How’s it going? What have you been up to recently?
Everything is going well! Been trying to sure up enough musical stuff to be able to quit my day job.
Your debut EP was released last month, how did it feel to finally get your own original material out after working for so long on remixes?
It felt really good. I had resisted temptations and pressure to put out something earlier. By waiting until I had something I was proud of, it took some of the stress away. At the same time I don’t think there is as big of a difference between original work and remix work as people pretend. So it’s not like I felt like this was the “first” thing I was putting out.
Your EP has a very positive vibe to it; is there anything that particularly inspired this during the production of it?
I’ve known for a while that I wanted to make a record of really positive dance music. I am an optimistic person so that just comes through in the music I hope.
In ‘Record Sales’ you use your own voice as an underlying percussive element, is it important for you to be present within your songs?
It is very important. I want the tracks I make to sound very human, like you can easily tell that a person made them. With really clean, perfect bass music you can’t anything about who made it other than that they have Ableton skills. My absolute idol is Green Velvet, his personality, his voice, he IS the music that he makes.
‘Safety Nets’ certainly injects a sense of warmth and optimism into the newly reviving rave sound, how do you see the future of this kind of organic, 90s-reminiscent house music?
With any of these reference points, the collective conscious eats them up and spits them out. Right now, after a couple years of drawing on these darker influences people are feeling a happier thing. I think more and more producers will work on a brighter sound, and then things will cross back over.