Ever since Oasis finally imploded in 2009, Noel Gallagher’s kept pretty busy. First returning with Noel Gallagher’s High Flying Birds’ self-titled debut in 2011, it would be four years before Gallagher came back with Chasing Yesterday, but he’s been working on music fairly constantly amidst touring consistently. There was the abandoned collaboration album with Amorphous … More »
Six-years ago, birds of a feather Samuel Walker and Gavin Royce perched atop an egg of an idea. The Brooklyn-based duo’s musical nest hadn’t, however, been empty — Walker & Royce had been releasing music since 2011, when their track, “Future Lately” caught the attention of Damian Lazarus. The ‘yolk’ of this theoretical egg would center around the duo’s desire to develop a debut album, and years later, Walker & Royce’s musical incubation has culminated in a fully fledged product that is currently sending feathers aflutter: Self Help, the Dirtybird signees’ eleven-track debut album, officially released on October 20.
Claude VonStroke’s ‘tech funk’ undertaking, Dirtybird Records has proven itself to be no stranger to the public spotlight. The underground imprint witnessed a consecutive triumph in 2013 and 2014, taking home the title of “Underground Label of the Year” both years at the International Dance Music Awards. The Dirtybird collective likewise emerged as the triumphant entity in Mixmag’s recent ‘Label Of The Decade’ deliberation, where the label was identified as the most impactful imprint between the years of 2007-2017. VonStroke notably founded the label in 2005.
The collective’s continual industry influence is irrefutable, as is the brand’s expansion, what with the West coast label having newly announced the inaugural East Coast edition of its annual flagship West Coast Campout event.
As the flock of Dirtybird fans worldwide continues to grow, Walker & Royce find themselves responsible for some of this growth. A breakout hit originating from Self Help’s track list, the intergalactic tune, “Take Me To Your Leader” quickly became a house set staple upon its July release, appealing to veteran house music listeners and ears less accustomed to the genre alike. “We wanted to write music that was more accessible and less niche,” Walker says of the shared vision behind Self Help.
Walker & Royce’s determination to craft an album non-limiting in aesthetic has since shown itself to be a fruitful initiative. The album’s stellar sonic groove surfaces as one that invites all dance music fans to check their preconceptions of house music at the door in order to get down on the dance floor.
Dancing Astronaut flew in Walker & Royce’s direction to discuss the album’s release, the progress of the duo’s international “Self Help Tour,” and not to be neglected, the pair’s own preferred ‘self help’mediums prior to Walker & Royce’s ‘Dirtybird Players’ performance in Washington, DC.
First of all, congratulations on the debut album!
So how has the [Self Help] tour been going so far? You’re right in the thick of things right now.
We’re right smack in the middle of it, it’s really good. We’ve done clubs before, but it’s our first time doing a headlining tour, so it’s cool to be out every weekend. It’s a nice way to present our album.
Have there been any favorite moments so far while on this tour for the debut album, any revelatory moments being that this is your first headlining tour?
Walker:The campout was amazing [West Coast Campout]. We have a lot more to go, until January almost.
Royce: Well Christmas kind of ends and then we go to Australia as part of it [the tour].
Walker:I mean, Vancouver went off, Vancouver was amazing. We also have Holy Ship! that we’re doing, that’s coming up. The main thing for all these gigs is we’ve been doing this for a long time, but now’s the one time, the first time I feel we’ve been able to go in and be ourselves 100%, and people are into it, we’ve got people there that are into it rather than feeling their way through like “who are these people?” We can just be ourselves. It’s great, I feel a lot more adventurous now.
Royce: It’s good for us to get out every weekend, it’s kind of strengthening our ability. We’ve had abilities as DJs, but now the amount of DJing we’re doing is elevating our sets, it’s becoming second nature, it’s letting us experiment a little more, doing little things that we’ve always kind of said “oh we should do that,” or things we’ve done once or twice, but now we’re doing that a little more regularly.
A debut album is a major foundational work that offers a fuller look at an artist’s sound. Can you speak more to the vision of this debut album?
Royce: We knew we wanted it to work as an album more than just an EP, I think that was really important to us so that it didn’t come off as “here’s ten-tracks that sound really good in the club.” We wanted to have not maybe a story but a feel, we wanted it to really flow and be something that you listen to at home, not just in club situations. We also didn’t want it to be sample based—we got our own vocals, our own original stuff, that was the main thing.
