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Lil Yachty 'Let's Start Here' Is A Bold Departure That May Leave Some Fans Adrift

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If Lil Wanye’s Rebirth is the prototype for rappers-turned-rockstars, then Lil Yachty’ s endeavor into psychedelic rock with Let’s Start Here is a logical evolution. Leaving his bubblegum trap origins in the rearview, Lil Yachty recounts all that he discovered on an introspective journey into the untapped elements of his artistry.

As the title suggests, the Atlanta rapper’s career divides into two periods – before Let’s Start Here , and after. Aimed to be a new beginning for Yachty – a man who as a child was blamed for “killing” Hip Hop, his most recent LP features a moderate shift in style from impassioned rap to the howling vibrato of a modern psychedelic sound. It would be disingenuous to say this is a massive shift, as the despised Teenage Emotions also featured elements of alternative rock and psychedelia. However, instead of letting his team confuse Squidward’s clarinet for a cello, Yachty has learned from his mistakes and recruited some of indie music’s greatest. Unknown Mortal Orchestra’s Jacob Portrait, Justin Raisen, Magdalena Bay, and Patrick Wimberly of the disbanded duo Chairlift received various credits for production; while Mac Demarco, Nick Hakim, Alex G, and MGMT’s Ben Goldwasser all scored recognition as lyricists.

Cracked open by a languid breakdown of percussion,“the BLACK seminole” offers an immediate change of pace from his previous work. “No time to joke around, the kid is now a man / And the sadness is filled with remarkable sounds,” he croons throatily.

Featuring Teezo Touchdown, “the ride-” reflects on Yachty’s course in Hip Hop. Where “the BLACK seminole.” likens him to an industry outcast – a chip he tethers to his shoulder, “the ride-” sees Yachty pleading for respect from the same people who quickly ostracized him. Let’s Start Here. is desperate to exalt the rapper from the categorization of Hip Hop as it once confined him; the truth is that as “groundbreaking” as Yachty continues to say this album is, such a sentiment also ignores rap’s present affinity for transformation – for breaking and bending itself to redefine that which it can be. In 2023, Yachty is not the first person to take a stylistic turn into left field.

But, it sounds good, and that’s the most important thing – allowing Yachty to dabble in a fresh palette of songs that he’s hinted at, encouraging him to take the risk that predated this release. “Drive Me Crazy,” “Say Something,” and “Pretty” showcase a softer, more romantic side of Lil Yachty. “I feel so pretty,” he warbles dreamily, expressing himself with a cathartic transparency that is worlds away from the pent-up frustrations of “Go Krazy, Go Stupid Freestyle” or “YAE ENERGY.” Engaging with suicidal thoughts, experiences of anti-blackness, and heartbreak, Let’s Start Here. projects Yachty’s inner monologue out into the world.

With respect to his long-standing career as a rapper, Lil Yachty’s latest release comes across as few and far between; but, when placed in company with the works of other indie artists – like Tame Impala, Magdalena Bay, Yves Tumor and others, Let’s Start Here. falls short of what most listeners have come to expect from psychedelic rock and indie pop. The most obvious downfall of the project is the use of repetitive loops where breakdowns or solos should exist. The rugged guitar riff of “IVE OFFICIALLY LOST VISION!!!!” picks up intensity and then leads to nowhere, fizzling out from the lack of emphatic contrast between the build and the drop. The same disappointment applies to the seemingly promising crescendo of “The Alchemist.” Titled as so, it would be fair to expect this particular track to be the one where Yachty puts it all out there – where he turns his existing discography into gold. And yet, the kick drum that pounds like a racing heartbeat does not lead into something grander, rather it disseminates with the soft vocals of Fousheé.

Let’s Start Here. is exciting at the first listen because the style is new to Lil Yachty himself. Alas, the shiny sheen of new experiences tends to dull over time and with repetition. After a few plays through, there is little left to be discovered; this proves to be a problem for Yachty, particularly when he proudly pins the album as psychedelic rock. Unlike with the ephemerality of Let’s Start Here , Tame Impala’s Currents possesses the sonic and thematic layers to maintain an element of discovery even years after its release. The beauty of the whining reverb in “We Saw the Sun” is undeniable; but when the listener attempts to move beyond the surface, Yachty’s rendition of the classic instrumental inter-play of psychotropic rock unravels as if pulled from a string.

If contextualized by the tried and true characteristics of alternative rock, Let’s Start Here. seems inspired by Yves Tumor or any one of his esteemed indie collaborators, but it cannot stand independently against them or the test of time; Yachty’s rock debut is unique mostly in the sense that it reveals an alternative aspect of his artistry, a departure from Michigan Boy Boat , the Lil Boat series and is his massive warbling smash “Poland.” In regards to what it offers for the future of psychedelic rock, the LP treads above the already-existing footprints of Currents and Tumor’s Heaven To A Tortured Mind .

Still, the record allows for the progression of the perception around Yachty’s career as a musician. Much like Rihanna with ANTI , Let’s Start Here. places Lil Yachty in a position to be considered for his versatility and artistic merit. A career shift into psychedelic rock is more than a stylistic choice; it is a decision to attempt an alternation of the listener’s mind. When understood in terms of creative growth, Yachty earns success, adjusting the preconceived notions that surrounded him. But much like Harry Styles, Yachty’s pastiche is not anything new, and it doesn’t have to be.

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With ‘Let’s Start Here,’ Lil Yachty Emerges as Music’s Boldest Creative Director

By Jeff Ihaza

Lil Yachty is rich. The 25-year-old musician posts TikToks featuring exotic Italian furniture, and goes vintage shopping with Drake. By the time he graduated high school, he’d already bought his mom a house. He caused a mild international incident with his viral hit “Poland,” a loosie released late last year in which he croons, with impossible sincerity, about bringing illegal pharmaceuticals into Poland. One couldn’t imagine a more charmed Gen Z existence. And yet, on “:(failure(:,” an early interlude from his left-turn of a new album, Let’s Start Here, he says that he’s “seen failure a few times/More recently than before, actually.”

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Maturation is a central theme of the album. You can hear the inspiration of Tame Impala ’s anxious midlife musing on “the ride-,” featuring rap experimentalist Teezo Touchdown. The song’s lush, psych-rock production makes for a fitting landscape. We’re bearing witness to a childhood’s end, as both howl into the void. There is, indeed, a lot of howling on the album. 

Oohs and ahhs stretch to the heavens with intention — like on standout “pRETTY,” which is already proving to be a hit on TikTok, and sounds like a slowed bedroom cut from the cult label Naked Music. Percussion rumbles gently over the staggering two-step, while a sensual, otherworldly warble breaks through the clouds like a ray of sunshine in spring. 

