The Grammy nominated producer is known as the one of the most cutting edge artists not only within electronic music, but in a vast array of styles working with the likes of Madonna, David Bowie and Britney Spears. Not content with his own music, Brian Transeau has created numerous film scores and also his own software which can be heard on songs by Lady Gaga, Skrillex and Black Eyed Peas. Dan Prince speaks to the main man as he releases his 9th stunning studio album, ‘A Song Across Wires’…
Welcome back to DMCWORLD Brian and congratulations on a stunning new album ‘A Song Across Wires’ which we are lucky enough to have had a sneak preview of. Is it fair to say that this record has been inspired by a kind of resurgence in your love for electronic music?
“Absolutely! It is truly the first time in my career where I’ve been actively interested in the current state of EDM. Everything is inspiring. From the new iterations of Trance to bass music, dance music has never sounded better. From a sound design perspective I feel like finally there are others interested in some of the same musical pursuits I’ve been undertaking for over 20 years. I am super inspired and this record hopefully speaks directly to that.”
“For a long period of time, I felt like an army of one”. Discuss…
“Detail was just not something people were actively interested in. I work on music on a molecular level. I have peers and friends that can finish something in a day. Composing takes me sometimes upwards of a month a song. These days, and particularly since the advent of what we now quloquially call “Bass Music”, detail is shining at the forefront of composition. I love this.”
The explosion of EDM in America is quite simply, startling. For years yourself and artists like Sasha, John Digweed, Jimmy Van M and Paul Oakenfold were banging your heads against a brick wall trying to show America’s youth the light. What changed things, how important was bass music for instance?
“It was key. The interesting thing is this: Trance necessitates an understanding of electronic music. It is rooted in disco, ambient music, film score and acid house. Bass music does not. It is rooted in rock and hip hop. Bass music brought in kids that would normally be into metal. The best bass music producers were all into metal and it’s in part why dubstep is so hyper musical. At any rate, it’s like these two colliding tides are rippling of in the most exotic and interesting directions. Case in point Seven Lions, Au5, Fractal…I could go on and on. Excitingly these very opposed musical ideas are interacting and making incredible waves. I was asked recently what is the thing no one expects that will happen in dance music this year? My answer was Trance kids liking dubstep. The above artists are leading the charge. Convergence is excellent for our scene and it’s feeling of togetherness and camaraderie.”
I have never heard an artist claim that he feels every single song on their album is festival ready, I thought you were from the camp where you never wanted to make an album purely all dance music?
“Me too! (laughs). This is the first time I’ve ever felt like that about an album of mine and every time I listen to it I feel more so. Not that this was intentional or the end goal, I was just inspired by my peers and what is happening at this moment.”
There are some wonderful collaborations on the album, how long did it take to create?
“Thank you and about 3 years. These things always take me a while. In between I released 2 other albums though “If the Stars are Eternal so are You and I” and “Morceau Subrosa”. The first is a post study to This Binary Universe and Morceau Subrosa is an ambient album, made primarialy with many flavors of granular synthesis. In 3 years about 4 hours of released music. This is a record for me!”
How did the hook up with Korean superstar Bada happen – surely the language differences must have been a problem?
“It was amazing. We have mutual friends and met in Korea. She is an incredible singer and person. Her English (spoken) is actually excellent. My Korean is not, lol. I can say thank you. At any rate, thank you god for Google Translator! Writing lyrics was interesting to say the least.”
Can you give our readers an insight into the new album, offer up some of your personal highlights on this beautiful long player…
“As usual this one was a true labor of love. Working with all my collaborators was deeply inspiring. Bada, Jes, Tydi, Tritonal, Au5 and Fractal….just amazing working with all these people. I think my production skills went up 20 notches working on this. It was during a period of constant and deliberate study. Thank you for the kind words.”
The remixes of ‘Skylarking’ have helped it smash it’s way into the world famous Buzz Chart this week, who have you in mind for remix duties on some of the other tracks…
“It was so exciting to get Maor and Bluestone on those. I love what both those guys do and I hand picked them myself because I knew they’d kill it. They did! For next single, it’s a surprise but mixes are insane.”
