“I think in the distant future, everything will get more and more grey. Music styles will get more and more mixed and merged.” Nathan Fake database. Continue reading

“It was just one of the first experiments of how the people could react to […] this like 45, 50 minutes of build-ups taken from trance tracks just looped very precisely that sounds like it’s coming, but it’s always the same loop. After a while you realize that the filter is not opening, the delay Continue reading

“I very rarely go back or delete. I add one eq after the other and each one of them is like a step of correction or enhancement of the previous one. Of course it is maybe the worst thing you could do, but it makes the sound more yours, or better: it crystallizes what your Continue reading

“I try to see (inspiration) as a muscle I flex.” “The way I work is to create a huge amount of content/versions/takes whatever you want to call it and then hone it down over and over. I’ll get inspired by some happy accident when I unplugged a guitar and it made a weird thud through Continue reading

“There aren’t necessarily things happening in my music all the time, and it’s always interesting to hear how people experience it in a totally different way from me. I created it, but they can hear something totally different. Maybe it’s just out of boredom that the brain can make a loop exciting.” “If you sit Continue reading

“For me it usually starts off with either coming up with a chord progression I haven’t quite heard before, a beat I haven’t heard before, a new type of sample. I’m always just trying out new things – Hour Logic is quite different from King Felix, which is quite different from the things I’ve done Continue reading

“[Sampling] was about capturing the energy the recording like a photograph. If you look at sports photographs–someone in mid-air jumping. You can tell what happened before and what’s going to happen after, but in that frozen moment you have all the energy of both things encapsulated. And that’s more or less how I viewed sampling: Continue reading

“What I try to do with electronic music is try to sound as good and free and as spacey as an acoustic recording. This is the big reference for me, but it’s nearly impossible. Because the electronic frequencies are more defined and the rooms, you have to create rooms with spaces and reverbs. All the Continue reading

“I usually sneak it up on myself, like I start designing an instrument and then the songs come out by accident as a result. It’s weird–sometimes I’ll go in the studio and something will come out by itself, but the process and the method of it is really important to me. I have to have Continue reading

“Let’s say you have a bunch of hot AF signals that hit a limiter and now, suddenly, these waveforms have gone from being big and round and way over zero to being square and sitting right at zero. Anytime you have square wave forms on the sides of those squares–as the wave transitions from the Continue reading