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You could call Let’s Start Here a rebuke of the notion that listeners have abandoned the full-length album. The record’s tight 57 minutes feel as cohesive a project as any artist has released in the streaming era. Yachty’s genuine adoration of his musical inspirations is like the Gen Z alchemy of Pinkpantheress, able to turn familiar source material into something entirely new. 

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Lil Yachty Announces New Album ‘Let’s Start Here’

The rapper's last set,  Lil Boat 3 , was released in 2020 and debuted at No. 14 on the Billboard 200.

By Heran Mamo

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This wouldn’t be Yachty’s first dip into the genre, as he collaborated with  Tame Impala on a 2021 remix of “Breathe Deeper” from  The Slow Rush B-Sides & Remixes , which peaked at No. 47 on  Hot Rock & Alternative Songs . 

In October 2022, the 25-year-old MC returned to the  Billboard Hot 100  for the first time since 2021’s “Hit Bout It,” featuring  Kodak Black ,” with his  frigid, viral sensation “Poland.” The song reached No. 40 on the all-genre chart and entered the top 10 of  Billboard ‘s  Rap Streaming Songs  chart. He also produced several songs on  Drake  and 21 Savage’s collaborative album  Her Loss , which debuted at No. 1 on the  Billboard 200 .

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Yachty released his last full-length album,  Lil Boat 3 , on May 29, 2020 via Capitol Records, Motown Records and Quality Control Music. The 19-track set, which included lead single “Oprah’s Bank Account” featuring  DaBaby and Drake, launched at No. 14 on the Billboard 200. 

See the album artwork for  Let’s Start Here  below. 

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How Lil Yachty Ended Up at His Excellent New Psychedelic Album Let's Start Here

The evening before Lil Yachty released his fifth studio album,  Let’s Start Here,  he  gathered an IMAX theater’s worth of his fans and famous friends at the Liberty Science Center in Jersey City and made something clear: He wanted to be taken seriously. Not just as a “Soundcloud rapper, not some mumble rapper, not some guy that just made one hit,” he told the crowd before pressing play on his album. “I wanted to be taken serious because music is everything to me.” 

There’s a spotty history of rappers making dramatic stylistic pivots, a history Yachty now joins with  Let’s Start Here,  a funk-flecked psychedelic rock album. But unlike other notable rap-to-rock faceplants—Kid Cudi’s  Speedin’ Bullet 2 Heaven  comes to mind, as does Lil Wayne’s  Rebirth —the record avoids hackneyed pastiche and gratuitous playacting and cash-grabbing crossover singles; instead, Yachty sounds unbridled and free, a rapper creatively liberated from the strictures of mainstream hip-hop. Long an oddball who’s delighted in defying traditional rap ethos and expectations,  Let’s Start Here  is a maximalist and multi-genre undertaking that rewrites the narrative of Yachty’s curious career trajectory. 

Admittedly, it’d be easy to write off the album as Tame Impala karaoke, a gimmicky record from a guy who heard Yves Tumor once and thought: Let’s do  that . But set aside your Yachty skepticism and probe the album’s surface a touch deeper. While the arrangements tend toward the obvious, the record remains an intricate, unraveling swell of sumptuous live instruments and reverb-drenched textures made more impressive by the fact that Yachty co-produced every song. Fielding support from an all-star cast of characters, including production work from former Chairlift member Patrick Wimberly, Unknown Mortal Orchestra’s Jacob Portrait, Justin Raisen, Nick Hakim, and Magdalena Bay, and vocals from Daniel Caesar, Diana Gordon,  Foushée , Justine Skye, and Teezo Touchdown, Yachty surrounds himself with a group of disparately talented collaborators. You can hear the acute attention to detail and wide-scale ambition in the spaced-out denouement on “We Saw the Sun!” or on the blistering terror of “I’ve Officially Lost Vision!!!!” or during the cool romanticism of “Say Something.” Though occasionally overindulgent,  Let’s Start Here  is a spectacular statement from hip-hop’s prevailing weirdo. It’s not shocking that Yachty took another hard left—but how exactly did he end up  here ?

In 2016, as the forefather of “bubblegum trap” ascended into mainstream consciousness, an achievement like  Let’s Start Here  would’ve seemed inconceivable. The then 18-year-old Yachty gained national attention when a pair of his songs, “One Night” and “Minnesota,” went viral. Though clearly indebted to hip-hop trailblazers Lil B, Chief Keef, and Young Thug, his work instantly stood apart from the gritted-teeth toughness of his Atlanta trap contemporaries. Yachty flaunted a childlike awe and cartoonish demeanor that communicated a swaggering, unbothered cool. His singsong flows and campy melodies contained a winking humor to them, a subversive playfulness that endeared him to a generation of very online kids who saw themselves in Yachty’s goofy, eccentric persona. He starred in Sprite  commercials alongside LeBron James, performed live shows at the  Museum of Modern Art , and modeled in Kanye West’s  Life of Pablo  listening event at Madison Square Garden. Relishing in his cultural influence, he declared to the  New York Times  that he was not a rapper but an  artist. “And I’m more than an artist,” he added. “I’m a brand.”

 As Sheldon Pearce pointed out in his Pitchfork  review of Yachty’s 2016 mixtape,  Lil Boat , “There isn’t a single thing Lil Yachty’s doing that someone else isn’t doing better, and in richer details.” He wasn’t wrong. While Yachty’s songs were charming and catchy (and, sometimes, convincing), his music was often tangential to his brand. What was the point of rapping as sharply as the Migos or singing as intensely as Trippie Redd when you’d inked deals with Nautica and Target, possessed a sixth-sense for going viral, and had incoming collaborations with Katy Perry and Carly Rae Jepsen? What mattered more was his presentation: the candy-red hair and beaded braids, the spectacular smile that showed rows of rainbow-bedazzled grills, the wobbly, weak falsetto that defaulted to a chintzy nursery rhyme cadence. He didn’t need technical ability or historical reverence to become a celebrity; he was a meme brought to life, the personification of hip-hop’s growing generational divide, a sudden star who, like so many other Soundcloud acts, seemed destined to crash and burn after a fleeting moment in the sun.

 One problem: the music wasn’t very good. Yachty’s debut album, 2017’s  Teenage Emotions, was a glitter-bomb of pop-rap explorations that floundered with shaky hooks and schmaltzy swings at crossover hits. Worse, his novelty began to fade, those sparkly, cheerful, and puerile bubblegum trap songs aging like day-old french fries. Even when he hued closer to hard-nosed rap on 2018’s  Lil Boat 2  and  Nuthin’ 2 Prove,  you could feel Yachty desperate to recapture the magic that once came so easily to him. But rap years are like dog years, and by 2020, Yachty no longer seemed so radically weird. He was an established rapper making mid mainstream rap. The only question now was whether we’d already seen the best of him.

