Mera Bhai

I’m well, thanks for having me. Responding to you guys from my studio in South London.

It’s the most disarming track on the record. For sure, it’s clubby, but it’s definitely a tough one to place, as it’s not super playable in clubs with the intro and also not particularly well suited to radio. Releasing the more out-there bits first is more of a statement of intent to me. I prefer when people don’t quite know where to place things; it means that if they’re engaging with it, they’re willing to keep an open mind for what’s coming next.

I’d stopped touring with my band Flamingods after a 10+ year run of great shows and had since spent my time a lot more immersed in dance music. I was thinking much more about my music being experienced in a club/soundsystem context, so that’s driven a lot of my decisions on this record. I was being much more mindful of space and finally getting to channel lots of influences that I hadn’t had the chance to. That said, there’s still definitely a lot of wigged-out sections of the tracks that were influenced by being in a psych band.

There’s an immediacy to the record, which I think you can only capture when you’re in a flow state and working quickly. The more I experience going into that state, through preparation and focus, the more aware I am of it in art. I can see it and hear it all the time. It’s not better, but it’s definitely a different format of communication.

It really was a game changer. I’d been stuck in a bit of a creative rut, and going to Mikey's was perfect, as it was at TRC (Total Refreshment Centre), where I’ve done a few Flamingods records in one of the other studios (with Capitol K and Danalogue), so I’ve spent a lot of time there and always have friends and family floating around there. It felt like a home away from home, which definitely helped me relax into it. Mikey's studio is brimming with vintage synths and drum machines, which I’m sure you can hear on the record. Knowing that I only had four days there also meant that the process was really focused; there were no idle moments. Even though I love my studio, there really is something special about doing residencies or taking yourself to a new space.

I spent a large part of my childhood in Rome in the 90s, where I was introduced to electronic and dance music. It was always on the radio and on TV, so it’s something that shaped my view and experience of music. I think the global expressions on the record are more nuanced, in little moments and motifs, but it’s an interesting one. The more my music develops, the more nuanced these multicultural influences and gestures become. They’re definitely less obvious than normal, but I like that. I’m trying to be more and more discreet with these expressions so that they feel less like something I can be pigeonholed with. I’m always playing around with this.

I love the naivety of the expressions of romance in those eras. It’s so syrupy and sweet, and the juxtaposition of that against modern songwriting and production is really interesting. It gives me scope to get weirder in the production. Finding this balance is a really strong approach to writing pop music, too. Walking that line where you can offer people something really simple to engage with but challenge them at the same time is the role of an artist, in my opinion.

It felt natural for me to make a record that bridged the gap between the genres that underpin my DJ sets and was something I hadn’t gotten around to exploring, so the excitement to write was very present. These genres really defined different eras of dance music and underground culture, so I wanted to stay away from making pastiche-sounding music that sounds like a watered-down version of music from an era that’s already been and instead focus on bringing together elements of them into something new.

On reflection, I’m happy with where this record got to in terms of finding the right balance. I try to walk that line in everything I’m working on. I’m fortunate to be producing a few other really great artists who come to me specifically for that, so I’m sharpening that set of tools every day, always reflective on this, and always finding new ways to bridge that gap.

Looking back has given me the opportunity to connect with a side of my musical heritage that I hadn’t had the chance to, so it’s definitely in its most honest state. I’m always trying to evolve musically so that these expressions always remain undiluted by how I think things should sound. I think this "beginner's mind" to writing means that you’re usually communicating more directly.

Across the record, I broadly explored themes of love, euphoria, and freedom. There are a few moments where the themes reveal themselves, like having your actions misread on it ain’t that way; being in a situation where you wish things could have unfolded differently on could’ve made you mine. And I firmly believe in music as a tool for social change, so I wanted to use Set You Free to channel a statement against the increasingly oppressive and unjust society we live in. It’s euphoric, which gives it that ease of connection.

This feels like the beginning of a new era for me. After all those years touring and doing band records, I finally have time to focus solely on Mera Bhai. I’m excited to have this time and space to think about what I’m offering, how I’m connecting with people, and what I’m saying musically. I always seek to evolve and grow, and I don’t take the responsibility lightly! I don’t know how many artists I could compare myself to, which I think is a good thing. And it’s important for me to walk this path unbound by genres in both influence and output. For me personally, it’s the cornerstone of staying underground.

Lots of things are going on! I’m finishing up a few records for other artists I’m producing (you’ll hear about these in due course). I’ve got some international touring coming up, which I’m really excited about. I love touring internationally and having this musical dialogue with people around the world; seeing how they respond gives you a real socio-political insight into what’s going on there. In terms of new sounds, it’s about stripping things back as much as possible. My current fascination is with tech house production, just keeping things so stripped back with such a direct message. Don’t expect a tech house record from me, but there’s definitely some inspiration coming from there. As well as this, I’m looking at taking my process away from samples and synths and back to traditional instruments (whilst remaining club-focused), so let’s see where this goes! I also have a bunch of collaborations in the final stages of being finished up. The next one is out in September with an artist I am a big fan of. I can’t reveal anything just yet, but stay tuned.