Allow me to introduce you to the next big thing. [Logan Grimé & Skyler Kilborn/Midi Matilda]

I’ve been keeping this wicked Californian duo under wraps for a little while now. I first came across them while procrastinating late one night on Vimeo and I stumbled upon Logan’s personal channel. There were tons of amazing videos of intimate recording sessions with other artists, but when I started watching a live rooftop session with a duo called Midi Matilda, I was in absolute awe. I searched for more music from this virtually unknown group and came across four more amazing tracks. I could barely contain my excitement and felt the dire need to get in contact with them. I hadn’t been this ecstatic about a new group since I first heard Foster The People last winter, and we all know how quickly they rose to fame. I can whole heartedly state that I would be utterly shocked if these two don’t follow suit in their success.

The infectiously catchy and incredibly versatile duo is made up of Skyler Kilborn and Logan Grimé from the Bay Area of San Francisco, unfortunately far from here. Their music is definitely a hard one to pin down to just one genre. Instruments used in their tracks vary from the traditional such as pianos, drums, guitars and bass to more synthetic instruments like dreamy synthesizers and subtle electro grooves. Hell, they even have a trumpet tastefully present on Day Dreams. To think that all of this noise only comes from only two individuals is farfetched, but completely true. These two are the poster band for the new era of musicality, combining the virtual and physical sounds of music in seamless harmony. Both Logan and Skyler were kind enough to answer a few short questions I had about them and their music over the past month.

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SSOM: So tell me, what’s the story on Midi Matilda?

Logan: In short, we both met while attending a sound arts college based in the Bay Area back in 2008. We have been writing music together and exploring a bunch of genres since then. Only recently have we decided to put ourselves out into the world.

SSOM: I’ve got this gut feeling you two are going to have an amazing year. Just judging from the quality of your work and the buzz you’ve been making lately on the blogosphere from only four tracks and an acoustic alternate. What’s in store for Midi Matilda for the last year the world will supposedly ever see?

Logan: (laughs) I appreciate your optimism and thank you for the positivity. We plan to keep pushing tracks and videos out to the web, crafting our live show, and spreading our art!

Skyler: Considering that we only have a little less than a year to accomplish our goals, cloning ourselves for maximum efficiency has been discussed.

SSOM: Have you had any shows yet, or plans to bewilder the public soon?

Logan: We have our first show booked in San Francisco on March 27th at Cafe Du Nord. Beyond that, we have a ton of stuff in the works this year. We are really excited to give everyone at our shows a memorable time.

SSOM: And on a recording/performing note, how does that work out? There’s clearly more sound than two individuals could make with two instruments sans layering or some serious multitasking.

Logan: What are you talking about? I play the bass, keys and drums all at once! 😉 We are working out our live set right now and have four other musicians playing with us. Everyone plays multiple instruments and we plan to utilize everyone’s talent!

SSOM: Can we expect another EP or debut full length album in the near future? I know I’m not the only one looking forwards to more.

Logan: Our debut EP is coming soon (now available). We can’t wait to show everybody the latest stuff we have been working on!

SSOM: So, as far as songwriting goes, how do you two come up with your music?

Logan: It completely varies from song to song. There is a lot of back and fourth with us both editing each other’s work and then a lot of “Hey you should do THIS!!” to one another. It’s super collaborative. We are each other’s editors. Personally, Garageband for iPad is my go to for writing these days. That program BLOWS MY MIND!

Skyler: Sometimes it happens all at once, like an idea that only takes a moment to conceptualize. Sometimes the process takes more time but I find that if a song is worth it it feels right from the beginning.  Either way, Logan and I are always collaborative and open minded to each other’s ideas.

SSOM: Where do you guys find your inspiration for music?

Logan: I could give you a whole laundry list but I will give you this example instead. When I go to a big concert, I spend a lot of my time wanting SO BAD to be up on the stage playing. Especially a band that looks like they are having fun. I say to myself, “Alright then, I am doing THAT!!”

Skyler: I agree with Logan. Live performances and concerts have captivated me since childhood. When I see an amazing show it can put me in a great place for days to follow. I suppose the opposite is also true.  Also, anything can be inspiration. Of course a fresh new sound or song can be very inspiring, but I mostly write music once I have a certain atmosphere in mind.

SSOM: Any particular artists that have influenced your sound?

Logan: For me it’s everything from Ratatat to Fleetwood Mac. There are so many artists that find their way into my song writing and I love that. I get to pick and choose inspirations as well as discover what naturally flows out of me when I am writing…which can trip me out sometimes!

Skyler: Cliche I know, but I do listen to pretty much any type of music that speaks to me. It’s hard to narrow it down to a handful of artists. I tend to reach back to older musical movements to find elements that can freshen and energize our sound, and I listen to the most current music I can find to be a part of what’s going on now.  I enjoy well-crafted sounds and songs that are liberated yet tasteful.

SSOM: Skyler, what do you do when you’re not making music?