If his next moves were any indication—writing the  theme song to the  Saved by the Bell  sitcom revival and announcing his involvement in an upcoming  movie based on the card game Uno—then the answer was yes. But in April 2021, Yachty dropped  Michigan Boat Boy,  a mixtape that saw him swapping conventional trap for Detroit and Flint’s fast-paced beats and plain-spoken flows. Never fully of a piece with his Atlanta colleagues, Yachty found a cohort of kindred spirits in Michigan, a troop of rappers whose humor, imagination, and debauchery matched his own. From the  looks of it, leaders in the scene like Babyface Ray, Rio Da Yung OG, and YN Jay embraced Yachty with open arms, and  Michigan Boat Boy  thrives off that communion. 

 Then “ Poland ” happened. When Yachty uploaded the minute-and-a-half long track to Soundcloud a few months back, he received an unlikely and much needed jolt. Building off the rage rap production he played with on the  Birthday Mix 6  EP, “Poland” finds Yachty’s warbling about carrying pharmaceutical-grade cough syrup across international borders, a conceit that captured the imagination of TikTok and beyond. Recorded as a joke and released only after a leaked version went viral, the song has since amassed over a hundred-millions streams across all platforms. With his co-production flourishes (and adlibs) splattered across Drake and 21 Savage’s  Her Loss,  fans had reason to believe that Yachty’s creative potential had finally clicked into focus.

 But  Let’s Start Here  sounds nothing like “Poland”—in fact, the song doesn’t even appear on the project. Instead, amid a tapestry of scabrous guitars, searing bass, and vibrant drums, Yachty sounds right at home on this psych-rock spectacle of an album. He rarely raps, but his singing often relies on the virtues of his rapping: those greased-vowel deliveries and unrushed cadences, the autotune-sheathed vibrato. “Pretty,” for instance, is decidedly  not  a rap song—but what is it, then? It’s indebted to trap as much as it is ’90s R&B and MGMT, its drugged-out drums and warm keys able to house an indeterminate amount of ideas.

Yachty didn’t need to abandon hip-hop to find himself as an artist, but his experimental impulses helped him craft his first great album. Perhaps this is his lone dalliance in psych rock—maybe a return to trap is imminent. Or, maybe, he’ll make another 180, or venture deeper into the dystopia of corporate sponsorships. Who’s to say? For now, it’s invigorating to see Yachty shake loose the baggage of his teenage virality and emerge more fully into his adult artistic identity. His guise as a boundary-pushing rockstar isn’t a new archetype, but it’s an archetype he’s infused with his glittery idiosyncrasies. And look what he’s done: he’s once again morphed into a star the world didn’t see coming.

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Lil Yachty Delivers New Psychedelic Rock Album ‘Let’s Start Here.’

Lil Yachty’s new album, Let’s Start Here, continues to further the star’s reputation as an innovative savant. The new album is 15 tracks in length, delivering a new experience for fans.

Let’s Start Here was crafted in areas ranging from El Paso to Brooklyn, with Lil Yachty immersing himself in day and night sessions. The result is a Psychedelic Alternative album executive produced by SADPONY. The album is influenced by Pink Floyd’s classic Dark Side of the Moon and experiential psychedelic journeys.

Ahead of the album, Yachty released a skit titled “Department of Mental Tranquility.” In the skit, Yachty strolled a hallway entering what would be the first step into the rest of his life. Playing multiple roles, Yachty was introduced to his upcoming float experience in a sweltering room until it overcomes his body, and he is directed to room 10. What you hear is the result of that trip, double entendre, don’t even ask me how.

You can see the skit and hear the full album below.

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Lil Yachty Reveals AI-Generated Album Cover for ‘Let’s Start Here,’ Depicting Demented Boardroom of Executives

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Lil Yachty has revealed the artwork and release date for his forthcoming album, “Let’s Start Here,” set to debut Jan. 27 on Quality Control Music and Motown Records.

Ever the provocateur, the rapper’s new cover art previews an AI-generated image of what seems to be seven executives sitting next to each other in suits. With malformed faces akin to a psychedelic trip down the rabbit hole, the artwork seems unremarkable upon first glance. However, the longer you stare at their faces, they look inhuman, with contorted facial features and warped smiles.

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In an interview with Icebox last year , the “ Minnesota ” rapper has expressed that his “new album is a non-rap album,” hence the second chapter that he alludes to in his Instagram post. Yachty explains: “It’s alternative, it’s sick!” After recently collaborating with artists such as Tame Impala, he’s been in the process of creating a “psychedelic alternative project… [with] all live instrumentation.”

Slowly shedding major label support, Yachty now has his own label and creative consultant company, Concrete Records and Concrete Family, respectively. Working closely with Concrete Family, Yachty teamed up with the General Mills cereal brand in 2020 for a limited collaboration with Reese’s Puffs and has an undisclosed sneaker set to be released at a later date. Similar to his 2021 mixtape, “Michigan Boat Boy,” which featured almost solely Detroit artists including Rio Da Yung OG and Babyface Ray, Yachty plans to also release a mixtape with the Concrete Boys collective sometime this year.

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Lil Yachty Shares New ‘Non-Rap’ Album ‘Let’s Start Here’ 

Lil Yachty has returned from taking the wock to Poland and is back with his new “psychedelic alternative project,” ‘Let’s Start Here.’

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Lil Yachty is entering a new chapter of his musical career with his fifth studio album, Let’s Start Here . 

The “Poland” hitmaker shared the follow-up to 2020’s Lil Boat 3 on Friday (Jan. 27), after thanking fans for their patience. Lil Yachty gave a select few a chance to hear the 14-track project a few hours before it dropped at a private listening event in New Jersey. Stream it at the end of the page.

Some Amazing Visuals From #lilyachty Listening Party Tonight 🔥 pic.twitter.com/0qJ6KZLWpc — 🌍 (@Portraitpatt) January 27, 2023

He also took to Twitter shortly before dropping the new album with a message to his fans. Yachty advised the project should be played from start to finish, with no skips, for the best listener experience. 

“I ENCOURAGE EVERYONE TO LISTEN FULLY THROUGH THE FIRST TIME. DONT SKIP, DONT SHUFFLE. I NEED U TO HEAR IT HOW ITS INTENDED PLZ,” he tweeted.  

I ENCOURAGE EVERYONE TO LISTEN FULLY THROUGH THE FIRST TIME. DONT SKIP, DONT SHUFFLE. I NEED U TO HEAR IT HOW ITS INTENDED PLZ. — CONCRETE BOY BOAT^ (@lilyachty) January 27, 2023

The arrival of Let’s Start Here followed a skit designed to give fans more context about the album.  

“At the end of this hallway is the edge of oblivion,” Lil Yachty says during the 100-second skit. “The man you’re watching may not know yet. This moment will mark the first step on the journey of the rest of his life.” Check out “Department Of Mental Tranquility” below.  