Walker: There’s almost always some kind of vocal element in our music, and instead of sampling everything, we wanted to just get singers and write whole songs. And some of them [the songs] are more house tracks while some of them are not, some of them are more ‘poppy.’ I feel like we did what we wanted to do. We wanted to make some tracks that would be full vocal tracks and others that would be a little more different, like the first and last tracks on the album.
What was the song on the album that you most enjoyed producing?
Walker: It changes every week! There’s favorite in terms of easiest, fun.
So what then was your favorite song to produce in terms of personality, the one most reflective of your evolving sound? You did switch it up not too long ago.
Walker:Take Me to Your Leader is probably the best because it’s so vast, like sometimes a song takes awhile because you struggle with it, but this song took two or three days.
Royce:For me it’s the Sophiegrophy song, “My Own Thang.” It’s just this whole hip hop vocal. That normally sounds a little corny in house music, but I knew if we did it right that it would be really good. I didn’t think it was going to work and I kind of was almost like okay we’re just going to sample a little bit of it, and we ended up being able to use the full thing. I think it’s one of the standout tracks on the album.
Walker: We knew we wanted to make her look good, she gave us great stuff
Royce:It’s hard to use that kind of stuff on house music, it doesn’t really fit [house music] with hip hop vocals. A lot of people just sample a hip hop vocal and it’s not really hip hop but this was like she wrote this song, it’s not sampled it’s her song, she wrote it for us, and we wanted to treat it well.
Your set at the West Coast Campout emerged as one of the fan favorites from the weekend, and you notably played much of the new album there. From an artist’s perspective, what is it like to play at a Campout event?
Royce: It was amazing, this is the third campout we’ve done. The first one we played at 12:00 PM on a Saturday, there weren’t that many people. The second one we had a 5:30 PM set time which was on the first day and it was great, and this time we were right before Justin Martin on Saturday night and it was a little bit of pressure. This set felt more like a concert than anything we’ve ever done because it was really like presenting the album, it was the first time that we played almost all of the album tracks in the set, and we also had Dances With White Girls performing three songs with us so it had a little bit of a concert vibe, which was cool.
Can you disclose whether or not you will be at Dirtybird Campout East?
We can neither confirm nor deny.
It was worth a valiant effort to try to find out!
Royce: I see what you’re doing!
Whether or not we’ll see you at Campout East, can you share any details regarding any additional new music that might be coming out this year?
Royce: We have a remix of “La La Land” by Green Velvet that is supposed to be coming out before the end of the year. We told everybody it is, I really hope it does, you never know with these things, sometimes they get moved. We don’t have a release date for it yet, but it’s supposed to be coming out.
In any case, that’s something to look forward to.
You’ve noted in a previous interview that the title ‘Self Help’ is a parody that satirizes the saturation of self-help books available for purchase. Outside of music, what’s your go to “self help” medium?
Walker: For me it’s walking.
Royce: I love walking. And I don’t do it everyday but I also meditate in the morning. I get up and I have this meditation app that’s like “breathe,” and I just sit there for ten minutes and it clears my head, it really does work. I should do it everyday, but I don’t do it everyday. The big thing for me about walking is that I really hate running.
I love the fact that you’re a duo and you guys basically gave the same answer, I guess you must be rubbing off on each other.
Royce: The other part of the “self help” thing too is it’s a parody joke and that’s our sense of humor, it’s a very New York sense of humor I think. It’s just honest, like we’re laughing at ourselves. It’s also like to do this, you really have to believe in yourself, it has multiple layers of meaning which is why we thought it was a really good name for this album.
Firstly, you guys have so many diverse interests in music. You’re constantly talking about hip-hop, alt-rock, all these different things…. So we just wanna know, what artist or genre that you guys listen to would we be surprised to learn about?
Wow…. there’s honestly been so many different artists that we’ve been inspired by together. I guess for ME (Matthew) someone that’s really inspired me, Manchester Orchestra! I just saw them play like, a few days ago and…. woah, they’re incredible. [How bout you Julio?] Oooh, I’d have to say BADBADNOTGOOD, it’s like this Jazz, super-cool, funky music…. that’s a terrible description of them, but they’re amazing. [Great answer Julio!]
Who are some artists in electronic music who are doing some shit where you’re like “Wow, this is so cool”?