Skyler: Professionally I’m a live sound engineer. I work with bands at shows all over the bay area to maximize the listening experience for both the band and the crowd. When I’m not doing that or making music I like to hang out and read at coffee shops in my area, go to the city and visit friends, and see shows. I enjoy movies, NPR, and surfing youtube for novelty.

SSOM: Hailing from San Fran, please tell me you two are coffee geeks.

Skyler: I’ve learned to enjoy the taste of coffee over time, mostly out of necessity. I really didn’t have much time to sleep in college. I’m a double skim latte kind of guy.

Logan: I can only speak for myself in that straight coffee make me feel as though my heart is going to pop out of my chest. I take things easy and enjoy my tea.

SSOM: Logan, tell me about your filmography career. You’ve definitely got mad skills with a camera, so if Midi Matilda gets the recognition it deserves, will you choose to put music first?

Logan: Thanks again for the kind words. I have been shooting freelance for the past few years. Music and video have always been a symbiotic creative outlet for me and I plan to keep it that way! Midi Matilda is a way for me to utilize both passions for one experience. I love it.

SSOM: So how did you pull off the video effects in ‘Day Dreams?’ You’ve been getting some serious exposure for it, even Acer took notice I believe. 

Logan: Yeah it’s pretty amazing that we have been able to reach so many people with the video. FIRST we spent two years developing the dance routine in the video. (laughs) Just kidding. 🙂 The video was first shot on a green screen, and then the green was replaced with a black background. After that, every other frame of the video was projected on a surface around the Bay Area and a picture was taken of it. Its like watching an animator draw every frame of a classic Disney movie BUT instead of drawing, we are just using a projector as the pen/skills/illustrator and something like a dumpster as the pad of paper! 🙂

SSOM: So I’ve gotta know, why did you two choose the name Midi Matilda aside from the fact that it sounds wicked?

Logan: The name is actually based off of my great great grandmother’s name, Mini Matilda de calca jour who owned one of the first Gold Mines in Virginia City. My dad then created a fictional character around 20 years ago and that was based off of her name. It was named Midi Mitilda who is a music making robot. The only thing that exists still is this awesome drawing that my dads friend drew for him as concept art.

SSOM: Last thing, I’m always curious to know what other artists listen to. What are your top five tracks at the moment?

Logan:

Steve Winwood – The Finer Things

Steve Winwood – Valerie

Tycho – Hours

Gotye – Someone I Used to Know

Penguin Prison – Desert Cold

Skyler:

Capital Cities – Safe And Sound

Tom Waits – Clap Hands

The National – Bloodbuzz Ohio

The Drums – Money

Francis And The Lights – Darling, It’s Alright

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Be sure to keep a very close eye on these two over the next year. They’ve already been tearing up the blogosphere and gaining some serious hype without even having played a live show, so it will be interesting to see how far their talent takes them. You can head over to their Bandcamp and snag their Debut EP for the price of your choice or, if the widget below works, you can get it right here. If you’re reading this and by chance live in the Bay Area or anywhere in SF you should not by any means miss their debut show. Imagine, you could have the right to say “I was front and center for their first show ever” when the world starts to take notice of the incredible music created by just a humble filmographer and an engineer.

You know you want to be a music hipster,

Grant.

Midi Matilda – Red Light District (Live Acoustic Version) [ListenOnly]

Twitter.

Facebook.

Bandcamp.

Debut Show Tickets.

Spotlight Saturdays. #7 [Eden Anderson/Special Features]

Today is a special day. My buddies DAKK vs SLICE killed it when they opened for Adventure Club last night, and now I have the madness that is to come in a mere five hours to look forwards to. One of my good friends is having his birthday shindig tonight, and countless amounts of hard earned dollars are being pumped into the evening. Yes, we’re going to be those ridiculous people with booths and bottles and all that tomfoolery. Be jealous. Those aren’t even the biggest reason why today is special. A little under a month ago, I managed to get a hold of a major up and comer for an interview before he got some well deserved exposure from my favourite Swedish duo.

Eden Anderson is a twenty one year old producer from London, UK. Make sure to put this bloke on your ‘watch in 2012’ list. With a fully loaded arsenal of potent remixes and a handful of originals on the way, there’s no telling how big of an impact he’ll make on the scene this year. He’s already out-remixed talents such as Uppermost, Swanky Tunes, Vodge Diper, Caveat, and even Kaskade when he won Dada Life’s remix competition. For each remix, he creates a melody which ends up overtaking the original; something incredibly hard to pull off yet he does this on a regular basis. Sign of a future EDM great? I think so.

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SSOM: How long have you been dabbling in electronic music?

I used to produce rap and hip hop, but I’ve been producing house for the past 2 years! I didn’t start DJing until my first year at college. I wanted to raise more of an awareness for the EDM scene so I set up a student club night where myself and a few local DJ’s would play the latest electronic music to students in my city.

SSOM: In a scene that is quickly becoming dominated by heavy bass and complex beats and sounds, what made you go with the lighter, more melodic approach to electro as an emerging artist?