Lil Yachty warned fans he was taking his sound in a different direction on Let’s Start Here .  

“My new album is a non-rap album. It’s alternative, it’s sick,” Yachty explained in an interview with Ice Box l ast year. He described the project as “a psychedelic alternative project,” adding “It’s different, it’s all live instrumentation.” 

Lil Yachty Enlisted An MGMT Member And Many Other Psychedelic Collaborators To Help Bring His New Album To Life

Fans are raving about Lil Yachty’s new album, Let’s Start Here . To some, the departure from his signature rap sound to the project’s psychedelic alternative rock core came as a surprise, but to the rapper and his die-hard fans, this was to be expected .

A year ago, as the musician discussed what he had planned for his next official studio project, he plainly told Atlanta jewelry store Icebox listeners should brace themselves because it would be “a non-rap album.”

Yachty went on to gush about the creative direction saying, “It’s alternative, it’s sick! I’ve always wanted to [do one], but now I’ve met all these amazing musicians and producers. It’s like a psychedelic-alternative project. It’s different, and it’s all live instrumentation. I’ve changed my entire dynamic. I’m telling you, with this album and on, I’m creating music a whole lot differently.”

Fast forward to today, and Let’s Start Here is available across streaming platforms, and the list of the musicians and producers that he worked with has been revealed. While Lil Yachty co-produced the entire album, the project features a list of heavy hitter guest producers, including Justin Raisen, Sad Pony, Patrick Wimberly, Unknown Mortal Orchestra’s Jacob Portrait, Nick Hakim, Magdalena Bay, and Jam City.

As far as writing credit goes, Lil Yachty has been the go-to rap pen for the new wave of rappers including the City Girls, but artists Mac DeMarco and Alex G are also given co-writing credit. During the initial announcement, Yachty did not list any guest vocal features. Still, after listening to the album, music buffs will recognize recording artists Foushée, Diana Gordon, Teezo Touchdown, and Justine Skye all made an appearance on it despite their names not being listed in the titles.

Details about the featured instrumentalist featured on the project are still being revealed, but one standout musical guest includes MGMT’s Ben Goldwasser, who played the keyboard on the album.

When discussing the inspiration behind the album and his robust approach, Yachty sternly replied, “I wanted to be taken seriously as an artist, not just some SoundCloud rapper. Not some mumble rapper, not just some guy that made one hit.”

View the official tracklist with unlisted guests added below.

1. “The Black Seminole” 2. “The Ride” Feat. Teezo Touchdown 3. “Running Out of Time” Feat. Justine Skye 4. “Pretty” Feat. Fousheé 5. “Failure” 6. “The Zone” Feat. Justine Skye 7. “We Saw the Sun!” 8. “Drive Me Crazy!” Feat. Diana Gordon 9. “I’ve Officially Lost Vision!!!!” Feat. Diana Gordon 10. “Say Something” 11. “Paint the Sky” 12. “Should I B?” 13. “The Alchemist” Feat. Fousheé 14. “Reach the Sunshine” Feat. Daniel Caesar

Let’s Start Here is out now via Quality Control. Get it here .

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Jamie xx Returns To Present With 'In Waves': How Time Off Led To An Album Of Renewal

On his first album in nine years, Jamie xx shares his renewed joy. “It's been my favorite experience making an album ever," the producer/DJ says.

It’s been nine years since Jamie xx released his massively lauded debut solo album, In Colour . The 2015 release received a GRAMMY nomination for Best Dance/Electronic Album, hit No.1 on the U.S. Top Dance/Electronic Albums chart, and certified gold in the UK.

Beyond its measurable success, In Colour' s 11 tracks were essential in catalyzing the merger of underground dance and pop music.

Jamie (whose real last name is Smith) wasn’t just an artist after In Colour . He was a household name. As a solo artist, he took his obscure sounds to massive gigs all around the world. The momentum continued when in 2017 released I See You , his third album with his celebrated indie band, The xx.  

"I got good at touring and being an artist in my twenties, but I didn't have any room for anything else in my life. So, when I got a chance to stop in the lockdown I realized I didn't really have much else. I spent a long time trying to find what else makes me whole," Smith says.

In the midst of lockdown, Smith spent time cooking, reading, avoiding excessive screen time, and hanging out with friends. When he was ready to make music on his own again, he was completely reinvigorated. The result is In Waves , Jamie xx's first solo record in nine years.

Smith's joy for making music is palpable throughout In Waves . "Life" kicks off with dance vocalist Robyn repeating the hook "You’re giving me life." Then after coasting on a delightful 4/4 beat and energetic horn samples, she sings in her sweet yet searing tone: "No, I’ll never get enough/It’s just a matter of fact." Later, "Breather" asserts Smith’s expertise in producing dastardly unconventional club beats and simultaneously encourages listeners to appreciate the present. The album also features the Avalanches and bandmates from The xx.

"It's been my favorite experience making an album ever. Even though it's been really hard and it's taken a long time," he says. "I've even learned to enjoy all the difficult parts. I've never had a great time having to finish an album because you're really in the weeds. You can't tell what's good and what's not because you've heard it a million times, but this time I was just happy to keep going."

GRAMMY.com spoke to Jaime xx about setting intentions to stay present, his rigorous standards for releasing music, and how he continues to balance his love for the underground and his growing popularity.

Given that there was such a significant gap between your solo albums, with only four official singles in between, would you say that you have a high standard when it comes to your solo work?

I definitely do. Maybe that makes it more difficult for me, and I really envy artists who can just put loads of stuff out every year. It must feel nice to be that free with it. But that's not how I work, and I do think that less is more. All my favorite artists are that way inclined.

What does it take for a song to be worth sharing?

It's something that I can't quite put my finger on, but it's usually a feeling that I get within the first half a day of making a piece of music. I know I can make it into something I'm going to love, and that might connect with other people. But I wish I knew how to get there more often because it seems to just happen without my decision being any part of it.

The idea of being present was very important to this album process. I read that it's difficult for you to remember things between when you were 18 and 30 because you were so entrenched in music and touring. On the song "Breather" you literally invite listeners to slow down, take a breath, and enjoy the moment. What was it like to make an album in this present frame of mind?

It was really enjoyable. Even the hard bits I really enjoyed just because I was aware of what I was doing. 

I also got some great advice from some people that I work with about how to be a long-standing artist. Having gone through all those ups and downs, how to keep your head straight. Robyn really helped me out with that. She's very smart. When we were making "Life," we talked about how when it gets really hard that's the really good stuff, and you shouldn't shy away.

Now that you’ve adopted a new frame of mind, how do you intend to move with this new approach to your career?

I'm gonna try and take the time to make music in the way that is best for me, and hope that people like it. 

I'm really grateful that I'm in this position where I get to play huge shows and tiny clubs, and I can also walk around the street and nobody knows who I am. Perfect level, and I just hope that I can maintain this position as long as possible.

