Don’t miss this great interview with up and coming artist Crimson Child. His own unique vision makes his music an incomparable experience. Also, if you’re into Dubstep, you’ll probably enjoy his latest release with OMSTRB, titled “Shatter”. You can find out more about it right here!
1 — Tell us about the production process behind your new single “Shatter”
“Shatter” was such a fun track to work on, all the way through. It’s one of those tunes that was always on the backburner, coming back to it every few days to add a little something here and there, and that style of writing is what I attribute the level of detail too, there’s just so many little things happening it’s impossible to not pick up something new hidden in the background every time you listen through.
The addition of live recorded electric guitar (shout out Daniel) added an extra layer of depth which I couldn’t have been more thankful for. Was a very interesting process trying to fuse the live element with all the crazy basses and Riddim/Dubstep sounds hahaha.
This also means it was one of the most congested projects I’ve ever worked on, once it got to the mixdown process it was really difficult at times to find ways of cleaning everything up and focusing the ideas down so it’s clear what the listener should be paying attention to at any given time.
2 — What was the best part about collaborating with OMSTRB on this track?
OMSTRB is such an underrated producer, seriously that guy is insane with synthesis and writing crazy drum fills. I attribute a lot of the success of the track to his awesome work on it. His sound design is next level, but the best part about working with him was how easy going he was throughout the writing process.
He never backed down from a challenge, and always strove to make each section as interesting and thought-provoking as possible. His vision for the track and his changes definitely shaped the end product immensely.
3 — Do you like producing for yourself or do you think collaboration makes better music?
This is a very good question, and I don’t believe there is no definitive answer. On one hand, its times when I work on many pieces alone in a string that I come up with my most introspective pieces, and I attribute that to the self-reflection that comes with forced isolation and only looking within for inspiration. Obviously this scenario is an extreme of the question in which as little ideas are taken from external sources as possible (could be called a sort of collaboration to make a song based on other artists’ work?), but to answer the question directly I believe a better way of looking at it is to first determine what result you are after, and then choose the path which will most likely lead that way.
I find with collaborative work I learn and grow a lot more, in seeing how someone else works and pulling ideas and techniques from each other. In this way, parts of ourselves which we hadn’t yet discovered or known existed can be revealed, as working with others offers a different way of looking at things, and that’s what’s most valuable about collaboration in my opinion.
4 — Did any Dubstep song or artists inspire you to release “Shatter”?
While the inspiration for this song was not taken directly from any one artist or style, I would call it a combination of influences, including many artists who are actively pulling the bass scene forward. Guys like Virtual Riot, Vorso and Moore Kismet to name a few. All crazy producers with an ear for groove, and who always find ways to challenge the listeners’ expectations.
Their sounds and ideas played a part in the foundation of this track, but it was the creative ideas from OMSTRB and me which made the song stand out in the way it does.
5 — What are your thoughts on the artwork? Who designed it?
For the artwork, I am happy to give full credit to my good friend Anirudh Singh (goes by paresthesia on socials). I came across his work a few weeks before the release of Crimson Child and I knew right away that he was the perfect fit for the job. His sense of style and his eye for detail really captured my ideas for the art, and really reflects the mood of the song. Definitely stay tuned for more artwork from him on future releases.
6 — Is there something you dislike about streaming services such as Spotify or Soundcloud?
I would say my primary complaint with SoundCloud would be the unholy compression and problems with playback quality. For a site that prides itself on hosting the forefront of tomorrow’s musicians it definitely has a very backward thinking tech and UI division. That being said, it has helped so many bedroom artists and people who would have never gotten a shot to get pushed to the top of the music food chain, and that is not something that can be easily replicated on any other streaming service.
And I think within that answer lies the response to the question about Spotify. While it’s a great streaming site for music of all kinds and is getting more and more use from the general public, as a newer artist going in with only a small fanbase, it is a very difficult platform to grow on. I think this may change in the future though as artists figure out how to better use the platform.