I love bass, but don’t like making tracks that are all about the heavy bass line because it will just be compared to another track with a heavy bass. There seems to be a competition on how filthy a track can sound, and that’s just not what I’m about. Nobody should underestimate the power of a really good melody. It can infect your mind much better than a heavy bass line can.

SSOM: Just from listening to the melodies you use in all of your tracks, you definitely have a musical ear. Have you been involved in music for a long time?

Though I’ve never had classical training, I played the guitar, drums and piano from a young age, so I guess the answer to your question is yes (laughs).

SSOM: So, you’re a student and music is a hobby for you from what I’ve read. Mind if I ask what you’re taking?

I’m studying music production at music college. I’ve learned a lot about the studio environment and the business/industry aspects of music from attending the college, but all the skills I’ve picked up in my tracks are mainly down to watching a lot of YouTube tutorials (laughs).

 SSOM: Have you had the chance to dazzle the live public with your style yet? If not, any plans to?

Only a little, but nothing major yet. It’s definitely something I want to pursue this year!

SSOM: I’ve definitely got you on my ‘keep an eye on’ list, so aside from the possibility of live shows, what can the world expect from Special Features in 2012?

What I really want to work on over the next few months is making people realise that I’m not essentially a remixer but an artist, and I’m gonna do this by putting out a lot more original work.

SSOM: If it weren’t for ChubbyBeavers.com, I would have never found your old original work. Please tell me there’s an EP in the works with more original sounds?

Maybe.. You will have to wait and see 😉 I have a few collabs in the making with some talented up and comers and I can’t wait to release them to the world!

SSOM: Definitely looking forwards to it. How do you feel about winning the Dada Life remix competition and getting some serious exposure? I’d imagine your inbox must be flooding lately.

Surprised but obviously over the moon. It has been great promotion. A lot more people are finding out about my music because of the competition and that’s what I’m constantly trying to achieve when I put up my remixes. My main goal is trying to reach out to as many people as I can, because I believe that to be successful in such a competitive industry, you have to take that just as seriously as the music. As for the e-mails, they’ve been pretty crazy! I’ve had to make sure to flag the important ones so they don’t get lost under all the others (laughs).

SSOM: What’s your setup for production?

Simply a laptop running Fruity Loops and some headphones right now. I have a midi keyboard but it’s locked in the basement and rarely comes out!

SSOM: I always like to know what other artists choose to listen to. What are your top five tracks/artists lately? 

Madeon – ‘Icarus’

Mat Zo – ‘Fractal Universe’ (oldie but a goodie)

Zedd – ‘Slam The Door’

Mord Fustang – ‘We Are All Connected’

Phaeleh – ‘Afterglow’ (Chilled and a bit dubsteppy. One of my all time favs)

SSOM: One last thing, why Special Features?

The true origins of SF are mysterious and many of my friends claim to have bestowed it upon me, but regardless of this, it is a name that has stuck throughout my teenage years.

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I cannot stress enough how much talent this guy has, and I cannot wait to see how far his musicality will carry him. Considering he’s also in school for the very industry in which he’s breaking into, I’d say he has a bright future ahead of him.

Cheerio,

Grant.

Dada Life – Happy Violence ft. Sue Cho (Special Features Remix) [PurchaseOnly]

Calvin Harris – Feel So Close (Special Features Remix) [Mediafire]

David Guetta & Avicii – Sunshine (Special Features Remix) [Mediafire]

Deadmau5 – Strobe (Special Features Remix) [Mediafire]

Max Vangeli – Look Into Your Heart ft. Max C (Special Features Remix) [Mediafire]

Bonus.

Special Features – Red Nosed Mix [Mediafire]

Tracklist.

1. Calvin Harris – Feel So Close (Special Features Remix) 
2. Dada Life – Kick out the Epic Motherfucker (Original Mix)
3. Michael Brun – Dawn (Hardwell Edit)
4. Marcel Wood – 3stortion (Marcel Woods Treatment)
5. Nitrous Oxide – iPeople (Special Features Edit)
6. Dirty South & Thomas Gold – Alive (Tommy Trash Remix)
7. Kaskade & Skrillex – Lick it (Original Mix)
8. Sebastian Ingrosso & Alesso vs. Special Features, Max Vangeli & Max C – Calling Your Heart (Michael Brun Mashup)
9. Avicii – Levels (Clockwork Remix)
10. Lucky Date – Ho’s and Discos (Space Laces Remix)
11. Paris FZ & Simo T- Monk (Original Mix)
12. Special Features – ID **** (Melody From Happy Violence Remix)
13. David Guetta ft. Sia – Titanium (Nicky Romero Remix)
14. Deadmau5 – Strobe (Special Features Remix)
15. Bombs Away – Super Soaker (Rocket Pimp Remix)

Keep up with Eden.

Twitter.

Facebook.

SoundCloud.