Your first album was essential in introducing underground dance music to a larger audience, which you’ve said you had mixed feelings about. Now underground dance music is incredibly popular . What was it like creating a new album within that ecosystem?

It was difficult, mentally. I think that's why I had to get to a good place in my life really to be able to make music again. It was sending me spinning and confusing me. Then I found myself thinking about what other people were doing, which was never how I made music. I wasn't reflecting on the good parts of what other people were doing either. So I just had to check myself and have faith in people who like good music.

You said earlier that you enjoy playing massive shows, which in spirit goes against the traditional ethos of underground music. Do you feel any conflicting emotions around that?

It's a bit of both, I guess. When I’m doing these big shows, now, I'm really trying to take elements of what I love about playing at intimate shows; what I love about just clubbing and the history of dance floors and inject it into the shows. Even if they're bigger and make it more focused on the crowd and the sound than people staring at me and looking up at the stage.

That's been really fun. We've had dancers in the crowd, and we're filming them, and it integrates the crowd more into facing each other rather than facing the stage. That's one of the things that makes it feel more intimate, more like a club.

The first thing that you need to make a good club night is good people. The majority of people who have come to my shows have been amazing. [They’re] really open to me playing some weird stuff in between my music. I feel able to go on a journey with them and play differently depending on the room and the place. It's great fun for me and it's inspiring.

How do you feel about being a central figure introducing new audiences to new types of music?

That's how I fell in love with a lot of the music that is my favorite music now: from the DJs that I loved when I first started going out. Learning what they were doing, learning about deep cuts, and them being generous enough to share some of the music with me. I hope that I can pass some of that on. 

In dance music, it's all about community and bringing people together. I think what I'm doing is really not that different from what DJs from the '70s were intending to do. At least that's what I'm going for.

You’ve revealed to the world that you are back in the studio with The xx. How have you brought your new mindset as a solo artist to your work with the band?

It's quite difficult. That was the purpose of us going out and doing this solo stuff. When we come back we'll have a bit more of a wider scope, but it will be difficult. The most difficult thing is just maintaining friendships that are 20-30 years old between us. Also, to work, and…live well, with our partners and our families. It's all hard to integrate. 

The last few times we've been in the studio we've really just spent time talking with each other for days on end and barely even picked up our instruments. That's been really great.

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Zedd's Road To 'Telos': How Creating For Himself & Disregarding Commercial Appeal Led To An Evolutionary New Album

'Telos' "isn't going to be that pop album that some people may have wanted me to make," Zedd tells GRAMMY.com of his highly anticipated album — his first in nine years.

At the time of our call, the release of Telos — Zedd 's first studio album in nearly a decade — is just seven days away. Snug in an earthy brown crewneck, the 34-year-old musician joins the Zoom from his new home in Encino, California, with a degree of poise that some might find surprising at this point in the rollout. 

Still, his relaxed body language, decisive, measured speech, and quiet confidence make it clear that any anxiety he once felt about the LP has been replaced by pure anticipation. 

"I am honestly just really excited. I think I've released music in the past that I was nervous about, but it's quite different with this album," he tells GRAMMY.com. "I feel very calm and just happy to be able to release this music that I've been working on for so long, some of which has been in the works as late as nine years ago." 

Out Aug. 30, Telos arrives about four years later than initially announced and about eight years after it was contractually due. Though Zedd confirmed that the long-awaited answer to his second studio album, True Colors (2015), would arrive in 2020, he indefinitely postponed the project at the height of the COVID-19 pandemic.  

"I decided to push back the album to when things are more back to normal," he wrote in a Reddit AMA (ask me anything) in November 2020. "I really wanted it to come out this year, but I put the album on standby because during quarantine, I just didn't feel the inspiration to make this the best album possible."

Timing is everything and Zedd, who counts a clock ticking sample among his stylistic hallmarks, knows this well. Zedd embraced the axiom while making Telos , an album that "isn't for the algorithms" in an era when creative works' cultural capital is largely decided by how well they pander to an algorithm. Telos is decidedly — and in some ways, daringly — non-commercial. "Lucky," alongside singer/songwriter Remi Wolf and "Automatic Yes" with John Mayer , are notably the only two tracks palatable for commercial radio airplay. The 10-track album largely plays like a love letter to classical music (there is an orchestra on the entire LP), with flashes of pop, dance/electronic, jazz, world music, and metal influence. A cross-generational list of collaborators — including 40-year-old musician and composer Jeremy Kittle, who recorded each string for the album one by one, and Gen Z singer-songwriter Bea Miller — further dynamize Telos .

Telos "isn't going to be that pop album that some people may have wanted me to make," Zedd acknowledges. Nor will it be the dance/electronic LP that purists from his name-making run in the early-2010’s might long for. Fans gained during the GRAMMY-winning producer's complextro, electro, and progressive house-heavy era (think "Shave It" ) have been some of his most outspoken critics in recent years, reproaching his stride into commercial pop.

This response is neither surprising nor foreign to Zedd. "I felt the same way about a lot of bands and artists that I grew up listening to when I heard their new music," he reflects. "In the moment, you might be like, I'm disappointed, 'cause I wanted X, Y, Z , and with a little bit of perspective, you realize what an artist has done, and maybe those become your favorite works when you give it time."

Zedd has already proved his ability to craft pop hits with staying power — with help from some of the genre’s most prominent voices. The 2017 single "Stay" with Alessia Cara (2017) and 2018's "The Middle" with Maren Morris and Grey were two of Zedd's biggest smashes in the dance-pop domain post- True Colors . Both singles achieved platinum certification, though "The Middle" has since struck platinum six times. Like "Clarity" — the 2012 breakthrough single that scored Zedd his sole golden gramophone (for Best Dance Recording) — "Stay" and "The Middle" imbued him with the confidence and greater depth of reference to make an album like Telos .

"If I made another album today that felt the same way Clarity felt back then, you wouldn't feel the same way about Clarity today," Zedd reasons, adding that Telos has some of the "internal motivations" and experimentation of Clarity . "It's just a more mature and experienced expression, so I think the people who loved Clarity will find plenty to love on Telos ."

The album's debut single, "Out Of Time" featuring Bea Miller, is likely to serve as one such point of connection. It retains the DNA of Zedd's established, melody-driven sonic identity while still feeling fresh and exploratory.

"It's a really good example of a new version of an old me," he attests. "The real core of what Zedd feels like isn't the sound. It's not the synths, and it's not the kicks you hear at the festival. It's actually really deeply rooted in chord progressions and melodies. Those are well alive, and more than ever, on Telos ."

At nine-and-a-half-years-old, "Out Of Time" is the oldest track on the album, penned just after Zedd delivered True Colors (OG fans will recognize the song's chord progression from the intro to his DJ sets). His motivation to repeatedly rework the track and fashion it into the album opener stems, in part, from the feeling that it was "too theatrical" to be a standalone single.