The video to Skylarking is mesmerizing, set in the wilds of Alaska that was created by Christopher Andrew of A Million Stars and Our Dark Garden fame. What was that production process like?
“He is just amazing. He and I met through Arny at Black Hole. He used to do tour visuals for Tiesto. He’s an incredible film maker and videoagropher. Working with him is always exciting. We talk about a concept and he comes back with something that you can’t pick your jaw up off the floor for like 10 minutes. He’s a blast to work with.”
Official Video
You caused a stir on Twitter with your comments on a certain young DJ. A question I often ask established producers is whether these 16 year old superstars have got it too easy. Before they are out of shorts they have a manager, tour manager, press people, people to wipe their arses. Do you also think it is shame that these kids who have just made a hit record in their bedroom and are now earning $100,000 a gig, have not enjoyed life on the dancefloor? Haven’t enjoyed the highs and lows of clubbing, haven’t felt what it is like to be on the other side of the turntables…?
“Yes I do! My nights on a dancefloor have literally changed me as a human being. Everyone should have that experience. That was a great question.”
Does it annoy you that you are still perceived as a trance artist even though you have so many different things including film scores and working with pop stars?
“A little less than it used too. Here’s why, I feel a real ownership about the beginnings of what we call trance and it is music I love so that feels really good actually. People just need an elevator pitch about everything that is a sentence. I’m one of those artists the more of their catalogue you research the crazier I seem. I mean The Fast and Furious score next to Flaming June, it’s like “wtf is this?”…”
Where are some of the stand out gigs you’ve enjoyed recently?
“ASOT in Guatemala was incredible. Everything Armin does in performance is the most incredible thing in the world to participate in. I am excited to be releasing #ASAW on his label.”
What is the latest with the iZotope software development? You must be in geek heaven!
“Oh man, we are working on something exciting. All I can say is I developed this instrument (a hint) during the creation of This Binary Universe. It was about 1,800,000 lines of code in 2006. Now it’s an absolute beast. The cliff notes are, and this is in no way hype, this is going to change rhythm programing. Period. I can’t wait to see what people do with this instrument.”
We touched on your film score work earlier, we understand you are working with your friend Patty Jenkins on a new ABC drama?
“Yes so excited, she is awesome. We’ve been friends for years and working with her is a blast. Funnily I tease her because her hearing is like (bat) unreal. I’ve never found a piano sound she loved. I finally cracked that on this project so that alone is a super win. At any rate this show is an episodic drama based on a Dutch show. It’s awesome and a lot of fun to write too. We have 13 episodes to do this fall.”
Trance music has never gone away, it’s sheer euphoria has seen to that. But 2013 has definitely seen a massive return to vogue for the scene, I mentioned bass music earlier, how much of that due you think is down to trance kids getting into these sounds?
“LOTS! As I said before all the crosspolonation of music is making everything better for everyone. There is resistance, but what’s the quote “That is futile!”. It’s the most exciting time ever in dance music. I am so happy to be alive to see this.”
Where are some of the big festivals you are looking forward to this summer?
“Well I think I am most excited about Tomorroworld in the US. It’s it’s first year and I think going to be massive.”
What is your greatest festival moment ever?
“By far my daughter joining me onstage at last years EDC Vegas. Probably the greatest moment of my life (besides her being born).”
One of the remixers on Skylarking was Israel’s Maor Levi, a country that is still churning out incredible producers. Where have you visited recently and discovered great new music or a great new producer?
“Baltimore Maryland! Au5, Fractal, Prismatic. It’s endless there, those guys are crushing it.”
Who are your big buddies on the DJ circuit these days?
“The usual suspects…”
What can you tell us about the album tour later this year?
“We’re going to do a great run of shows leading into fall. I can’t wait for this. I’ve just switched agents to Nikki Solgot at Ten in One Talent and she is crushing it. This tour is going to be amazing.”
And finally Mr T, is this album your greatest accomplishment to date?
“My greatest accomplishment to date is tutoring a bunch of rowdy 9 year olds in 3rd grade math last year. No but really. The album is probably right below that.”
Thanks Brian, lovely to speak to you.
“Thanks for a great interview Dan.”
‘A Song Across Wires’ is released August 16th