Some artists that we really fuck with right now, Party Favor, for sure. Wookie, also! [Julio grabs mic] Dombresky is super dope…. umm, Sofie, from the UK, SUPER FIRE. [Matthew speaking] Born Dirty, they have some really… weird shit… which I love. And of course…. Chris Lake, the legend. Tisoki! Some dubstep stuff…. killing the game right now! Oh an GTA! They do some pretty cool stuff I guess…. I wish we could be them….
One thing that we’ve noticed about you guys…. With everything so “sanitized” these days, you two seem to remain very raw and real about politics and your stances on social issues. Could you just speak on why it’s important to you guys to give a voice to these things?
As far as politics and stuff goes, to each their own… it’s kind of what politics are about. [Matthew speaking] Personally, I know both of us like to voice our opinions, and I feel like that’s part of your personality… it’s part of you and what you believe in should be a part of what you talk about. I don’t know… it’s better to say something than be quiet and standby doing nothing.
[Julio speaking] I mean honestly though, we’re Hispanic and I think one thing we all naturally gravitate towards is rights and our people. We want to represent properly and at the end of the day, we just want people to be happy and enjoy life… enjoy good times. [Matthew] YES! Good Times Ahead!
So what is your hope for your music? With your new album you just released, what are you trying to convey to your listeners and the world when they listen?
When we produce music, we really have just one goal: to put a smile on people’s faces. Just like it does for us when we make it…. When we’re in the studio, we really just make things that we are super excited about. It’s a regular occurrence for Julio and myself to just dance around the studio when we make music because we love it so much. If we can bring that feeling to you guys, then we’ll be happy.
Okay, we’d like you two to takeover the interview and ask each other one question to answer for your fans! (Check out above!)
Australian artist Just A Gent has been producing since his pre-teen years, evidenced by his compellingly composed pieces of music that transcend genre classifications. His diverse musical interests have led him to flip songs of all genres over the years — from Illenium to Whitney Houston — all while sporting a spiffing suit and top hat.
Just last month, he released a wistful melodic dubstep track featuring Thief, “Hold,” that’s been met with glowing reviews. The classy producer is currently on a massive tour with San Holo and DROELOE that’s taken him across North America and will wrap up in mid-December.
We caught up with the producer to hear more about his style evolution, tour life and what’s in store for 2018.
You’ve produced music of all genres over the years. How has your style evolved?
I’ve been trying to fuse genres together for a long time. I think it’s an essential thing to be able to make more than one style of music whether that be inside the electronic category or anything outside of that, it just helps bring a fresh flavour into music and you can tell when people know more than just ‘trap’ or ‘dubstep’. I think my style has developed a lot since I started the Just A Gent project and with a plethora of other styles and genres out there I hope I can continue to do that.
Generally the tracks I have been flipping on the Just A Tune project are really solid tunes, some of them are my favorite themes of all time like the Phantom of The Opera “Overture” and the Star Wars “Binary Sunset” and even the “Bing n Bong” remix is a flip of my favourite childhood TV shows, Tiny Planets. I think the song just has to really pop to me and connect with me from the first time I hear it till the 1000th time. I am always open to suggestions though so slide into my DMs with ideas.
How does your creative process differ for your original productions versus your flips?
With the flips, I’m generally just rushing it, finishing the track in a few hours and throwing it up on SoundCloud. There isn’t really a deep and meaningful story or process behind it, it’s just me throwing together a quick flip of a track I love. With my original tracks I want people to be able to hear how much time I put into them and I like to think there is more story behind them. I also just generally put a tonne more hours into the originals and make sure they are perfect before release.
How’s the tour with San Holo and DROELOE going? Memorable moments so far?
Pretty bloody amazing. Every show has been a sold out stellar time and the crowds have been insane. Just hanging out with the dudes and getting to understand Dutch culture a little more has been a blast. They are a great bunch of guys and I am extremely grateful to be touring with them.
What’s your favorite song to play out live and why?
I love playing out my Whitney Houston, “I Will Always Love You” flip. It’s been popping in and out of my sets for the last couple of years, but it’s so great to hear everybody sing it back and then confused as a chameleon in a bag of Skittles when the drop hits.
Where do you see electronic/dance music in 5, 10 years? As someone with a rich music background, do you think the scene/genre is sustainable long-term?
Electronic music is only gonna continue becoming more and more relevant in the mainstream. I think people need to start looking at them producers really changing things up though, artists like Fytch, Former & Nomak have really been inspiring me lately with totally new sounds that I am loving.