Telos provided "the perfect canvas to deliver all these meaningful songs to my life and to my career that couldn't just be one-offs," he says.

Zedd’s current musical ethos is born from his disenchantment with the direction of music in the age of algorithms and TikTok, and the resulting Telos is the product of his "decision to really be free musically."  

"There was one moment in making Telos that made me realize this is like my autobiography. This is everything I am as an artist, and everything I do musically is for me," Zedd says with conviction. "That was a really liberating moment because I am essentially guaranteeing that I'm not going to disappoint anyone because the only audience is me. I'm making this for myself." 

"It sounds so silly to even say [this album is just going to be for me] because you would think that everything you make as an artist is for you," he concedes. "But really, the truth is it's hard to block out the feeling that people might be disappointed, and the feeling that you could change a song, and you would make so many people happy." 

Telos ' exhaustive creation process was as much a matter of deconstruction as it was reconstruction. About halfway through the first version of "Z3," as the album is known colloquially among fans, Zedd scrapped 90 percent of what he'd written, salvaging only "Dream Brother." The hypnotic interpretation of Jeff Buckley 's 1994 song embodies the musicality that threads Telos — from the texture of the opening guitar chords and piano, to the swell of strings, and Zedd's signature clock ticking sample in its outro. Telos marks the first and only time the Buckley estate has given an artist the rights to the late creative's work. 

"Dream Brother," Zedd explains, was "the only song that felt lik e this is living very much in the world that I really deeply feel ," citing it as "a song that has inspired me since my early days as a musician." 

Between his successes on Billboard 's Hot Dance/Electronic Songs chart and the coveted Hot 100, it may be easy to forget that Zedd's musicality traces back to childhood. A classically trained musician, Zedd began playing the piano at the age of four and still writes his music on the piano first . Telos is a cerebral reminder that it's reductive to think of Zedd as anything less than a natural-born composer.

Elsewhere, "Sona," featuring the olllam, harkens back to Zedd's days as a member of German metalcore band DIORAMIC in its use of the 7/4 time signature. "Sona" is the first song in this time signature that Zedd has made since his days as a band member (he was the group's drummer from ages 12 to 20). 

Still, Telos ' unequivocal pièce de resistance is "1685" with GRAMMY-winning English rock band Muse . The six-minute and 11-second album finale takes inspiration from Johann Sebastian Bach's "The Well Tempered Clavier" — the first classical piece Zedd ever learned to play on piano as a child and as he calls it, "probably the most influential piece ever written in life for me."

Named for Bach's birth year, "1685" extends the full-circle nature of Telos. Both a tribute to his favorite composer and a reference to Zedd's earliest days as a musician (he performed a cover of Muse during his very first concert with DIORAMIC), these connections imbue Telos with authenticity and soul.  

Intricate and lovingly-crafted, Telos is Zedd at his most musically honest. "It's my entire life in one album," he says. "It's truly an evolution of who I am as a musician." 

His decision to eschew trends and commercial formulae to embrace "music for the sake of art" confers a sense of timelessness to Telos . For those versed in gaming terminology (like the multi-platinum producer, a notorious gamer) Telos is Zedd in his final form — a state unlocked only after the successful completion of considerable, skill-building challenges. 

Fittingly, the multifaceted nature of Telos and its creator is reflected in the album's title. The Greek word has multiple meanings, including accomplishment, completion of human art, and the end. He chose the name "telos" 30 or so minutes before he had to submit the LP — an  ironic timeline for a production that took years to conceive.  Yet like all of the creative choices that culminate in Telos , this, too, was part of a thoughtful strategy. Zedd wanted to be sure that the album's title would faithfully capture its concept, even after the LP’s many metamorphoses. 

"I really relate to all of the meanings," he says. "Accomplishment of a goal is one of them. I made this album that I was dreaming of making my whole life with the artists I love so much who have inspired me, so it's a genuine dream come true to make this album." 

With introspection written on his face, Zedd pauses, then continues: "One of the meanings of 'telos' is the end, and there was a good chunk of time where I thought this might be the last music I will ever release. It's kind of like I put all my emotions and feelings into this one album…is there any reason for me to take space away in this universe if this is all I have left to say? And for a moment towards the tail end, I was like 'yeah, Telos is the name for this album because I will never make another song in my life.'" But Telos is merely another beginning, briefly disguised as an end. Zedd delivered the album, had a second to breathe, moved from Beverly Hills to Encino, put a piano in his bedroom, and "inevitably started writing new music." Timing is everything.

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The L.A. festival is famous for bringing an array of electronic sounds, from dance-pop and experimental techno, to classic house and rare back-to-backs — and this year's lineup features some of the biggest and buzziest acts in dance music.

When it comes to American dance music culture, few events carry the cool cache of a HARD party. Founded on New Year's Eve of 2008 by DJ and former label A&R Gary Richards, the name HARD has become synonymous with taste-making, offering fans an enviable mix of influential headliners and cutting-edge up-and-comers.

HARD parties have been a breakout platform for luminaries like Justice , Skrillex , deadmau5 , and more, and the HARD Summer festival is one of the brand's most celebrated flagship events. In 2017, HARD was absorbed into the Insomniac festival family — the same company that brings fan-favorites EDC Las Vegas and Electric Forest to life — which ensures the stage production, on-site activities and other ancillary fun are sure to be supersized. How many festivals do you know that offer a Ferris wheel and a swimming pool?

Coming to Los Angeles' Hollywood Park near SoFi Stadium on Aug. 3 and 4, this year's lineup continues the tradition of blending authoritative artists, legacy DJs and unique back-to-back headliners with buzzy newcomers in a variety of genres and styles. 

Whether you wanna rave out with club king Jamie xx , bang your head to bass with Zeds Dead, get tropical with Major Lazer , see what it sounds like for UK grime star Skepta to DJ, or just sing along to mid-2000s belters courtesy of dance-pop crossover queen Nelly Furtado , there's something to please every palette. Of course, in true HARD tradition, we seriously recommend exploring the undercard, because the biggest name in electronic music tomorrow is probably playing one of the HARD side stages today.

While you wrap your head around the stacked lineup, check out a quick guide to 10 must-see acts below.

A legend on the decks who can play blissful disco or teeth-shattering techno with a smile, Boys Noize is a must-see on any lineup simply because he loves doing the job. He recently teamed with Skrillex on the anthem "Fine Day," and released an entire EP with alt-rap icon Rico Nasty. He's also the producer behind Lady Gaga 's beloved Ariana Grande collab, "Rain On Me," and Playboi Carti's "Unlock It," but he's likely to unleash a massive set of hard techno bangers for the L.A. crowd — though you never can tell which direction he'll take you in next, so come with an open mind.

