Following an impressive showing on Scott Diaz’s ‘Rock Like’ EP, Toronto’s Darren Marshall recently returned to Groovphoria for his solo debut with an invigorating four-tracker loaded with authentic house flavours from start to finish. Encompassing a blend of jazzy disco-tinged vibes throughout the EP, Darren’s preference for upbeat and feel-good sonics really shines in each of the tracks. To celebrate the release of his latest work, we caught up with Darren for an immersive chat about the industry, being an artist and more:
![Darren Marshall - Lit The Wick (Original Mix) [PREMIERE] [Jackin House] [Groovphoria Records]](https://i.ytimg.com/vi/p8DjBJe1HcU/hqdefault.jpg)
Can you tell us briefly about your background and how you started producing House Music?
I grew up in Toronto and am very much a child of our early 90’s warehouse/rave scene. I started frequenting all-ages clubs in the city around the age of 13. Proper warehouse parties by 16. Raving, raving, and more raving by the time I was 18. I also started learning how to DJ around the age of 15 with some friends in high school. Without a doubt, DJing was the catalyst for music production.
Several years later, when consumer-level DAWs like Reason came out, I caught a new bug. I wanted to create. I didn’t think of it as “writing music”; I was sculpting beats. Learning to create drum loops from individual 1-shot samples, learning what step-sequencing was, etc. I was just messing around and having fun.
Sometime around 2009, I reconnected with one of my good friends from High School, Jeff Hurst (aka Jeff Mason, aka J-Groove). Jeff had just started a digital record label, Dirty Deluxe Records. We planned to meet up and hang out like days past to play catch up. Next thing you know, we’re throwing a few tunes together in Ableton Live (my DAW of choice today). Jeff also allowed me to remix a few things for his label and helped keep me active in the early stages. He taught me a lot and gave me a place to create. That’s where I first got my feet wet.
How would you describe your musical style, and what are some of your biggest influences?
Up until about 4-5 years back, I was leaning a lot more toward the tech house side of things. But for the last several years, I have felt a bit more grounded within straight-up House Music and Jackin’ House. Genres and classification can get a bit annoying and create roadblocks, though. So, I try not to overthink it. The most important thing for me is the groove. When the syncopation is just right and makes me involuntarily sway along with the music, I know I am on to something. Incorporate some points of interest that help steer away from things getting too monotonous, and I am in!
As far as Influences go, these have changed and evolved over the last three decades. They started with a lot of deep and classic house names like Ten City, Chez Damier, Robert Owens, Mr. Fingers/Fingers Inc, Once I started buying records, I was listening to a lot of artists like Sneak, Todd Terry, Cashmere, and Paul Johnson. In the very late 90s and early 2000s, I was all about that “Nu Breed” tribal and progressive sound. Steve Lawler, Danny Howells, Satoshi Tomiie. I’ll skip the tech house phase, as that was all over the place! Over the last few years, I’ve shifted gears once again. My current influences would include Toronto’s own Demuir and his Purveyor Underground family of artists. Jason Hodges, TURF (now Sudden Moves), Jonasclean, Barney Osborn, Vincent Caira… Ultimately I love a lot of music in a lot of genres.
Can you describe your creative process when producing a new track?
As I have moved closer to more of a House/Jackin House sound, I sample much more than I ever have before. As such, I typically start with the main sample. I allow that to set the mood and dictate the vibe for the next steps. Usually, the bassline comes next, as it has to fit the main sample. Sometimes the bassline is IN the sample. If that is the case, I’ll usually stem it out by itself to control and process the sample and the bassline independently. Drums will come next, which is a high contrast to how I did things years ago. It is much easier to insert drums into the music than it is to insert music into existing drums. The drums need to compliment the vibe and therefore come second to the sample and bassline for me. After that, I’ll add the salt and pepper (drops, builds, crashes, creative FX, etc.) and perhaps any spoken word samples I find that fit the vibe. I tend to mix as I go as well. While I typically wrap things up with a mix session, that session is short and for minor adjustments, as I’ve been keeping my eye (ear!) on the mix throughout the creative process.
Your latest release, “Lit The Wick”, on Groovphoria Records, has already had great support. Can you tell us more about the inspiration behind the EP?
