?

Harrison: It wasn’t so much that. Those were just songs that we had made, to kind of perform live, or that we were making on the road that we didn’t really plan to release. As people were asking more and more to hear the songs, or to get them on line, we just decided that it kind of made a nice little release when we put them all together.

HT: Do you have any requests from listeners to try new styles, or is it more along the lines of “keep doing what you’re doing”?

Harrison: I think both me and Clay are into so many different styles of music. I think our next release will definitely show that too, but we’re into so much different stuff and I think people that most people who started out sampling are, and so just taking different sounds that may not fit in one area and blending them into another genre is really fun. We try to do a lot of different stuff and because we’re into so many wildly different things we try to blend them all together. Hopefully our next release will show that we’re into a lot more different kinds genres.

HT: On that not can we expect a new EP or full length album in 2014?

Harrison: Yes. Are we allowed to say yes?

Clay: I don’t know, I’m saying yes though.

(Laughter)

HT: I can only imagine that stuff is always in the works

Harrison: Yeah.

Clay: Yeah, we’ve been working on, like, remixes here and there, but the main focus right now is just trying to get a new full-length (album) together.

HT: Where did the idea come about to have a remix album for ‘My Friends Never Die’? Are there any remixes that you guys throw into your live sets?

Harrison: We haven’t thrown any remixes in but we do plan to eventually. We were on the road, or we were about to go on the road right when we got all of the remixes so we didn’t have it all planned out and practiced or anything. The idea came about just from knowing a lot of different people who we are fans of and it’s always fun to see their twist on what you’ve made.

HT: How was touring with Michal Menert earlier in the year? Would it be a little too hopeful to expect a Menert and ODESZA collab?

Clay: For now nothing’s on the books, but everyone on the crew was really nice. It was just a great overall experience. They definitely like to party so (laughs)… I wish we would’ve gotten a little more work done on the road, but it was definitely, overall I’d say, a blast.

HT: The remix for Pretty Lights’ ‘One Day They’ll Know’ has been out for a few weeks now. Some people consider it one of the best releases on the remix album. How exactly were you guys approached to do the remix and how did you guys approach making it?

Harrison: I think that because our manager is on the team of people that help manage Pretty Lights, that he kind of hit up Derek and said, “hey these guys are new and you know, hopefully you dig their sound and they’d love to do a remix for you.” So I don’t know if Derek knew what kind of stuff we did or anything, but yeah we just kind of dove into it. We only had three days to do it, so we just kind of sat in a room for three days straight and just tried to make as many different things building off of different parts of little stems of the song. Eventually we broke it all down and started making a song structure of it. It changed a few times I think.

Clay: Yeah, it started out a little different definitely and then we went back and changed things.

HT: How did the show at Showare Center in Kent, WA, opening for Pretty Lights turn out?

Harrison: Oh, it went amazing. We couldn’t have asked for a better audience. At one point the bass was so loud…

Clay: Yeah. We had a little technical difficulties in the middle of it unfortunately. But yeah the bass was pumped up pretty loud and my gear wasn’t completely connected to the table so it ended up rattling loose a power cord, and so we had to shut things down for probably thirty seconds overall and reboot. The crowd didn’t seem to mind, and it was probably the best show of the tour I’d say.

HT: What do you make of some of the grammy nominations for Best Dance/Electronica Album? If you guys had to choose, who would vote for?

Harrison: Ooo, well you know we’re going to go with our boy.” (Laughter)

Clay: Yeah, just the way he went about making that album is, you know, pretty noteworthy in itself. Just the process and everything is pretty new.

Harrison: I’m a little surprised that it was in “dance music” because I don’t know if I necessarily call that—I’d call that more of like a soul record than anything else.

HT: “Yeah I’d agree. I don’t really know how much credibility the Grammys have these days, but it’s nice to see people like that get up on the roster for some recognition”

Harrison: Definitely.

HT: ODESZA music. It is all free. Is there anyway you’d two would be willing to get signed on a label that would monetize your music, and would you be willing to reduce the amount of people who hear your music in order to make some profit?

Harrison: I think we’d be open to the idea, I mean, if we still have a lot of creative control and everything, but we’re definitely always going to release stuff for free I think. It’s just something we grew up with. Ever since Radiohead did it, we believe in it. A lot of music should be free. It makes perfect sense and we want as many people to hear it as possible. I think we’re always open. I think it’s undeniable that if you put an album out of vinyl, there’s just something so different about that, that you can’t just—you know, you can’t just put it out digitally all the time, and that’s what we’d love to do eventually is get some vinyl releases and stuff. I think we will go kind of into both worlds.