As the top-billed headliner for Saturday night, Disclosure should need little to no introduction to any modern dance music fan — but that doesn't mean you should sleep on their set.

Howard and Guy Lawrence emerged on the scene as seemingly an instant success. The brothers' debut album, Settle , almost single-handedly changed the landscape of popular dance in 2012, moving the taste du jour away from the big-room EDM and bass-heavy trap sound toward a UK garage revival that still carries, and helped launch Sam Smith 's career in the process.

In the 12 years that followed, Disclosure has continued to push the envelope — and themselves — working with cross-genre heavyweights including Lorde , Khalid , Miguel , Kelis , Slowthai , and The Weeknd , as well as incorporating international sounds and styles into their club-driven house grooves. Earlier this year, Disclosure returned with the dance floor-ready single "She's Gone, Dance On," announcing themselves as arbiters of disco-laced funk and good-time DJs for 2024 crowds. Surely they'll be in top form come HARD Summer.

If you like your dark techno to come with a side of hip-shaking Latin rhythms, Miami-bred duo INVT is the experimental sound machine you can't possibly pass up. Luca Medici and Delbert Perez have been best friends since they were kids, and that closeness comes through in their tight experimental sets, blending booming bass with glitched-out techno synths, cumbia rhythms, dembow beats, and acidic edge.

INVT are — as the name may imply — extremely innovative, leaning into their own productions and edits to curate an approach that feels hypnotic, exciting and unique. If you're not afraid of beats that go really hard and get a little weird, this is a set that can set your wild mind ablaze.

What happens when you put two of the most unique and hard-hitting producers in electronic music together on one stage? Deadmau5 is one of the scene's leading icons, and Rezz (who released her debut album of deadmau5's Mau5trap label in 2017) shifted bass music culture with her gritty, techno-fueled, half-time sound. The two share a love of dark, stomping, left-field noise, and after years of teasing possible collaborations, those shared interests merged on the 2021 collaboration "Hypnocurrency." Two years later, they released the booming, dystopian 2023 single "Infraliminal" — not just a brilliant rework of deadmau5's 2012 track "Superliminal," but the official introduction to Rezzmau5.

Rezzmau5 haven't released anything since, and live performances from the duo have remained few and far between. But the monolithic duo just warmed up their trippy joint live show at Tomorrowland 2024, which was set in "the mythical realm of Silvyra," a world "filled with creatures, plant life, and people living in harmony." Whether or not their HARD set follows the same storyline, it's certain to shake the skulls of every dancer at Hollywood Park. Prepare your body for something deep, dark and maniacal.

There aren't many electronic acts that bring the same level of frontman energy that Elderbrook boasts on stage. A multi-talented performer, the UK artist sings and plays instruments, creating a rock-show experience unlike most sets at heavily electronic festivals like HARD. He leads the crowd in heartfelt sing-alongs to hits including "Numb," "Something About You," "Inner Light" and, of course, his megahit CamelPhat collab "Cola."

Bouncing between his microphone, synthesizers and keyboards, samplers and drum pads, his one-man band performance is sure to draw a serious crowd. If you're ready for a break from the hard-edged rave noise and want to ascend to heavenly heights, Elderbrook is the man for the job.

Fisher + Chris Lake (Under Construction)

Nothing is more fun than watching two best mates go absolutely nuts on the decks. And when two stellar DJs go back-to-back, everyone wins, because they spend the whole set trying to impress each other.  

Chris Lake is one of the most influential producers in tech house. Fisher is one of the most unhinged and energizing DJs one can ever witness. Together, the besties deliver an over-the-top party with an arsenal of mind-numbing drops, weirdo grooves and just-plain fun vibes that make you wanna hug your friends and dance 'til you sweat. The set is called Under Construction, but make no mistake: these two have completely mastered the blueprint.

If you like your sets to be playful cross-genre explorations of sounds from around the world — tied together by booty-shaking beats and booming bass lines — JYOTY is sure to check all your boxes. She knows how to lead a great party because she spent her childhood frequenting the unmatched clubs of Amsterdam. And with an ethos built around playing whatever the heck she wants, she's comfortable dropping a bit of hip-hop into some Brazilian bops, mixing it up with hard breakbeats, blistering rave synths and more.

Kerri Chandler

If you don't know your history, you're doomed to repeat it, but no one brings the house down quite like Kerri Chandler. A pioneer of the original deep and garage house movements, Chandler was a foundational DJ of the '80s scene, holding down a residency at the legendary Club Zanzibar in New Jersey and founding the MadHouse Records label. If you want to feel the soulful spirit that made electronic music what it is, Chandler's dreamy mix of feel-good melodies served over kickin' club beats are a direct line to house music's roots.

Mary Droppinz

You know how Mary Poppins had a magical bag that held everything from a hat rack to an ornate mirror, a house plant and a Tiffany lamp? Well, California DJ Mary Droppinz comes equipped with a magical USB that's positively bursting with mean beats and original edts.

This woman can blend everything from grimy bouncing bass to ethereal orchestral house, Spice Girls reworks, drum'n'bass bangers, reggae upbeats, '90s R&B remixes and chart-topping hits of the moment twisted into face-melting heaters. You can try to guess where she'll go next, but it's better to just let her take control and follow the vibe through all the devious twists and turns. The one thing you can count on? You'll leave her set dripping with sweat.

Disclosure aren't the only brilliant UK brothers on the HARD Summer lineup. Overmono's Tom and Ed Russell hail from Wales and make some of the most inspired club records of our time.

With backgrounds exploring hard techno, drum'n'bass and rave, the brothers combined their talents in 2015 and have since created an enviable blend of soulful atmospheres and frenetic breakbeats that feels nostalgic and sentimental, but still very heavy. Overmono's 2023 album Good Lies is a great play from start to finish, and a good way to get prepped for their critically acclaimed live set. If you need a big-name co-sign, Overmono was recently featured on Fred again.. 's "Stayinit" with Lil Yachty on the vocal. That's the caliber they're rockin' with — and the prestige they'll bring to HARD Summer.

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"Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'

"We're not writing for a pop audience, we don't need to dumb it down," Moby says of creating his new record. In an interview, the multiple-GRAMMY nominee reflects on his latest album and how it contrasts with his legendary release from 1999.

Moby ’s past and present are converging in a serendipitous way. The multiple-GRAMMY nominee is celebrating the 25th anniversary of his seminal work, Play , the best-selling electronic dance music album of all time, and the release of his latest album, always centered at night .  

Where Play was a solitary creation experience for Moby, always centered at night is wholly collaborative. Recognizable names on the album are Lady Blackbird on the blues-drenched "dark days" and serpentwithfeet on the emotive "on air." But always centered at night ’s features are mainly lesser-known artists, such as the late Benjamin Zephaniah on the liquid jungle sounds of "where is your pride?" and Choklate on the slow grooves of "sweet moon."  