Haunting and beautiful do belong in the same sentence. [Adam Prince/Hectic Zeniths]

Back in September, I’d received an email that I embarrassingly overlooked in the midst of all the music submissions and suggestions for this site. This last month, I received yet another email containing the same artist’s work, but the difference was that a link to the entire album was provided. I swear I listened to that record from start to finish at least five times before bed. I responded back the next morning and was able to get the chance to ask a few unanswered questions to the artist, who graciously accepted.

Brooklyn born Adam Morgan Prince is the man behind the musical project titled Hectic Zeniths. The title is an anagram for the German word Zeitsciechten, meaning ‘layers of time.’ Once you hear the music, you’ll understand how fitting it is. Currently residing in Philadelphia, Adam has been working on this record for the past three years, pairing original piano compositions with dollar bin vinyl samples, live instrumentation and subtle vocals. Although Adam provides the majority of the building blocks for each track, the record features violinist Patrick Bailey, guitarist Dave Cohen, and The Yetti on drums. Each and every time I listen to it, I find it hard to believe that something so musically beautiful could come from a math teacher.

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SSOM: So Adam, how long have you been making hauntingly beautiful sounds?

I’ve been creating music since I was about 12-13 years old…although the vast majority of the earliest music I made could hardly be described as hauntingly beautiful, most of it was pretty obnoxious sounding.  I always tinkered around making stuff up on piano, but never actually tried to sit down, write a short cohesive piece, and record it until I was about 21.  I’m 26 now.

SSOM: Correct me if I’m wrong, but from the sounds of it, you’ve had some classical piano training. Most people who layer their music and play each part individually simply use pianos as more of a filler or an added detail, whereas your keyed melodies can stand on their own and are actually quite impressive. Have you ever considered an a cappella or piano only B side to the EP?

Absolutely!  That was actually my original idea for the album – to have either a solo piano or version with no samples accompany the regular album as an alternate version.  I would still like to do something like that for a future Hectic Zeniths album.

SSOM: We have the meaning of the name ‘Hectic Zeniths,’ but what is its significance to you and why you chose it?

I’ve always loved hearing sounds being chopped and layered not just for the way they sound sound aesthetically, but the idea of it…the idea that the recordings captured by two different artists who may not have ever been in the same continent or been alive at the same time can be pieced together to create something new.  I wanted to use a name that would encompass not just the musical aspect of layering but the broader idea of overlapping eras of time between artists or just people in general.

SSOM: Have the cities you’ve lived in influenced your sound at all? What else has made an impact on your sound?

It’s hard to say.  I think growing up in Brooklyn definitely played some influence in my getting as deep into hip hop as I did at one point.  I can’t say Philadelphia has had much of an influence musically.  Honestly, the biggest things that have impacted my ideas about music are just endless hours looking things up on the internet and reading about different subgenres and artists of all different types, as well as probably digging through crates of vinyl and listening to music completely at random.

SSOM: I’m having a tough time with this one, so help me out. How would you describe the music you make to a complete stranger?

“I recorded myself playing piano, then put samples from records and synthesizers on top of that, and then got a few friends to play a few other instruments on top of that.”

SSOM: With the album taking three years in the making, it potentially has some greater meaning than just creating musical perfection. Care to give readers some insight?

(laughs) Unfortunately I can’t say it does.  Ultimately I just wanted to create something I really loved and was proud of, and then put it out to as many people who would hopefully also love it.

SSOM: Tell me about your creative and recording process. There are so many layers to each song, so which instruments do you start with both in writing and recording?

On the Hectic Zeniths album, 8 of the tracks started as solo piano pieces that were recorded in a studio, then chopped into loops on a computer.  I’ve decided I’m going to start actually writing out notation for the piano pieces in the future, but I mostly had them memorized and would record them in my room so I wouldn’t forget them, and then practice before going to the studio.  I spent a lot of time just saving random samples from records and building up a library.  Then I would go through and find samples I thought were fitting for each piano piece.  The outside instrumentation, guitar, violin, and drums were the last things to be added.

SSOM: Have you had the chance to do any live shows at all? If so, what does the stage setup consist of?

I have some ideas for a live show, but don’t plan on trying to put it together for a while until I have some more material as Hectic Zeniths.

SSOM: Ever considered doing collaboration work with a Hip Hop artist? I think you and I both know that your entire album can hold it’s own, but could complement an MC’s words amazingly.

Definitely, but it would have to be the right MC who I felt was on the same page as me in what we wanted to achieve and I felt would complement my sound well.

SSOM: I’m interested to know what someone as musically diverse as yourself chooses to listen to. What are your top five most played tracks?

The most recent artists I’ve become enamored with are Arthur Russell and Jacaszek.  According to last.fm, my top 5 played tracks in 2011 were:

Balam Acab – “Oh, Why”

Drake – “Dreams Money Can Buy”

Vespertina – “Hugo”

Made In Heights – “Viices”

St. Vincent – “Champagne Year”

Some other artists I listened to a lot in 2011 were The Weeknd, Blue Sky Black Death, Kendrick Lamar, Dimlite, Baths, Grouper, Tori Amos, Burial, Mew, Gold Panda, CunninLynguists, Rustie, How To Dress Well…I finished the album in April and have mostly just been a fan for the rest of the year.

