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SixthSense Talks #3 – EEEMUS ‘With Teeth’ – Breakdown

SS: We absolutely love the name of this remix – “EEEMUS With Teeth”. What is the concept behind this name?

EE: Firstly I just want to thank you for premiering my Remix as your first premiere and also asking me to do an interview for your website launch.

I’m so glad you love the name, it’s been getting a great response and I really love the name and concept I have built around it. It has been fun working on artwork and building the image around it.

While I was making the track I created a very crisp and crunchy bassline layer that really sat above the other basslines in another area of the audio field and sounded like a whole other element in itself. It was such a sharp, distinct, distorted, sawtooth style bass that sounded like teeth grinding, chattering, crunching together and had a bite to it as well, especially when listening to it in my headphones. It really painted the picture of teeth in my mind and made me visualise this while working on the other parts and sounds. I always give names to my remixes because I want the name to represent the image I am trying to create with that particular track.

I got such a strong image and feeling from this bass that it helped shape the sound of the other synths and parts to definitely be a lot more grittier and rougher to paint the picture that the song creates.

SS: This remix is a very different and unique track, can you tell us how you went about doing this remix and coming up with the ideas?

EE: It’s a pretty crazy story about how I came up with the idea then made this track. I had never done anything like it before.

I was asked if I wanted to do a remix of Maksim Dark and I was very keen to give it a shot but I didn’t want to spend a lot of my time on it, as some tracks take me ages to complete and I can get very lost in creating them.

So one night, before properly hearing the track or the remix parts that I was sent to work with, I was meditating in the sauna on a low dosage of psilocybin mushrooms and had some DMT, during which I had a vision of how I could do the remix before even knowing what the track was like.

I hadn’t had something like this happen before and the vision was very strong and clear.

I continued to meditate for another 30 mins and then I had some more DMT, then I had the same idea and vision come to me even stronger again, so I got out of the sauna at around 1am, had a shower, then went straight to the studio and worked on the remix for about 3 hours. I had the main body of the remix done in that time which was amazingly fast for me, but the main concept and idea of the track that I envisioned in the sauna I couldn’t create with the original track or remix parts available to me.

So I left it and came back to it the next day and by the end of that second session the whole track idea, breakdown and sound manipulation vision that came to me in the sauna was there and was one of the most amazing things ever…

I was blown away with how this came about and that it actually worked out. Fingers crossed this happens again for the next remix! Hahahaha!

SS: The breakdown is pretty unique and really captivating. Did you come across any challenges when producing this part? If so, what were they?

EE: I’m really wrapped with how unique and different this breakdown is.

The main idea of it and what I wanted it to do, was there, I had it made in the first two days of working on it, but getting it to sound right with all the different unique sounds and layers took me ages.

There is so much automation and sound manipulation going on to get the track to move through the different parts and to still work with each other at the same time.

Also because of the difference in all the sounds I had a lot of trouble at the mixing and mastering stage, which killed me…

I’m hanging to be able to actually play this track on the dance floor to see the reaction of people from this breakdown~~|!!

SS: What was it like working with the sounds of an artist like Maksim Dark?

EE: I was super wrapped to be able to remix such a big artist like Maksim Dark. It’s very cool to remix someone who has such a strong following in similar music to some of the stuff I create and from the other side of the world. So I thought it would be a great way to get my music out to some new ears. The remix parts I received to use weren’t very easily usable for my remix project. I used a small loop section from the original track, one remix part and the bassline midi as the others were very small and not good for me to work with.

SS: You’ve done some impressive remixes in the past year including remixes of James Monro, Nanoplex, Dangur, Gabriel Moraes and now this one. Do you have any tips on how producers should approach a remix?

EE: Thank you, I’m always so wrapped to be able to remix some of these big artists and I always try to make my remixes very unique. For me each remix is very different, I prefer to remix tracks that have unique parts or sounds that resonate with me. That makes the creativity and ideas come a lot easier and the work flows a lot better.

But that’s not always the case especially when doing a remix for a bigger artist, sometimes the parts aren’t as inspiring and it’s hard to get good ideas and direction from them. In that case I normally go through each sound and just play around with it and try to be creative, then after going through them all I go back to the ones I like the most and then maybe use those ideas as directions on where I can take the remix. Then I will start recreating the parts and sounds and building all the elements up together around these ideas.

Thanks again for the interview and a massive thanks for all my fans out there supporting and listening to my music~~|!!