Clay: In the future there is definitely going to be both sides of that coin, because music for free is definitely just the future. I understand paying for vinyl and stuff, the hard copies, I think that’s really important…

Harrison: Or just supporting someone you really enjoy…

Clay: Yeah, exactly. Or like, ‘pay what you want’, is basically, I think, the future of music. Like you can put nothing, you can put whatever you feel comfortable with for a digital download.

HT: Do you guys leave a lot of room open for improvisation when you produce, in the sense that you can get up on stage on flip a new rendition of a track live that you’ve have already recorded?

Harrison: Yeah, we’re still working on our set constantly. I mean we’re always trying to get better. But yeah we try to mix it up on stage, run with some stuff, and I think eventually we’re going to try to do a couple completely new renditions of some songs. I think it’s really cool if you can get someone to recognize a song but it be completely different, in hopefully a good way.

Clay: The way we have our live set up—it’s all broken down into little pieces, so we can mix and match basically whatever works well with everything else. Sometimes it’s just a mistake that works out really well, and like “whoa maybe we should try to keep doing that”. So it’s kind of free form up there.

HT: You guys have Decadence coming up a little later in the month. How excited are you to hit up Colorado for New Year’s Eve?

Harrison: Oh, super excited. My entire family is from Denver, and the few times I’ve been there I’ve really enjoyed it. I can definitely see myself living there at some point, and to be there, like our first show playing there, it’s definitely an honor. We’re just really excited to be a part of such a big party with talented people.

HT: Are you guys sticking around for both days of the event, or just for New Year’s?

Harrison: Well we have a show the next day in San Fransisco, so we have to leave the next day, but we will definitely be there that night. And we’ll be there the day before I think.

Clay: I think we’re there a day before too.

HT: Looking into next year, during January and February you guys are scheduled to tour with Emancipator again. In what ways has his music influenced you guys?

HarrisonI think just that [West Coast] tour, we just learned so much about live music and how to read a crowd and how to perform. Our music is such an other beast from producing that it was just definitely our huge learning experience.

HT: Did he reach out again to get you two on board again for this tour?

Harrison: Yeah, pretty much we just kind of stayed really good friends with his whole team of people—his tour manager, his lighting guy, his booking agent, so we’re all just good friends no. Our manager is really good friends with his manager.

HT: The upcoming tour with Emancipator is heavily concentrated on the east coast compared to the previous tour. How important is it for you guys to take your sounds across the country? Do you feel more driven to build a big fan base in Seattle, west coast, or have small clusters across the States?

Harrison: That’s a tough one. I think, like, the number one thing is, like, we just want to get better at what we do, we want to grow and hopefully just make a style of our own, hopefully people can get into that. I mean, it’s a huge plus if we can have people go along the ride with us and I think that’s one of the hardest things to do as an artist.

HT: Regarding your sound, I’ve heard people call it chill-wave, experimental electronic, some people dump it in the of trap. How would you describe ODESZA’s sound in your own words?

Clay: It’s just so many different sounds that it’s just—it has a unique feel to it on its own. But yeah, experimental, it’s got pop on it, it’s got some tribal feel to it. Loud drums with pretty melodies and harmonies and synth work. That’s kind of how I try to describe it to people.

Harrison: Yeah, it’s hard to put a genre on yourself when there are so many that we like to try to incorporate. There’s a give and a take there. When it’s hard to identify our genre, I think bloggers hear one or two songs and they kind of decide on a genre for us, and that kind of sucks, but I mean everyone’s got to try to identify something. For us we try to change it up as much as possible, so we keep an identifiable feel for what we do, but try to do different things every time.

HT: As the new year approaches, do you guys plans to continue pushing this to a new plateau, and how long do you both see yourselves doing this?

Harrison: That’s a big question. I feel like we can’t really say how this is going to go in any way to predict it. We just kind of got to work our asses off and not blow an opportunity in any way. So we can’t predict anything but we’re going to work really hard. The sky’s the limit cause if we don’t dream big then we probably won’t go as big as we could. We’re trying to work hard, grow as artists and get better and if we can build an audience that way that’s amazing.

HT: Favorite and worst thing about Seattle? I hear it rains a few days out of the year there.

(Laughter)

Harrison: Seattle is an amazing place. You’re right by the water, it’s got a bunch of cool mountains and forest area around it, and the people are awesome. But yeah, if you can’t handle rain 90% of the year, it’s going to be a tough one for you.

Clay: The rain is not bad. You get comfortable with being inside a lot, so with producing music it really helps. There’s really not a lot of outside distraction. (Laughter)

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 Posted by on December 20, 2013 Interviews Tagged with: ,