SSOM: What do your students think of their teacher being a musical genius?

Yeesh…I’ve never mentioned anything about creating music in school, at most I’ve said I ‘liked music.’  The artists I’ve heard them talking about are Kanye, Jay-Z, Drake, J Cole, Meek Mill, LMFAO, Adele, and Lady Gaga, so I’m not quite sure I’d fit too easily into that playlist (laughs).

SSOM: Anything else you’d like to add?

The album is out January 10!  If you read this interview you must be sort of interested so make sure to download it or buy a copy!

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The full length album was released a day early today on his Bandcamp page and is available on iTunes and Amazon tomorrow. If you like the tracks below, the entire album can be streamed on his SoundCloud page. I suggest a dark room and a pair of headphones once you make the move.

Prepare to lose yourself in a sea of sound,

Grant.

Hectic Zeniths – I Might Drown [Mediafire]

Hectic Zeniths – Know My List [PurchaseOnly]

Hectic Zeniths – One That Got Away [PurchaseOnly]

Hectic Zeniths – Then And Now [PurchaseOnly]

Spotlight Saturdays. #2 [Rich Billis/Lazy Rich]

More of his tracks have topped various electronic music charts around the world than most producers could even hope for. He constantly drops the most jaw dropping, heart stopping tracks that make you want to drop everything and let loose. He started up and runs the label Big Fish Recordings, where heavy talents such as Alex Mind, Hirshee, Lucky Date, Neologic, Porter Robinson, and Zedd have released their tracks. On top of all of this, he somehow manages to find the time to provide a two hour long monthly podcast featuring the best in electro house and an hour long guest mix.

Way back in the summer, I posted about the incredible British electro producer by the name of Lazy Rich. He is one of my favourite artists for a number of reasons. The fact that he now resides in my home city of Vancouver might be one of them, but more importantly, Rich has accomplished in four years what most DJ’s strive to accomplish in a lifetime. Last week I was lucky enough to get the chance to interview him and gain some insight into the mind of one of the biggest names in electro house.

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SSOM: First thing I’ve gotta ask is that it’s easy to see where Rich comes from in your stage name, but what about the Lazy bit? I’d say you’re anything but. You’re constantly dropping the sickest new tracks, running Big Fish Recordings, touring the world, and even hosting one of the best electro podcasts around.

When I first starting DJ’ing, I absolutely loved the track ‘Lazy’ by X-Press 2. I absolutely loved it and I played it over and over and over so I just kinda stole the name really.

SSOM: That’s the one you’re always playing at the start of all your podcasts, right? 

Exactly, yeah. It kinda worked well because I’m not lazy in any way when it comes to music production anyway, with everything else I’m lazy I guess.

 SSOM: Is there anything in particular that you do when you actually are feeling lazy? Perhaps another hidden talent or…

I play a lot of computer games and I drink a lot of tea and that’s pretty much it really, that’s my life (laughs). That’s about as interesting as it gets really. 

SSOM: How did you get interested and involved in the electronic music scene?

Well I grew up in England right, so electronic music was just around me my whole life. Ever since I was like four years old I’ve been listening to electronic music so it’s kind of always been there. When I got to about eighteen, a friend and me we decided to get some decks and messed around with them and I just loved doing it so I worked and worked and DJ’d all the time and then it was about four and half years ago I actually started producing and that’s when it really started getting crazy.

SSOM: Well it looks like it paid off well pretty well for you.

It’s really strange how it’s worked out. It was never something I intended for a career.

SSOM: What made you decide to move all the way out to Vancouver?

I just had some friends that were coming out here. I’d just finished my degree in England and I was just a bit bored so I thought that I’d go with them for six months and see what it was like and I just ended up staying. I love it here.

SSOM: Is the scene all that much different from here and in England?

You know, I don’t really know all that much about the scene back in England.

SSOM: Really? You haven’t gone back and played there at all?

I’ve played there a couple times but not much. I mean, I don’t know. I find it a lot safer and a lot nicer being out over here. There’s a lot of the drinking mentality that’s in England I don’t enjoy. The violence and stuff. I mean there are awesome places to go clubbing in England and I’ve had some really good times clubbing in England but I just prefer it over here. It’s much nicer all around. 

SSOM: Well you’ve been playing shows pretty much all around the world, like you were just in South America this past year. How is it down there? Or is it pretty much the same thing.

Yeah it’s pretty different down there. Like, the crowds are really, I dunno. It’s really strange.

SSOM: Just kind of hard to describe?

Yes, it’s very hard to describe. They’re very picky. You have to really, really motivate them to get them moving around. Whereas here, people just go crazy the whole time.

SSOM: Any favourite venue in the world?

