Acid Lines, Raw Emotion, and the Art of Reinvention.
Interview by Ellie May.
Salt Queen arrives with a debut that feels both familiar and startlingly new, fusing acid soaked club energy with a vocal presence that cuts straight through the noise. Producer and Samples From Mars founder, Teddy Stuart, who has long been celebrated for his meticulous studio craft, teams up with vocalist Magali to create a project that thrives on instinct, experimentation, and emotional honesty. Their first release, Are U OK, captures that chemistry in its purest form — a spontaneous spark that grew into a fully formed artistic identity.
It’s a pleasure to speak to you about this killer release ‘Are U Ok’. How are you feeling about it right now?
I’m excited and really happy it’s out!
Can you talk about Salt Queen a little. How did it all begin?
I’d heard Magali’s album and really loved it, and couldn’t help but wonder what her voice would sound like in a completely different context. So I had her come to my studio and played her different instrumentals while she improvised lyrics over the top. I was pretty blown away — it felt like somebody was finishing the worlds I had started. The first two were kind of ambient/downtempo, but the third was a curveball — a clubby, acid track. The first thing she said was, “Hey… how are you feeling… you look pretty f*$%d up,” and I knew we had something special. That became our debut, ARE U OK.
You’ve made music under your own name before. How is this new moniker different in your eyes and ears?
I feel like Magali’s vocal is what separates it from my past work. It’s a fun process because I get to come up with different styles of tracks that can feel a bit disparate, but her vocal always ties it into the Salt Queen world.
Samples From Mars is a world respected sample house. Tell our readers about SFM for those that do not know?
Samples From Mars is a sample label that creates sample packs out of vintage drum machines and synthesizers, and recently we’ve been pressing our own vinyl and sampling that. It really started as a love letter to all of the gear that I grew up making music with, and a way to give people access to that digitally.
I feel I want to ask you a lot about production as you are such a studio wizard.
Are u ok with that?
Of course!
Production sits at the crossroads of technology, artistry, and imagination. How do you experience the interplay between these elements in your work, and what balance feels natural to you?
For me, it comes down to being intentional with what I’m sitting down to focus on in any given session. For instance, I might say, “OK, today I’m going to explore this new sampler I got,” and not worry about making anything good. But on another day, I might have a specific creative goal, like finishing a track.
What’s interesting is that I often make my best music on the days I tell myself I’m just doing a technical exercise. I think it’s because I’m not feeling the pressure to create something great — so sometimes I’ll try to trick myself into making music this way.
Which stage of the production journey gives you the deepest sense of satisfaction?
That’s an interesting question because I think satisfaction is different from enjoyment. Enjoyment for me comes from starting something new that’s really exciting. But satisfaction comes from finishing something and knowing it’s done.
For you, where does composition end and production begin — or do the two blur into one?
For me, they completely blur into one. I’ve stopped trying to figure out where one starts and the other ends.
Do you prefer technology to fade into the background of your music, or is it something you enjoy highlighting?
It’s funny — the sample packs really focus on the gear, but for music I’m not as interested in that. For me, with a great record, you stop hearing it as the gear that made it and it takes on a life of its own, telling a story and creating something that feels bigger than the sum of its parts.
How would you describe your connection with your studio or setup?
It’s definitely an extension of myself. Every element of it — every piece of furniture, the placement of gear — there’s nothing in here that I don’t need. It’s set up for a combination of sampling and music making, which took me a while to figure out because sometimes the two are at odds with each other in terms of workflow.
How has your setup changed over the years, and which pieces have become essential?
I used to jam on a bunch of drum machines and synths all at once, but now I’m starting things more often with one or two pieces of gear, or by loading my Octatrack with long form stems — basslines, drums, vocals, synths that I’ve recorded over the years. I’ll flesh ideas out quickly, and if they hold up, I’ll start replacing or layering in classic drum machines and synths to bring it to the next level sonically.
What does your current workspace look like?
The studio has two rooms, so we can have multiple projects going at the same time. The main room has most of the gear and is centered around an API console, tape machines, and big vintage hi fi speakers, along with smaller ATC monitors. That’s where tracking, editing, and mixing happens. It looks out at the Williamsburg Bridge in Brooklyn.
The B room functions as a live room, a secondary work zone with two desks, and a party room. There’s a drum set, a full DJ booth, disco ball, lights, and another big vintage sound system.
Do you follow a consistent process from sketch to final?
Definitely not! For me, making music and sampling is about approaching things in new ways, both to stay inspired and to get unexpected results.
What elevates a piece of electronic music, and what distinguishes a finished track from one that stays in the vault?
A distinct perspective. I’m pretty agnostic when it comes to genre and am most interested in things that feel unique and bold. I have a lot of half baked ideas, and if I feel myself enjoying something less the more I work on it, I’ll set it aside and focus on something that I feel more confident about.
How much room is there still for genuinely new ideas in music production?
It’s hard to say. While it can feel like there’s less to explore over time, that’s not something I’m really concerned with, as I’m not really looking for innovation in music — I just want something I connect with emotionally. I also think things can be recontextualized; for instance, “Are U OK” without the vocals might sound pretty familiar, but with them, it feels unique.
Even though we’ve lived through a few eras of Acid House, this release feels fresh. Would you call it acid?
Thank you — yeah, I would call it acid. There’s definitely a 303 running the whole time!
I heard Quin Whalley and Paranoid London playing it — how does that feel?
That was great. I love Paranoid London and all of Quinn’s side projects like Hackney Electronica, so it was really special for him to be one of the first to play it.
Download/Stream ARE U OK on Bandcamp
Salt Queen Instagram
Magali Instagram
Teddy Stuart Instagram
Samples From Mars
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