UK based big gun Far Too Loud has taken over the world this summer with his incredible Firestorm EP which has had everyone supporting from; Sub Focus, Diplo, Porter Robinson, Pendulum to Dillon Francis and beyond! We caught up with the Brighton based DJ producer to chat beats and what it takes to be big in the game;
Thanks very much for taking time out to speak to us! Can you tell the readers where you are in the world today and what you’ve been up to over the last 7 days?
It’s Sunday night and I’m at home. I was intending to spend some time in the studio today but ended up feeling too ill. I think the last few days are taking their toll! I was in South Italy, then came back to UK for Boomtown Fair, then went back out to Italy for Magnetik Festival near Bologna, then back to play in London.
You’ve just played one of the headline sets at the crazy Boomtown Festival in the South of UK. How was that and what makes Boomtown such a special event?
I played the closing set on the Arcadia stage. It was the fourth time I’ve played for them and it’s always something special, however this time trumped all the others. The atmosphere was insane, there were fireworks and flame jets going off the whole time. The stage itself looked like a massive tripod from War Of The Worlds. The whole festival was mad, built to look like a town with so many stages and venues tucked away. It was my first time there and I’ll definitely try and go again.
Over the years your sound has evolved from breaks through to a whole range of bass heavy sounds that encompass your new EP that has found a home in the sets of all the world’s biggest DJs! Do you enjoy the challenge to make tracks across the spectrum and how did you approach the Firestorm project to make sure that each track stood up in its own right?
I do enjoy the challenge of trying something new. Once I’ve finished a track I’ll want to do something a bit stylistically different with the next one to keep things interesting. I didn’t really plan the Firestorm EP as such, I just wrote some tracks and felt that those three would make a good release together.
Your productions are pretty complex with tonnes of edits and FX to keep the ears excited! How long does it take to wrap up a tune and can you give us a run down of the production process that you undertake when rolling out another banger?
I generally allow two weeks to finish a track, and that’s with other stuff going on like gigs or general life things. The first week will often be more experimental, playing with ideas and making patches, then the second week I’ll actually nail the track.
There’s certainly unmistakable production fatness to your beats. Are there any tips or kit you use that you can recommend to young producers reading this piece please that’ll help them hopefully get close!?
I use NI Battery for most of my drums. I love the way you can manipulate samples with it. I always look at the various modulations and FX Battery has to see if I can make a drum sample more interesting somehow. Finding good samples is key to getting good sounding drums and I’ll have long sessions of searching my hard drive and auditioning drum sounds at the start of making each track. I’ll often come across some that may not be right for the track I’m working on but I’ll save for later, so it’s a useful process to spend some time over.
Do you ever scrap tracks or return to them later or do you always find a way to finish them off? We’re always starting projects in our studio but find that getting them wrapped up is the trickiest bit! Do you have any advice to readers about knowing when to stop fiddling around and get it bounced down!?
I hate not finishing something, and also I hate having more than one track on the go at one time. If I’m working on something and feel it’s not quite right or I’m not that inspired by it then I’ll rework it into something that does work, rather than starting a whole new project. Consequently you won’t see a bunch of half finished projects on my computer.
Now we’ve got our tune all ready to blast out we need a label! You’ve chosen to work with a few labels over the last few years, is this a choice you’ve made to get maximum exposure or weren’t you happy being tied down? What advise would you give us in this department please?
I guess I’m just lucky to have found people who I’m happy with working with. I think the thing to realise is that labels are always looking for music to sign, so if you’ve got something good it won’t be a problem getting it snapped up. I’m not sure that simply using lots of labels is a certain way to get maximum exposure though, as it depends on the label’s following and what they are prepared to do to push your music. It may be better to work with a label you have already worked with over a new one, if you are happy with the effort they put into promotion.
Having made serious waves with your current EP, what’s next on the production agenda? Have you been approached by any major labels or artists for collabs? We think there’s a definite parallel between your sound and that of Knife Party, Kill The Noise and all those guys who are taking over the world and you should be up there too!
Actually the next EP is next on the agenda. I’ve got some remixes to come out in the mean time though. I’m not actively looking for collabs at the moment. I’m quite happy working away on my own. I think if I was going to collab with anyone I’d have to feel a strong connection with them in terms of musical ideas and production processes for it to be rewarding.
Talking of collaborations, if you had the chance to work with any dance music or rave acts from the 25 year history of the scene who would be your top three and why!?
My top three in dance music have always been The Chemical Brothers, Underworld and The Prodigy, although the thought of actually being in the studio with any of them making music is somewhat scary!
Finally, we have to ask a man who’s called Far Too Loud where the fattest rig he’s ever played on was and whether the kids were able to get within range of the speakers without losing their hearing!?
I was mighty impressed by the PK rigs they had at Shambhala festival in Canada last year. Hadn’t heard their sound before and that festival seemed a bit of a showcase for them. I spent 5 mins right in front of the wall of bass bins when Ed Rush and Optical were playing (with earplugs in of course!) and it was DnB as I’ve never experienced it before!
FAR TOO LOUDTRACK RECOMMENDATIONS
Karetus have totally stepped up their game with their latest “Entrudo” EP on Rottun. It’s tracks like this that are making electro-house so exciting for me at the moment. Really looking forward to what they will put out next!
Not much stuff been released from Space Laces, but what has come out is awesome. This one is the track of the year for me. Production level is just super high.
Heard some good productions from Eddie K of late, this remix being the best of them for me. Has been a great set ender a few times recently.
I’m a massive fan of Culprate’s production and it’s fortunate that I’ve been asked to do this review just in time for the release of his latest EP, which of course is blinding. This track and his remix of “Super Soaker” are about the filthiest 110bpm tracks I’ve heard this year.
I love a bit of drumstep and usually one of Calvertron’s drumstep number’s goes into my sets. Massive amounts of energy and face-melting bass.
A name to look out for in electro-house, Jan Waterman has turned out a number of turbocharged remixes this year. Big drop on this one!
Rarely do I play a set without something from Australian beatslayer Vengeance in it. Master of gnarly 303 sounds and driving electro beats for getting a proper stomp on.
While it’s not as raucus as the stuff I normally play, I think TJR has been doing some amazing stuff over the past year. I love the angry duck sound on the drop!
I’ve been following Cyberpunkers for ages and was really happy when I got the chance to do a remix for them this year. I was also really happy when I heard them dropping the tempo to 110bpm and coming out with some hard-as-nails bass!
Big, scary, noisy, rowdy vibes on this track from Alvin Risk. I had a big “WTF!!!" moment when I first heard the drop on this!
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