My favourite gig I’ve had was at Heaven in Seoul. Just phenomenal. People there went absolutely nuts.

SSOM: Seoul in Korea? That’s sick that you made it all the way out there.

Yeah, I love it over there. It’s pretty cool over there and I really like Planet Avalon in LA. There’s a place called Voyeur in San Diego; that’s one of my favourite places as well.

SSOM: Have you played out here in Toronto at all?

I have actually. I played at Guvernment a couple of years ago. It’s an amazing venue but I was only in one of the smaller rooms. I haven’t played a decent show in Toronto yet, only just smaller things. It’s hard. There are just some markets that are really hard to break into even though you could do so well in some places. Like I mean, I played Webster Hall in New York and Avalon in LA, which are two of the biggest and more well known clubs in America, but still in Toronto there’s just not that market for me. It’s strange you know, and same with Europe, I hardly ever play over in Europe. It’s annoying really. 

SSOM: Well I know your style is so popular back in Vancouver, everyone just loves it. I know for a fact that anybody I’ve shown your music too just loves it. So you’ll always have fans out there.

Yeah I think I do pretty well on the West Coast. Same in Edmonton and Calgary I do really well.

SSOM: So tell me about Big Fish. What made you decide to start it up?

Basically I was fed up of giving my money to everyone else (laughs). Seriously, like if there a piece of advice I could give to any producer, it’s as soon as you’ve got a few Beatport top 100’s, start your own label and stop giving your money away to all these other people. There’s just no point. With Big Fish we’re very straightforward and honest. I mean, we talk to all the artists as often as we can and obviously we encourage them to put their tracks out on Big Fish, but there’s no pressure. I kinda want it to be a nice friendly community rather than being this thing just pushing to make as much money as possible.

SSOM: That’s wicked man. You’ve always got the sickest new artists coming outta there, so you definitely have a good taste in music. Is there any chance that readers could get any insight into any of the new artists you think will be heavy hitters?

There’s this Space Laces guy that just did a remix for us. He’s like number four on the charts right now and his stuff is just phenomenal so I’m hoping to sign some more stuff from him. I’ve also got a Lucky Date EP coming pretty soon. He’s big, I really like his stuff. There will be some more from me, some more from Hirshee obviously, but I mean, because we’ve been doing so well recently we just have more and more artists contacting us, which is really cool. So it just gets better and better you know.

SSOM: Any artist that you’d like to colab with in the future?

I’d like to work with Porter Robinson again cause he’s just a genius.

SSOM: Yeah his new EP is just unreal. I’ve been listening to it absolutely non-stop.

It’s phenomenal. It’s probably the best release of the year, and he’s a super nice guy as well. He definitely deserves everything he’s got. I’m also hoping to do a collaboration with Chris Lovely pretty soon. The track that you just heard that I was playing is a collaboration that I’m doing with Chris Lake, which is sounding pretty awesome.

SSOM: I’d for sure agree with that. Well one of my favorite producers right now is the Estonian Mord Fustang. Any chance you’ll do anything with him in the future? You were just with him and Alex Metric in LA last month I think. 

I don’t know. Mord Fustang’s a strange one because of that whole restriction with Plasmapool. Nobody can really get close to him.

SSOM: Change of subject then. I’m pretty curious to know what your creative process is like. I’d imagine you need to be pretty pumped up to come up with all the massive tracks you’re churning out.

You know what, you have some days where you think: “I just can’t do this anymore, I’m just not a good producer, I just can’t do this” and nothing goes right and you’re thinking: “ok I’m just going to give up.” So you go and do something else for the rest of the day and the next morning you come back and it’s just bam, bam, bam, bam, bam. Track done. If the creative juices are flowing, it’s just so easy and if they’re not it’s just the hardest thing in the world. Basically, If I’m doing an original track I’ll start out with just a drum beat and play around with some chords and keep jabbing at the keys until I play something that just sounds good and that I think can lead somewhere. Then I play around and add a bass line to it and different bits and then just see how it builds up. When I’m doing a remix, I’ll usually copy the breakdown from the original track and then play around with some different chords with it and try a different bass line with the vocal and stuff like that. You just have to keep playing around until something works, you know.

SSOM: Well it’s definitely been working out for you from what it sounds like.

I don’t know. I’m not at a stage yet where I’m completely one hundred percent happy with every track I’m putting out, which is still a bit annoying for me. I mean, if you listen to the tracks that I’m putting out compared to Porter Robinson, there’s still that gap that I’m finding. I mean, I’m not really… I wouldn’t say I was the most musical person in the world, and I wouldn’t say I was the best technical producer in the world. I think I’ve been quite fortunate with finding a sound that’s been popular and that’s the reason that I’ve been doing quite well.

SSOM: I personally think that you don’t have much to worry about. I mean, your style has elements of what’s popular now, but there’s just something about it that sets it apart from everyone else. Structure.