What’s coming up for you in 2018?
So much new music and touring. I can’t wait to share some of my new tracks with everyone, they are definitely a little on the experimental side but we shall soon see what everyone thinks!!
KRANE is an eternally evolving force, creating ripples throughout the dance music sphere with each new phase in his career thanks to his recurring motif of emotive future bass. Starting at his entry as an up-and-coming artist 3 years ago, KRANE has always maintained a forward-thinking modus operandi with everything he’s done — this is only one of many key elements that have played to his advantage. Alongside other soon-to-blow up-future bass embracers like Devault, Whethan, and SteLouse, his remixes and originals have since become influential pieces of artwork that have helped dictate the overall path the genre would go on.
The maverick began steadily building his fanbase after moments like his collaboration series SESSIONS and a debut LP Debris, eventually finding himself booked at a vast amount of high-profile gigs and continuing to release dynamic singles to supplement his tour life. His efforts have quickly made him a well-established name, and the future is only looking brighter. Currently, KRANE is now in the production phase of his second album Fallout, released on Steve Aoki‘s label Dim Mak. The album is jack-packed with collaborations from some of the hottest and best artist of 2017 and can be heard in full below.
We talked with KRANE about his recently released album, his come up, going in-depth into one of the staples of the scene.
What new themes did you build into ‘Fallout,’ and how are you hoping to connect with fans with it?
FALLOUT draws from a wide range of sounds I’ve become known for over the last year or two, and it presents them as a whole narrative, something cinematic. People will recognize these works as markedly my sound, but my hope is to elevate my style and in presenting them as a whole, show them as a collection.
How do you feel signing the album with DIM MAK?
First and foremost, it is important for me to surround myself with people I think are of high quality of character. Aside from DM putting in their time, hard work and investment into this project, and really believing in it, I believe in them as people and as a label that culturally resonates with me. Im most happy to be partnered with them on this release and grateful for everything they’ve done to help get it out to the world.
What first got you into future bass and what appeals to you about this genre versus others?
I’m still not totally sure what future bass is ha ha. Some of the first producers that hooked me into this scene were what I guess people would consider future bass, or at least it’s predecessors- people like Rustie and Hudson Mohawke. But honestly, I don’t see myself as married to any one genre, and sometimes I think about the ways “future bass” or “trap” are defined, and some of the boundaries don’t really make sense to me. So, my plans to just keep making music that resonates with me and not sweat the labels.
You are, in part, credited for taking future bass to a broader audience like other few others were able to do, were there any turning points around late 2015 that led to this continuous momentum?
I am!?! Well that’s a high compliment. I’m not sure I can really claim credit here – but I’ll take your word for it ;). I can’t point to any one moment where things start moving faster. It’s really been a slow build. Little successes build on each other and feed into the next one. It’s been a tremendous amount of work and fun, and I just try and remember to celebrate every little positive, and never become complacent.
How do you help maintain originality in such a saturated genre field?
Purely by accident I think. I got into electronic music rather late in my musical background. It was only a few years ago I really started listening to it in earnest, and producing it. I’m more often than not trying to make my music “fit in” to the field, than sound apart. I find it just sounds, well, different on accident- because my background of influences stems from mostly music outside of electronic.
How did the SESSIONS series come about initially? Can you share any details regarding how it will play out in 2018?
SESSIONS came about rather organically, when I was considering how to keep collaborating and releasing music while reserving space for my singles to breathe. Further, I was becoming inundated with production questions and “collab bros?” I wanted to turn that energy into something positive and generative. Since its start, SESSIONS has been as much about giving back as rewarding for me though- I learn a tremendous amount, I am blessed with the opportunity for these amazing producers out there (known and unknown) to share their hard-worked WIP’s with me, It’s really incredible. I’m underway working on the next batch of SESSIONS selections with some amazing producers. And looking ahead, I have schemes to grow this into much more of a platform for people to work together, and collectively get their name heard… stay tuned though.
What factors do you tend to look at for SESSIONS candidates?
Just the music they send, is the only important thing. I don’t care how big or small they are, reputation wise. I don’t even care what genre. If its a good song its a good song. And then second to that, I have to know what to do with the song straight away to contribute meaningful to it, and finish it- I have to work really fast on these records, which is part of the fun/challenge- so sometimes I get an amazing WIP but I’m just totally not sure what to do with it and have to pass on it. Its very idiosyncratic and try and make sure people understand its not a contest- it has nothing to do with the “best” songs being chosen- just the ones that resonate with me, my tastes at the moment and my ability to jump right into it.