7 — How true is the phrase “downloading illegal MP3s isn’t stealing, it’s promotion”?
This is a multilayered question that I’m afraid has no easy answer. While it would be hypocritical to expect support from fellow artists when you don’t support them back, acquiring tracks is done sometimes out of a place necessity, especially when funds are low. Personally, when I really love a track and know I’m going to be rinsing it out I make a point of buying it, but more often than not I stick to streaming instead of just downloading. At least that way the artist sees some kind of gain.
8 — What’s new in your current studio setup?
Hardware wise I’m super basic, it has always just been my laptop, headphones and Yorkville monitors. While I do pick up little plugins once in a while (iZotope VocalSynth 2 is my newest addition, could not recommend more highly), I’ve actually been practicing limiting my tools more and more, in fact I have been trying not to use Serum at all lately (gasp) to force more creativity in sampling and resampling, I’ve been having great results with it.
9 — Who do you wish you could thank for discovering Electronic Music?
For this, I have to first and foremost thank my parents, who introduced me to artists like Stromae and Zed’s Dead very early on in my life, and specifically my dad who would always play these obscure African House CDs he had acquired on his travels, which exposed me to Electronic Music. Outside of that I just kind of jumped in and right away consumed myself with every possible subgenre, each one more obscure than the last.
10 — Finally, what does Crimson Child have in store for the rest of 2018?
So much still left to do this year! I am sitting on an enormous pile of unreleased music which I’m working with my team on figuring out the best time and places to release over the next few months. You can look forward to tracks coming out at least once a month for me (if not more often) for the conceivable future, across a variety of labels but also some self-releases.
In terms of recent news, you can look out for my remix of “Don’t Let Me Fall” by Asaa & Neo on Esydia Music, on the official remix LP. Super excited for that one, the response so far on the promos have been amazing.
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Exclusive Interview: Paul Mayson Delves Into His Debut Album ‘One Life’
Paul Mayson‘s first-ever album, ‘One Life,’ is like a special mix of his love for House music, blended with different kinds of sounds and cool collaborations from artists all over the world. You definitely don’t want to miss this interview!
1 — With the release of your debut album ‘One Life,’ what are your expectations for how listeners will connect with the music?
My goal was to showcase my story and my sound. And for it to be an uplifting, positive, and summery album. Hopefully, it feels like that! It’s a collection of songs made at the moment, to make you feel happy and free. It’s about embracing life, the good things and the bad. And about doing what makes you happy.
2 — You’ve teamed up with a diverse range of international artists on this material. Please let us know how these collaborations came to be.
It was really exciting taking elements from different genres, working with a group of great artists who come from very different backgrounds, and bringing all of these sounds and flavors together on one project. A lot of artists I meet myself, reach out to the people I’m interested in. I often travel abroad to work on music together and do sessions in London or LA. Sometimes collabs can also happen through the label or the publisher, but ultimately it’s great to have an artist-to-artist relationship.
3 – What compelled you to emphasize the themes of life, freedom, and diversity in this album?
I’m very passionate about House music culture and the way it started. Which was all about positivity and celebrating life together. I love that message and think the soulful, feel-good element of House music is what always really attracted me to the genre. And to music in general, including other genres like Soul and RnB.
A few of the songs (like “Tell Me How” and “I Want You”) were basically made during one big jam session. It’s me just trying out completely different sounds, textures, and rhythms and experimenting with live drums, guitars, and whatever I feel like. Letting go of any rules connected to dance music allows for a really fresh approach to the album songs.
6 – How does the artwork complement the album’s concept?
It emphasizes the feel-good element and the overall message of the album. Life is in front of you, it’s there for the taking. You’re in the hallway, step into the light and embrace life.
7 – Will there be another amazing music video like “Have It All,” dropping in the near future?
We released a really cool art piece and visualizer for the album which I’m very excited about!