I think I can agree that there is something about my tracks. The thing is that I really try to focus on is the need for a melody that you can walk away with and get stuck in your head and you can whistle it and you can remember it. I mean, there are so many tracks that are just beeps and noises that are just completely forgettable, and I never want one of my tracks to be forgettable. It’s gotta have this big melody and it needs to have anthem quality to it.

SSOM: And that’s the thing. They’re always well balanced, whereas a lot of other guys, yeah they can be pretty good, but they just put in too much and it just ends up being a lot of noise and a handful of things just simply put together to be a banger. But yours are just… full tracks.

What a lot of people forget, and you know I’ve noticed this in people’s DJ sets as well, something will only seem really big and hard and bangin’ because it’s relative. So if you have a long period of something quiet before the drop, then of course it’s going to sound a lot bigger, right? Whereas if it’s just pounding huge all the time then it doesn’t seem quite as big anymore. So for me it’s all about the breakdowns, the buildup and the drop. The biggest point of the track and the most important thing is that point at which it drops and which it goes from being the breakdown to the main part of the track, and that for me is the essence of electro.

SSOM: Well what is your setup like that you usually play at shows then?

I just play on CD’s. I mean I’ve been DJ’ing for like twelve years and I used to play vinyl, and then I played serato, but for travelling around CD’s are probably the easiest for me. I don’t really like all the laptop DJ’s and stuff because I’m used to changing a set depending on what the crowd is doing. You know if it’s a kind of a more underground place I’ll play a lot harder, and if it’s a commercial kind of place I’ll play more vocals and more kind of Dutch stuff or whatever.

SSOM: That’s sick because it’s definitely becoming a lot harder to find artists that will actually do that.

Lots of people they will just pre program their sets and if it’s going bad they just have to grin and bear it, you know.

SSOM: Unfortunately one of the worst cases, I probably shouldn’t be saying it, but when I saw Avicii at the Convention Centre this past summer, he played a set I’ve heard many, many times before. 

Well, remember Avicii is just such a young guy. But I definitely try to put on a show, and always make every one unique. I think especially the other DJ’s appreciate the fact that I’m actually DJ’ing rather than just pressing play. They can understand that it takes a fair bit of extra effort and a bit of extra skill to do that.

SSOM: I think you can agree with me when I say you don’t have a shortage of either of those, despite being ‘Lazy’. Speaking of which, I should probably let you get back to working on the track.

Thanks again for taking the time to do this.

 Not a problem mate just let me know if you need anything else. Thanks for calling.

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Here are a few of the many, many amazing tracks that Rich has produced for your ears’ enjoyment. If you haven’t already, subscribe to The Lazy Rich show via iTunes, or snag all the current ones in the link I’ve included below the tracks.

Let loose,

Grant.

Lazy Rich – Better Wipe That Up (Original Mix) [Mediafire]

Lazy Rich – Get Out ft. Lizzie Curious (Original Mix) [Mediafire]

Lazy Rich – The Chase ft. Belle Humber (Original Mix) [Mediafire]

Lazy Rich & Porter Robinson – Hello ft. Sue Cho [Mediafire]

Kemal Justin Michael – Trouble ft. Heather Bright (Lazy Rich Remix) [SoundCloud]

Freakhouze – My Brain Is Bigger Than Yours (Lazy Rich Remix) (Full Track) [Mediafire]

Rico Tubbs – Feel It (Lazy Rich Remix) [Mediafire]

And here are some links for you to get even more insanity.

Beatport.

SoundCloud.

Big Fish Recordings.

The Lazy Rich Show (Podcast).

Das good music. [Drew Harris/Germany Germany]

We live in a strange time. We live in a world where people perceive other people through what information is provided about them on social networks. We live in a world where anyone can become famous overnight by simply putting a thirty second clip of stupidity on YouTube. We live in a world where more and more people can create music without even touching an instrument. Suddenly anyone that can do a few keystrokes and move a mouse can be called a producer. It is becoming increasingly difficult to find any true, raw talent from all of these upcoming bedroom wonders. Drew Harris, the man behind the music of Germany Germany, is a shining needle in the haystack of noise.

Drew is an incredibly well spoken and mad stylish student from Victoria. For the past year and a half he has been creating soft, half synthetic, half physical, dreamy, sometimes poppy, ambient, danceable, incredibly-easy-to-listen-to music under the alias of Germany Germany. What truly sets him apart from other artists in the same category is that his music is never stagnant. Every song on each of the albums is different from the last in not only pace, but in overall sound and mood. It’s unfortunate that in this genre, most artists get sucked into one single style and tempo, but that doesn’t seem to be an issue for this obviously talented young lad.

Drew has released five records to date with the newest being the seventeen track Adventures, his biggest, and in my opinion the most experimental, album yet. The majority of his music is available for free download or at least streaming on his SoundCloud, but you can support this up and comer by purchasing Adventures on his Bandcamp for five dollars or whatever you would like to pay. It will be worth your while, I promise.