What collaboration are you most stoked to be apart of released or unreleased?
Oh, you can’t make me choose… For me, this album is not just about me but my community too, and I am absolutely excited and honored to share these tracks with SLUMBERJACK, QUIX, Graves and everyone else. People I really admire as producers.
What has been the most memorable moment career-wise in 2017?
Eating pig brain in china… I still can’t get that taste out of my mouth.
For years now, Mammút have been one of the bands to watch in Iceland’s music scene. Having started over 10 years ago — then an all-female trio, a rarity in Iceland at the time — when all of them were just teenagers, Mammút both garnered early acknowledgment via winning Iceland’s Battle Of The Bands competition … More »
A mainstay within the dance music industry over the past few years, Valentino Khan certainly needs no introduction. The LA native first blew up in 2015 following the massive success of his singles ‘Deep Down Low‘ & ‘Pump’ which both have ultimately crossed over 100 million streams through all DPS platforms and YouTube views. Having produced with hip
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Freddy Kennett and Robby Hauldren aren’t your average producers. Already conquering a large portion of the world on a number of tours, collaborations with multiple artists and a fanbase that grows exponentially, the two have experienced enormous growth over their years in music. Rising from bedroom producers to international success didn’t come overnight, but these two made it look easy.
Better known by their stage name, Louis The Child, the boys demonstrate their own unique workings of future bass and continuously find ways to transcend their positivity and love for life into their music — a remarkable feat that not many can achieve. They draw inspiration from some of the leading names in dance music, like Flume and Madeon to forge their own unique sound, undergoing exceptional growth throughout the past two years as a result. From performing on stages at some of the biggest festivals across the world to their colorful touch on their remixes of Miike Snow’s “Genghis Khan” and Ty Dolla $ign’s hip-hop anthem “Blasé“, global musical domination is not far from their reach.
Their nation-wide ‘Last To Leave’ tour is considered by many as Louis The Child’s most successful tour yet, with the duo having brought out a multitude of friends and rising artists to open for them. Ashe, Joey Purp, Lauv, Point Point, Louis Futon, Prince Fox, Party Pupils, and Win & Woo offer different musical styles as they join Hauldren and Kennett for the ride. Currently traveling across North America in the midst of this tour, they took some time to chat with Dancing Astronaut after their Toronto show, where they dig into the depths of their past tours, ways to stay inspired and connecting with their fans, and more to reveal the personalities beyond the happy-go-lucky Chi-town boys that one sees on stage.
From the multiple tours you two have embarked on over the past few years, what has changed about your shows, and your stage presence?
Freddy: We’ve gotten a lot more comfortable and a lot more clear with what we wanted to present to the people at the show. I think also we switched from CDJs to Ableton Live recently, and that’s been a big change in helping us grow the set in a way. We have a lot more possibilities now, and I think in general our connection with the crowd has grown every single night that we play a show. We’re always looking to improve something with the show every single time that we play a show, and it feels like every show just keeps getting better.
Robby: I think also our stage production has gotten a lot bigger and crazier. Now that we’re playing in bigger rooms and stuff, there’s kind of an expectation to bring more production and to put on a much bigger show with lights and video, and I think we definitely stepped up to the challenge and really brought it up another notch with this tour.
Freddy: Also, we’ve kind of gone from at the start of thinking of about being DJs, to now where we really just want to put on the best show we can rather than solely a DJ performance or a musical performance.
Besides having your photographer document your shows, we learned that you also have given out disposable cameras at shows to collect shots from your fans perspectives. Where did this idea come from, and how have the results turned out?
Robby: I want to say it was around last fall when we toured — I believe like someone brought it up to us that they heard of someone else doing it a while back, and we thought, “Damn, that’s a really interesting idea.” Give people in the crowd a disposable and see what they capture and what it’s like to be in the crowd at one of our shows. Obviously, we’ll never know what it’s like to be in our own crowd, so I think it’s really cool to give the people attending the show a camera and say, “Hey, take a photo and pass it to someone else.” It’s really cool to see what people capture. We posted a bunch of the photos we got from past tours, and it’s just cool to see what moments people want to capture and what about the show connects with them. Whether it’s a funny selfie, or if it’s a picture of one of us getting real close to someone in the crowd, or whatever it is, it’s nice to see the perspective of someone attending the show and we continue to do it. We don’t really always get the cameras back, but when we do, we love developing them and checking ’em out.
