SUBSHIFT has had a heavy run this past year, with standout gigs from Ushuaïa to Tomorrowland and sold-out shows across Europe and Japan. His latest cut, Big Bad Sound with SQWAD, taps into a darker, stripped-back side of his production, flipping an original UKG sketch into something tougher and more direct.
In conversation he talks about happy accidents in the studio, keeping momentum on the road, and why digging for hidden gems matters as much as playing his own tracks. We caught up with him to trace the shifts shaping his sound right now.
Big Bad Sound leans darker and more stripped-back than some of your recent stuff. What pulled you into that headspace, and how did SQWAD’s input flip the track from where it started?
For this track I wanted a dark tech house record which packs a lot of punch. A lot of my recent tracks have been a bit groovier so it was nice to switch it up for this one. SQWAD absolutely smashed it with their input, they reworked the bassline which was originally a speed garage reese, added some crazy leads and new vocal chops. The track took a totally different turn but I love how it turned out.
You said the track actually began with a UKG feel and even got rinsed at EDC before the bassline hit. Was that shift to the heavier version an instant “this is it” moment, or did it take a bit of wrestling to land?
Big love to Noizu for spinning my OG version at EDC! I think it just needed that extra oomph, me & SQWAD went back and forth a few times actually. For v1 we had the new bassline with the old drums and it didn’t really work, so I tore them up and I feel they compliment the bassline better now.
You’ve talked about your best tunes often coming from happy accidents, usually starting with drums. How do you know when something’s really clicking in the middle of a session?
Most of my tracks usually do! If I can play it on a loop and not get bored of it, and I’m dancing on my own in my studio it’s usually going to be something decent.
Back in November you mentioned blending UK tech-house and US flavors and not wanting to get boxed in. How does that mindset play out when you’re in the studio with other artists, like Basura Boyz or SQWAD?
It’s always nice to collaborate with other artists, especially those from different countries and continents. I don’t change much when I’m in the studio with other artists, it’s still usually messing around with sounds and synths until I hear something I like. For the collabs with Basura Boyz & SQWAD they were all done by sending stems back and forth online, so it usually takes a few more versions to get where you want it as we don’t have instant feedback!
Playing Ushuaïa and Tomorrowland sounded like a bit of a turning point, you said you couldn’t stop writing after those shows. What did that rush do to your creative process?
Most of the time I produce better music when I’m in the mood and don’t really try and force it. After those two shows I was definitely in the mood which really helped as I managed to make quite a few records shortly after!
Do you ever build tracks with a crowd reaction in mind, like aiming for a certain kind of moment, or is it more about making something you’d want to play and seeing how people respond?
I usually just make something I’d like to play to be honest. I try not to think too much when making tunes as it slows me down! Sometimes I play the track over a live video of a DJ playing it to visualise the crowd a bit however.
The last year’s been stacked – sold-out headline gigs in Italy and Japan. What’s been the biggest lesson so far about living that touring life?
For me, it’s about making the most of the cities I’m in, finding little pockets of time to explore and soak up the culture. I know I’d regret it if I just passed through without experiencing it.
On the flip side, what’s one underrated or unglamorous part of the grind that you think more people should know about?
For me personally, it’s DJ Support. There’s no better feeling than waking up on a weekend and seeing video’s of your record getting played out by DJ’s you look up to. The unglamorous part is actually finding the videos! I can’t count the time I’ve spent searching locations, tagged posts and more on Instagram to see if someone has played my record.
Tech-house is having a huge wave right now, and it’s easy for sounds to get recycled. How do you keep your sets and releases feeling like “you” when the scene moves so fast?
I try not to follow trends, and I’d like to think I have my own ‘sound’ and if you heard one of my tracks I’d like to think you would know it’s a SUBSHIFT tune. I try to play at least a quarter of my set time with original music from myself, sometimes more. But I also love crate-digging and finding those hidden gems you might not have heard before.
You’ve been hinting at pulling in UKG, speed-garage, and deeper textures. What’s one left-field idea or sound you’re itching to work into your next projects?
You’ll have to wait and see!
Big Bad Sound is out now on UNCOMMON / Serpentale
The post “If I’m dancing in the studio, it’s usually going to be something decent” SUBSHIFT interview appeared first on Magnetic Magazine.