‘Adventures is like this – as represented by the album art, it’s not clean and spotless… it is how I want it to sound but that doesn’t mean that it’s always perfect. The DIY aesthetic has always been fundamental to this project and by that definition, Adventures nearly sums up all that is Germany Germany. The past synth-pop, electro, ambient, etc. sounds have all been combined into 2 sides, 17 songs, 60 minutes. ‘

Drew was kind enough to fit me into his obviously crammed schedule to ask him a few questions about this whole music thing.

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SSOM: Let’s say that someone’s never heard your music before. You’ve got lo-fi, progressive house and indie music made up of physical and digital instruments all wrapped up into one. How would you describe your unique sound to them?

I’d say that my personal style is probably just a shit-mix conglomerate of the styles I listen to. Electronica, ambient, house, post-rock, glitch, some hip-hop… a lot of stuff kind of works its way in there.  I like the term ‘electrogaze’ though.

SSOM: Any specific influences you can rattle off?

Besides what I said above – nature, natural things, noise, analog technology.  I guess those aren’t specifically musical things.  I like unpredictability. 

SSOM: How long have you been making music for?

In some form or another, since I was fourteen or so.  I played guitar in some really bad emo bands for a while, then tried some solo indie-pop stuff where I learned Garageband and Logic when I was around seventeen or so.  I started Germany Germany in the fall of 2010, though it was originally called something else (a really horrible name).

SSOM: What do you do besides music?

My full-time occupation is currently studying electrical engineering at UVic.  I’m finding it really hard to do that, make music, have a job and attempt to maintain some sort of a social life.  It’s nice to use that as an excuse for a prolonged lack of creativity though.  My musical output really drops down during school semesters, though all of Adventures was made in the spring semester.

SSOM: So what kind of programs/equipment is needed to make your style of music?

I like guitars.  I think/hope my inclusion of guitars and other acoustic samples makes my music a little different than the purely-synthetic stuff out there.  I use Ableton Live to put all my stuff together, and I use a bunch of free and paid plugins/softsynths along with hardware synths like Microkorg and Roland jx-8p.

SSOM: Do you play all the instruments heard in your songs, and layer them during recording, or do you get help from fellow musicians?

Yep, it’s all played by myself and layered.  I don’t really think of it that way though. My workflow is really based on patterns playing at the same time, I don’t really regard songs as linear combinations of instrument tracks.

SSOM: I’ve gotta ask, why’d you go with the stage name Germany Germany?

I get this question all the time.  I need to invent some nice answer for it.  It just sort of popped in my head, though at the time I was listening to Ratatat, so it’s probably from their song ‘Germany to Germany.’

SSOM: I’ve yet to have a chance to see you live, so I’m curious to know what a live show would be like. Is it more of a DJ set or do you bring out a full band to play with you?

I hope you do soon!  I’ve performed twice with a full band and it’s a lot of fun, but it takes a lot of practise.  I usually play live with these two cardboard “GERMANY GERMANY” signs that are lined with 100 super-bright LEDs.  The LEDs are connected to a microcontroller that interprets MIDI data sent by the computer.  Basically, we have MIDI clips that automate the brightness of the lights in real time – this allows us to have a drummer that’s not technically playing to a click.  It’s really fun.

SSOM: Do you do shows often?

Not really, but I like it that way.  I don’t want to be one of those bands that is playing every week; I want to keep it special.

SSOM: Tour plans. Are there any upcoming plans to promote and perform the tracks from your recent Adventures LP?

There are some really interesting possibilities in the mix right now but I’d rather keep it under wraps for now.  I’m returning to full-time engineering in September (this summer is my semester off) so that’s my current plan, unless something amazing comes up.

SSOM: So you’re in Victoria during the school year, how does doing shows there compare to here in Vancouver?

Well, we played our first show here but, to be honest, we’ve found Vancouver promoters to be a million times more helpful and supportive than Victoria promoters.  It’s really unfortunate.  A replied email or returned phone call would be nice.

SSOM: Last question, how can fans support your work besides going to shows?

Listen to it, tell your friends if you want, whatever.  If you want, buy it, if not, torrent it or whatever.  I’m not trying to make this a career, I’d rather keep it an interesting hobby.  The second I make something my main income I feel like there’s pressure that will turn me into a greedy narcissist.  There are some of those in this scene already and I’d rather not join them.

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If you’re going to be in Vancouver this week, Drew wanted me to tell you to feel free to drop by the Adventures album release party at Interurban Gallery on Saturday, June 11. It will be a good time.

Maybe I should invest in some of this production gear stuff,

Grant.

Germany Germany – Take Me Home

Germany Germany – Rain

Germany Germany – Too Much To Say

Germany Germany – River

Germany Germany – Beginning

Germany Germany – Last Summer

Germany Germany – Natural (Mixtape)

Futurecop! – Venice Beach (Germany Germany Remix)

Passion Pit – Sleepyhead (Germany Germany Remix)

Crystal Castles – Baptism (Germany Germany Remix)