Have you guys had any photo that specifically stood out to you?
Robby: One was of someone’s middle finger. Nothing crazy, it’s all just the vibe we’re looking for in the crowd.
Freddy: A lot of people just being happy, that’s the one thing I noticed. A lot of people just smiling and looking like they’re really enjoying themselves, which is exactly what we want from our shows is for people to be together and enjoy themselves, and enjoy the company around them.
Speaking of photos, Robby, you also have your own Instagram account for your photography. Do you have any specific inspiration when you’re out shooting?
Robby: Capturing whatever’s around us, really. I think we live an interesting life and this stuff’s really only gonna happen once, so I think it’s really important to capture it. I’m a big fan of rock memorabilia, so I always love taking cool photos, seeing old merch from my favorite rock bands, for example. The only way to really keep that going is to take it upon yourself sometimes, and go out and capture what’s happening aroundyou.
Tell us about life on a tour bus. What have you both learned about each other, after being stuck on the bus for hours at a time?
Freddy: It’s kind of like summer camp for us. I kind of learned that this last tour when we were on the bus with Imad Royal and our photographer Collin Miller — just all of us together waking up at the same time, and making music. Because we have speakers on the bus, we can make music ’till whatever time we want; sometimes it’s 4:00am, sometimes it’s 9:00am. The bunks are all pitch black so you can just sleep until whenever and just play the show, then make more music the next night. That’s really fun for me cause I stay productive and creative, and work on making new, fun music while on the road. Touring has been really fun and the show aspect of things just gets cooler every night. After like 4-5 shows in a row, you get tired and it’s just normal now. You get a little tired, you get the rest stage, then you’re excited to get back to doing shows.
Robby: Like a cycle almost! You do 4-5 shows in a row, and you feel tired as fuck after that and then you have like two days off, and by the second day off you’re like “I wanna do a show again”. It’s nice to kinda always be on and always be doing something.
That’s great! Have you guys learned anything about each other, like particular habits, that you wouldn’t have known before, from being on the bus?
Freddy: I mean we’re all growing and adding on new habits and trying to be the best selves we can be, and be the most creative so we’re all kinda just inspiring each other. We all went out and got practice pads to practice drums and a bass guitar, so Robby’s practicing bass and we’re all constantly writing and freestyling together, trying to improve on all fronts musically. Also, I’ve just been meditating and reading a lot of books and trying to stay active in all ways.
Robby: I don’t know, there aren’t really specific habits for this tour that I’ve learned about Freddy or anyone. It’s almost the same — we’ve been doing this for so long together that we have a very good understanding of each other, and it’s nice to have that.
Freddy: Also with everyone on tour is very loving. No matter who you are, we can get along with you very well. Who cares about your habits? As long as everyone’s in a good mood and loving each other, we can provide the best tour and have the best time all together.
We saw that you guys had dressed up as Rick and Morty for your set at Voodoo Fest – did you guys get up to any shenanigans this Halloween?
Freddy: We were in New Orleans!
Robby: Yeah, we were in New Orleans for that. We went to a cool warehouse rave that Fatboy Slim was playing at, after we played in New York. That was definitely a shenanigan.
Freddy: The Rick and Morty costumes are really funny though, we all have some inside jokes now from the voices and we did some interviews in character. But yeah, it was just really fun. I like Halloween a lot.
Was this your first year being on tour for Halloween?
Robby: This wasn’t our first tour on Halloween.
Freddy: We played Something Wicked last year.
Robby: Yeah we did. We’ve definitely done our fair share of Halloween shows and played on Halloween.
Freddy: I’d say we’ve only played like one or two years of Halloween shows, but they get better every year especially as we grow.
You both update your Soundcloud daily with tunes from your friends and other artists, but tell us about both of your current, go-to songs when you guys have time to chill out.
Freddy: I know we both love Knox Fortune, “Lil Thing” and that it’s one of our favorites from this year. I have a playlist of about 300 of my classic songs from all across time that I’ve always been shuffling through to stay inspired, but I love modern indie, electro-pop, kinda more indie like Polish Girl, Neon Indian, Passion Pit, stuff like that.