8 – Given your ambition to push boundaries within the Dance genre, do you think the bunch of producers already out there could make it tough for you to really stand out?
I think individuality is key. Doing something you’re passionate about. Telling your own story. If you go into that process, the outcome will be unique. Not following trends and doing my own thing is what helps me stand out and allows me to be ahead and I try to keep pushing myself.
9 – Among your studio essentials, what’s the item that you consider the cornerstone of your setup?
Quite a lot of my work is digital. I carry my laptop around and can produce and write anywhere with it, whether it’s my home studio, the studio in Amsterdam, a hotel, or even an airport. That’s what makes it flexible and international! Just being able to work anywhere and get the creative process going. At home I also love my Adam A77x monitors and I also use a Prophet synth.
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Exploring “My Friends”: Tobtok Talks Creative Process And More!
In this exclusive interview, Swedish producer Tobtok discusses all the details about his latest single as part of the ongoing countdown to the upcoming ‘My Friends’ EP. This is a collaborative effort with farfetch’d that you definitely shouldn’t overlook.
1 — Congratulations on the release of “My Friends.” Please tell us more about the influences and musical style that shaped this cool track.
Thanks! This tune has taken inspiration from bits and pieces of tracks I’ve been into over the last 10 years, everything from Daft Punk to Fred Again. It contains a lot of micro samples and vocal lines that are in a similar vein as old French House records, but we also wanted to experiment with the current UK rave sound, which we think ended up in a pretty unique and interesting way.
2 — How did you and farfetch’d navigate the creative process together, especially when faced with differing ideas or disagreements?
We were kind of on the same page with most things to be fair. Jerry from farfetch’d is a very creative guy and he loves to bash out new ideas, which worked well for me to develop into full songs. We worked on every track together in my studio and finished them off together. Of course, we had some different ideas about certain things but since none of us had a big ego, we just compromised. I think when you like the same kind of music, you usually think quite alike.
3 — What sets this collaboration apart from your previous singles?
I think this is possibly the strongest single from the EP. It feels catchy and is super simple yet not too boring. It also has Jerry’s voice in it which is unique to any other of our tracks.
4 — Can you share any funny anecdotes about specific moments while crafting “My Friends”?
We have hidden a few wacky voice notes in it as a sort of ambiance. It can be heard in the second verse or whatever you wanna call it. You clearly hear Jerry laughing about something, but I can’t remember what it was.
It’s track no.3 from our ‘My Friends’ EP which has a total of 6 tracks. It was released via Perfect Havoc on 29th September.
6 — What are your emotions when your music receives recognition and praise from other producers in the industry?
It’s always so much fun to get praise from your peers and colleagues. These people live and breathe music and probably hear way more stuff than the average listener, so I guess they tend to be less impressed by music.
Haha most definitely. I started out with French House which evolved into Nu-Disco. I later jumped on the Tropical House train (quite early on in my defense). Left that and tried something cooler with my track “ABER,” and from there, it’s been more of a mix between UK and Deep House.
8 — Is there any specific music genre you’re eager to explore?
Old School Disco and Soul. I’m a big fan of the 70s as a whole, that’s why I’ve bought a few vintage Roland pieces in my studio and a Rhodes Piano.
9 — Considering the global nature of music today, are there any international artists you’d love to collaborate with?
I love Jungle right now, for reasons made quite obvious in the previous question. They’ve mastered this cool retro 70’s/Motown sound and yet managed to make it sound fresh somehow. I’d love to just hang out in the studio with them and see what they do.
10 — As we conclude, do you feel that there’s a certain formula that artists can follow to produce chart-topping hits?
Nowadays, it’s all about doing something that stands out from what everyone else is doing and probably also adding a sprinkle of nostalgia and familiarity into something. A good example is the new Peggy Gou record which is a massive hit that takes inspiration from ATB but puts it in a new and interesting context. It doesn’t hurt to have a massive TikTok following either lol.
