4.18 reminds me of what bass is for. The grinding, raw edge of this dangerously shaped bassline is something to behold, and that’s not before Thea Austin breathy vocal hits. Apart from the equally heavy-duty drums, plus some stabs that’s almost everything, which is more than enough. Soledrifter’s remix provides a neat alternative sequencing more bounce to the rhythms and hints of funky Acid to the grooves.
Welcome to Magazine Sixty, ISSA. Your record label: ISSA Music is also part of a publishing company of the same name. Who inspired you to get into publishing and how would you describe how it currently functions given Covid-19?
Thank you for your interest in our new release. I started my career signing a publishing deal with EMI Publishing (now SONY ATV) as an artist / songwriter. I am first & foremost a songwriter / lyricist and understand the value and importance of the actual song itself. Owning the publishing and copyright of a song is like owning real estate, an intellectual property that is timeless.
What is the story behind the title of your new single for the label: 4:18 AM? Which features renowned vocalist Thea Austin, can you tell us about how that relationship came about?
4:18AM is about the push & pull of seduction. 4:18AM is all about timing. Thea and I met in the early 2000’s through a mutual friend. He instinctively knew Thea and I would be a great collaborative match. She and I instantly had a connection upon meeting. There was a very creative chemistry between us. We carried on to write + produce some powerful music together!
The track feels like a lot of your influences have been ingrained into its grooves. Who are you most important influences both within and outside of electronic music – any painters, writers etc that inspire you too?
The groove takes precedence in my work because I am a drummer / percussionist at the core. My father, who is a drummer, exposed me to rhythm + beats since I was a child. So yes, the groove is very deeply ingrained in my DNA.
Can you talk us how you produced the track, including any software / hardware you always refer to? Did 4:18 AM originate from a single idea, or something you heard, read or watched?
I use an Apple MacBook Pro computer & Logic Pro as my main software. Universal Audio’s Apollo Twin Duo Thunderbolt is my audio interface. For vocals my set up is a Neumann U87 & TLM103 Microphones + a Manley Vox Box Tube Pre-Amp. I utilize software analog synths such as Arturia, have a library of sounds which I am always mixing + matching to create new tones. I typically start tracks with the groove and build my way up. 4:18AM was written about a personal experience based on seduction, destiny and timing.
What speakers do you like to listen to music on?
I have an array of different speakers with which I like to listen to my mixes. A few pairs of JBL’s, one of which are vintage JBL 4315s, some classic Yamaha NS10s, an old pair of Alesis Monitor Ones + some QSC K12 DJ PA Speakers. Lastly, I always like to take a quick listen on some Apple ear buds + the little speakers on my MacBook Pro Laptop to make sure all translates & sounds good & balanced across the board!#
You also create music for films. How would you describe the difference between making soundtracks and sounds for the dancefloor? Are you freer to be more inventive with one or the other?
I definitely feel more freedom of expression and more inventive writing & producing sounds for the dancefloor. When composing music for films you are a bit locked into the perimeter of the scenes with regards to the timing, mood and atmosphere. Although it can be a very creative process there are more boundaries. I prefer creating dance tracks.
Has Covid-19 affected the way you work in Los Angeles? And in what ways do you see it affecting how the (Dance) music industry works in the future?
I have been quite productive in my home studio during this Covid-19 crisis. The coronavirus pandemic has had the strongest and most direct impact on the live music industry, of course. However, it has popularized and placed focus on the “Virtual” platforms for live entertainment. My plan is to continue releasing my own works as well as collaborative efforts with others on my own label. I also like to license my tracks to other record labels from time to time. I feel this helps to reach a wider audience. Continuing to build my music catalogue in the interest of pursuing licensing opportunities is high on my list of priorities moving forward. Thanks once again!