Robby: I’ve definitely been listening to Billy Island lately, their song “Ocean Eyes” fucking kills me. In a good way. Patient 99 by Blaise Railey is also a jam and a half, I love that track.
Robby: RAYE is super cool too.
Freddy: Yeah RAYE, the singer is awesome.
Robby: The new Odesza album is great.
Freddy: But Knox Fortune is one of our favorites lately.
Speaking of songs, in your “Candy” mix you guys put out, you have an endless goldmine of unreleased tracks. Will any of those officially come to light in the future?
Freddy: I’d say maybe a few of them might come out with some of the artists we’ve worked with. I think we’re constantly working on new stuff, but we’ll probably put out new Candy tapes, or maybe call it a different name. We’ll probably be putting out a good amount of beat tapes every so often. I really like that we put out Candy and it has the visual companion, it kinda separated stuff that we’ve released on Spotify and iTunes from these ideas and these cool ear-candy that you can listen to elsewhere, so there’s a bunch of different types of things that you can get from Louis The Child. I like having songs on Spotify that are real songs, but also having separate releases that might be things that please or excite you for the next release.
You said that you were looking to release more Candy mixes in the future?
Freddy: Yeah, I dunno if we’ll call them Candy but we’ll definitely put out new installments of some beat tapes.
Robby: Yeah, we definitely haven’t slowed down on our music-making so I’m sure that if you give it some time, we’ll probably regroup and be like “Shit, we have all these lil things, let’s make another one.”
Freddy: But no plans on it.
Robby: No plans, but if it happens naturally, that’s the best way.
On that note, your Last to Leave tour has been wildly successful and it seems that your fanbase only grows at an exponential rate. Besides some new music, what do you guys hope to accomplish in 2018?
Robby: We definitely have a couple more releases planned for 2017 that we’re really excited about. In 2018, we’re going to do a lot more touring too and get to a lot of places that we haven’t been to before, which is really exciting for us. We’re slowly but surely working towards an album, and I think the goal is definitely to put out an album in 2018. It’s still very much in the beginning phases, and we’re still really figuring out everything about it, but we definitely want to.
Freddy: It’s in the beginning phases in terms of adding things, we’re still working on the arranging of the album, but it’s not in the beginning phases in terms of like, we have like 30 ideas in a folder that we’re thinking for it and we’ve already tried to take a few out of it to try and put it together, and we still have a good amount. It’s coming though.
Robby: For sure 2018 an album, and venturing to a lot of new places to perform.
ITtowards the end of your shows lately, when you guys play “It’s Strange,” you both take a moment to sit down on the stage. Why is that?
Freddy: It’s a mixture of the idea naturally coming to Robby. Originally he would do it but after a few shows, I ended up sitting down with him and it kinda created a really cool moment. When she starts talking about “letting down your walls” we’d do it, and I feel like it’s a really close moment where I end up looking straight at the front-row and everyone in the crowd. You can kinda see them react to it, and it feels really close between the crowd and us.
Robby: I think another thing too is that it’s the last song of the show, and at that point there’s nothing really left that we have to do. We don’t have a next song that we have to think about transitioning in, it’s kind of a moment where we can sit down and be like “Alright, these are the last few minutes of the show, we want to spend it as close to you. We want to give you our full attention, ’cause after these last couple of minutes, this whole thing is done.” It’s nice to do that, and a way to really give our full attention to the people our in the crowd.
Freddy: And a good final moment; a good send off.
Lastly, Robby, why exactly do you take your shoes off when you guys perform? Is it that much comfier?
Robby: Yeah it’s a comfort thing. I used to DJ in my room and I wouldn’t wear shoes then. I just started doing it on stage a bit, and it started to turn into a thing where people noticed and we’re like “Whoa, Robby doesn’t wear shoes!”, and I was like “Well, guess I’ll keep doing it!”
Freddy: It’s a funny thing cause ever since we first started playing shows and there was no one there, he’s always done it.
Robby: It’s also one of Fatboy Slim’s rules of DJing, I guess you can say I try to follow.
Tickets for the rest of their Last To Leave tour are available online.
Over the past 35 years or so, Simon Raymonde has left his mark on the music world in several ways. First and foremost, there was his time as the bassist and keyboardist for Cocteau Twins, still one of the strangest and most unique bands of the ’80s, no matter how much people try (and mostly … More »