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From Drummer To EDM Producer: Kouss Opens Up About “Can’t Go Back”
You must read this interview with Kouss! He used to rock it as a badass drummer in the Stellar Revival band, but now he’s spilling the beans about how he switched things up and got into making electronic dance music (EDM). The spotlight is now on his latest track, “Can’t Go Back.” Learn more here.
1 — Putting your sound into words, how would you convey the mood and sensations that your music evokes to someone unfamiliar with it?
My music aims to be an uplifting and thoughtful blend of Progressive House and Dance-Pop. Even though the music is very dancefloor-friendly, the songwriting is very Pop-forward. I also love mixing live instrumentation with electronic production to create layered recordings. As a drummer, having live elements mesh with the electronic really brings out a unique texture.
2 — Your transition from Rock music with Stellar Revival to EDM is quite remarkable. Can you tell us more about it?
The transition from Rock to EDM is an exciting and natural creative evolution. I’ve always been passionate about electronic music, so finally being able to fully immerse myself in the genre as a producer and songwriter has been fulfilling. My background as a touring Rock drummer also gives me a unique musical sensibility that I try to incorporate into Kouss Records.
3 — As a drummer, you had to adapt to a different genre. How did you translate your rhythmic background into this new realm?
When approaching any genre, especially Dance music, I’m utilizing my background in percussion to create grooves and drum patterns. The drum parts still come from the same creative place whether I’m sitting behind a drum set or drawing with a MIDI controller. I will say that with EDM I find myself focused more on groove and restraint.
4 — In what ways have Illenium, Zedd, and David Guetta played a role in shaping the sound of your new single “Can’t Go Back”?
Illenium, Zedd, and David Guetta definitely influenced the melodic and atmospheric vibes in “Can’t Go Back.” Their music motivates and challenges me to produce massive soundscapes on the highest level. They’re all melodic magicians, and I continue to be inspired by their work. I also feel like I put my own spin on “Can’t Go Back.” It’s almost like the line between EDM and Pop became blurrier on this track.
5 — What’s the story behind the song title?
“Can’t Go Back” is generally about moving forward and not dwelling on the past. For me personally, it’s about evolving as an artist and person.
I was introduced to Anna soon after starting the Kouss project by “Can’t Go Back” co-producer and dear friend Phil Barnes. The second I heard Anna sing I knew I wanted to work with her. She’s an incredible songwriter and an awesome human. It was an organic collaboration that we’re both stoked about. Definitely be on the lookout for more collaborations with Anna in the future!
7 — How do you aim to connect with listeners on an emotional level through this single?
I aim to connect with listeners on an emotional level through the authenticity and musicality of “Can’t Go Back.” It’s about delivering that special feeling to the listener. We crafted this recording from a place of passion as artists. The lyrics are relatable and cathartic, and Anna’s vocals draw you into this sonic world we created. We also tap into some nostalgia with the Big Room House vibe. But overall the goal was to give listeners an authentic musical experience that resonates with them, regardless of what genre they usually listen to.
Yes, “Can’t Go Back” mixes electronic production with live drumming and live guitars. The live instruments give the song a dynamic texture and human feel. Not every Kouss song will have live instruments, but it’s definitely a major part of the debut EP coming in 2024.
9 — Looking ahead, how do you envision your music style evolving?
I want to continue bridging the gap between organic and electronic. Creatively, I think there’s a lot of meat on that bone. I also don’t want to limit myself to a single genre or style. I love all types of music and ultimately hope to develop a sound that draws from those diverse influences and experiences.
10 — Lastly, reflecting on your journey so far, what’s been the most memorable or rewarding moment of your music career?
Working with talented musicians and creators who are excited about my music has been humbling and inspiring. I didn’t expect it, but the reaction to “Can’t Go Back” has been both unexpected and validating. It’s so cool to see the song played in clubs, gyms, and cars. I’m truly fortunate to share my passion for music and connect with listeners who share the same passion.