I don’t know if there was an actual moment of inspiration. It was more so a sequence of events. Michael (aka Jazzmik, Groovphoria’s big boss) and I had been in touch for well over a year via socials and a discord community created by Demuir. One day we were messaging back and forth and sharing each other’s entries in a remix competition. While we did, we floated the idea of hooking up on a collab project. He sent me a few ideas and project folders, and things just sparked. Next thing you know, we had a decent run with our ‘Mind Games’ EP on Frosted Recordings. Shortly after, Michael started up his label, Groovphoria. Due to our existing relationship and decent success on our ‘Mind Games’ EP, he asked me to jump on board. I sent him a few sketches I already had on the go. One of them was ‘Tell Me’, which is track 4 on my ‘Lit The Wick’ EP. He loved the vibe on ‘Tell Me’ and asked for it. I went back to the drawing board and came up with the other three tracks shortly after. The whole process was WAY longer than he originally wanted! I tormented him with due dates for months!
You can grab your copy here: https://www.beatport.com/release/lit-the-wick/4039318
How do you approach collaboration with other artists or vocalists?
Well, so far, the process for these projects hasn’t changed much for me. I’m sure they will, but so far, I typically start by asking for a few ideas from the other artist. They will send me stems or project folders of a few things they are working on. I pick the ones that stand out and sound like something I can compliment. These sketches will be the blueprint for the final product. I almost always replace half (if not more) of the drums and shift things around on the grid to tighten up the groove to my taste. Then I reprocess all of the drums (mine and the original sounds) to add some cohesion. Once the drums are in place on top of the original idea, I have usually been the one to arrange and add final touches (drops, breaks, turnarounds, etc.). At that point, I’ll send it back to my collaboration partner. We regroup and talk through some suggestions or potential changes. Then I implement those changes and wrap it up. In short, my partner will usually start things up, and I’ll finish it off after a ‘team meeting’ in the middle of the process.
What do you think sets your music apart from other producers in the house music scene?
I’m not sure there is an answer to this question, as I don’t know that anything sets me apart from the crowd per se. At the end of the day, I write music that I enjoy, and I’m sure this is the same for anyone else. With that said, I do put a lot of effort into drums and their overall cohesion with one another. A lot of thought goes into the processing and programming of snares. I am paying more attention to making sure they are lively and crack just right. Recently I’ve been trying to walk a fine line between techy grooves and variation while trying to remain grounded in the realm of Jackin House. This past year or so, I have been fortunate to receive some great feedback regarding my overall pre-master mix and my drum processing. Not sure if I even answered the question there, though… 🙂
How do you stay motivated and inspired to continue producing music?
This is a bit day-to-day. Someone I trust immensely told me that motivation does not have to come from somewhere or something. It can be a choice. Writer’s block is a choice. You can choose to say, ‘I’m not feeling it today’ and decide not to write music as a result. Or you can choose that while you might not feel any ‘magic’ today, you’re going to sit in front of the DAW and throw some ideas at it, good or bad. Some just might stick around until that session you are feeling extra motivated and inspired. You might take a very run-of-the-mill sketch from yesterday and turn it into an absolute belter tomorrow. One thing I do believe in is that activity motivates more activity, so staying active is key. Even when you are ‘not feeling it’.
Can you share any exciting projects or collaborations you have in the works?
I have a small handful of things on the go right now that I probably shouldn’t speak to just yet as the final details have not been ironed out. With that said, I can confirm that I plan on returning to 2 labels I have had some success with over the past two years soon. I can also say there is another EP in the works right now between Jazzmik and myself. We are just in the final rounds of finishing right now. Beyond the above, I have one other goal to reach, which involves an EP that I plan to write specifically for a Toronto-based label that I hold in high regard.
How do you balance your creative vision with the commercial demands of the music industry?
Short answer. I do not. I honestly don’t pay attention to it at all. I do this for me, and if I get to hear my music played by artists I admire, that’s the gravy. That is really it.
What advice would you give aspiring house music producers just starting?
Get involved in communities of people who share your passion while trying to avoid the ones who might sound passionate but are just talking and not doing. Learn from/with them. Ask for guidance when you are stuck. Perspective is powerful. Take your craft seriously. Put in the work. Take courses, read articles, and watch tutorials. It’s tough figuring out things like what parallel compression means, what dynamic EQ is, and how it can help your mix without any relevant context or guidance. Join discord channels like Demuir’s and feed off of the activity and flurry of questions and answers. Collab with others who might be one level up on you with respect to know-how but are also still learning themselves. I have learned A LOT from my collabs. It is interesting and educational to see how others achieve things in a different manner than you might first think to do so yourself.
Above all, have fun. Do it for yourself. Not for a chart position. Not for recognition. If you don’t love doing it, there is no point in doing it at all.
Darren Marshall’s ‘Lit The Wick’ EP is available now on Groovphoria Records.
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