So I’d say the only thing I’ve taken from going from clubber to now being onstage is really personal experience and how I’ve seen the scene change.
Now, it’s become a full-on performance/concert, where we are the center of attention and everyone is facing us, as opposed to a “club night,” so to speak. Everybody in the club was dancing together in their own circles with their friends, and occasionally the DJ would drop a really, really dope mashup and people would go crazy. It’s really interesting, because when I was actually going to club shows almost 10 years ago, the DJ kinda didn’t matter as much as they do now. How has moving from being a clubber into being onstage informed the way you approach live shows and what you do in the studio? People often make the jump into production and DJing these days without being involved in the rave/club scene. Before that, I had heard house music but had never heard this gritty rock & roll sound meshed with electronic drums and synths. I remember going to pick up my friend to go out, and he didn’t say a single word and just sat in my car, popped in the album, and said, “Dude, you gotta hear these guys.” It was game over after that. I grew up in high school listening to metalcore, and what really put me on to electronic music was Justice’s † album. I got into electronic dance music almost 11 years ago. What initially made you fall in love with dance music? We were always on the same page throughout the entire collaboration, as well, so it made it that much better to be in the studio together to finish up the track. Working with Wolfgang might have been one of the most fulfilling things I’ve had the pleasure of doing in my life… he’s been my biggest inspiration for the last 10 years, so to be able to come full-circle and have a track coming out with him felt really good. How did it feel to work with one of your idols? He’s been a huge inspiration of your sound, and you both seem to approach your respective genres in a similar way. You’ve got a collab with Wolfgang Gartner coming out. We also had the chance to chat with JayKode about what it was like to work with his idol, his transition from clubber to mainstage party rocker, and how he fell in love with dance music. And he’s quickly become an intensely sought-after remixer, counting the Chainsmokers and Flux Pavilion among those who have leaned on him for his remix talents.Īhead of his much-anticipated collab with the legendary Wolfgang Gartner, we snagged a rail-crashing mix from the godfather of classical bass. He’s since released records on Ultra, Fool’s Gold, and Atlantic. His first big break came in 2014, when Skrillex dropped his remix of Beyoncé’s “Drunk in Love” at Coachella. Not long after that, he began to soak up the worlds of hip-hop and dance music, both contributing to a well-rounded palate that has helped him decode a sound all his own. By the time he was in high school, he had fully immersed himself in the guitar, with dreams of leading a metal band. JayKode began his musical journey at age 7 as a pianist. His signature spin on the heavier end of the electronic spectrum-which he’s coined “classical bass”-is the culmination of his childhood classical training in music theory and the far-flung scenes he’s fucked with along the way. He often comments on social media that he’s conducting orchestras in Ableton, while sharing pictures of densely layered synths and beautiful, emotive chord progressions. has managed to surpass the legions of other trap producers trying to break through. Thanks to the rare approach he takes to bass music, the young gun from L.A. JayKode emerged just over three years ago, determined to meld together his heterogeneous musical influences.
It takes listeners deep across a wide range of genres, movements, cultures, producers, artists and sounds that make up the diverse world of electronic music.
#RL GRIME AURORA BUY SERIES#
Insomniac’s Metronome series features mixes from some of today’s fastest-rising electronic stars, as well as championed legends.
0 kommentar(er)