Moby’s music proves to have staying power: His early ‘90s dance hits "Go" and "Next is the E" still rip up dancefloors ; the songs on Play are met with instant emotional reactions from millennials who heard them growing up. Moby is even experiencing a resurgence of sorts with Gen Z. In 2023, Australian drum ‘n’ bass DJ/producer Luude and UK vocalist Issey Cross reimagined Moby’s classic "Porcelain" into "Oh My." Earlier this year, Moby released "You and Me" with Italian DJ/producer Anfisa Letyago .  

Music is just one of Moby’s many creative ventures. He wrote and directed Punk Rock Vegan Movie as well as writing and starring in his homemade documentary, Moby Doc . The two films are produced by his production company, Little Walnut , which also makes music videos, shorts and the podcast "Moby Pod ." Moby and co-host Lindsay Hicks have an eclectic array of guests, from actor Joe Manganiello to Ed Begley, Jr., Steve-O and Hunter Biden. The podcast interviews have led to "some of the most meaningful interpersonal experiences," Moby tells GRAMMY.com.  

A upcoming episode of "Moby Pod" dedicated to Play was taped live over two evenings at Los Angeles’ Masonic Lodge at Hollywood Forever Cemetery. The episode focuses on Moby recounting his singular experiences around the unexpected success of that album — particularly considering the abject failure of his previous album, Animal Rights . The narrative was broken up by acoustic performances of songs from Play , as well as material from Always Centered at Night (which arrives June 14) with special guest Lady Blackbird. Prior to the taping, Moby spoke to GRAMMY.com about both albums.  

'Always centered at night' started as a label imprint then became the title of your latest album. How did that happen?  

I realized pretty quickly that I just wanted to make music and not necessarily worry about being a label boss. Why make more busy work for myself ?

The first few songs were this pandemic process of going to SoundCloud, Spotify, YouTube and asking people for recommendations to find voices that I wasn’t familiar with, and then figuring out how to get in touch with them. The vast majority of the time, they would take the music I sent them and write something phenomenal.

That's the most interesting part of working with singers you've never met: You don't know what you're going to get. My only guidance was: Let yourself be creative, let yourself be idiosyncratic, let the lyrics be poetic. We're not writing for a pop audience, we don't need to dumb it down. Although, apparently Lady Blackbird is one of Taylor Swift 's favorite singers .   

Guiding the collaborators away from pop music is an unusual directive, although perhaps not for you?  

What is both sad and interesting is pop has come to dominate the musical landscape to such an extent that it seems a lot of musicians don't know they're allowed to do anything else. Some younger people have grown up with nothing but pop music. Danaé Wellington, who sings "Wild Flame," her first pass of lyrics were pop. I went back to her and said, "Please be yourself, be poetic." And she said, "Well, that’s interesting because I’m the poet laureate of Manchester." So getting her to disregard pop lyrics and write something much more personal and idiosyncratic was actually easy and really special .  

You certainly weren’t going in the pop direction when making 'Play,' but it ended up being an extremely popular album. Did you have a feeling it was going to blow up the way it did?

I have a funny story. I had a date in January 1999 in New York. We went out drinking and I had just gotten back the mastered version of   Play . We're back at my apartment, and before our date became "grown up," we listened to the record from start to finish.   She actually liked it.   And I thought,   Huh, that's interesting. I didn't think anyone was going to like this record .  

You didn’t feel anything different during the making of 'Play?'

I knew to the core of my being that   Play   was going to be a complete, abject failure. There was no doubt in my mind whatsoever. It was going to be my last record and it was going to fail. That was the time of people going into studios and spending half a million dollars. It was   Backstreet Boys   and   Limp Bizkit   and   NSYNC ; big major label records that were flawlessly produced.   Play   was made literally in my bedroom. 

I slept under the stairs like Harry Potter in my loft on Mott Street. I had one bedroom and that's where I made the record on the cheapest of cheap equipment held up literally on milk crates. Two of the songs were recorded to cassette, that's how cheap the record was. It was this weird record made by a has-been, a footnote from the early rave days. There was no world where I thought it was going to be even slightly successful. Daniel Miller from Mute said — and I remember this very clearly — "I think this record might sell over 50,000 copies." And I said, "That’s kind of you to say but let's admit that this is going to be a failure. Thank you for releasing my last record."   

Was your approach in making  'Play'  different from other albums?  

The record I had made before   Play ,   Animal Rights , was this weird, noisy metal punk industrial record that almost everybody hated. I remember this moment so vividly: I was playing Glastonbury in 1998 and it was one of those miserable Glastonbury years.   When it's good, it's paradise; it's really special.   But the first time I played, it was disgusting, truly. A foot and a half of mud everywhere, incessant rain and cold. I was telling my manager that I wanted to make another punk rock metal record. And he said the   most gentle   thing, "I know you enjoy making punk rock and metal. People really   enjoy   when you make electronic music." 

The way he said it, he wasn't saying, "You would help your career by making electronic music." He simply said, "People enjoy it." If I had been my manager, I would have said, "You're a f— ing   idiot. Everyone hated that record. What sort of mental illness and masochism is compelling you to do it again?" Like Freud said, the definition of mental illness is doing the same thing and expecting different results.   But his response was very emotional and gentle and sweet, and that got through to me.   I had this moment where I realized,   I can make music that potentially people will   enjoy   that will make them happy.   Why not pursue that?  

That was what made me not spend my time in ‘98 making an album inspired by Sepultura and   Pantera   and   instead make something more melodic and electronic.  

After years of swearing off touring, what’s making you hit stages this summer?  

I love playing live music. If you asked me to come over and play Neil Young songs in your backyard, I would say yes happily, in a second. But going on tour, the hotels and airports and everything, I really dislike it.   

My manager tricked me. He found strategically the only way to get me to go on tour was to give the money to animal rights charities. My philanthropic Achilles heel. The only thing that would get me to go on tour. It's a brief tour of Europe, pretty big venues, which is interesting for an old guy, but when the tour ends, I will have less money than when the tour begins.  

Your DJ sets are great fun. Would you consider doing DJ dates locally?  

Every now and then I’ll do something. But there’s two problems. As I've become very old and very sober, I go to sleep at 9 p.m. This young guy I was helping who was newly sober, he's a DJ. He was doing a DJ set in L.A. and he said, "You should come down. There's this cool underground scene." I said, "Great! What time are you playing?" And he said "I’m going on at 1 a.m." By that point I've been asleep for almost five hours.

I got invited to a dinner party recently that started at 8 p.m. and I was like, "What are you on? Cocaine in Ibiza? You're having dinner at 8 p.m .  What craziness is that? That’s when you're putting on your soft clothes and watching a '30 Rock' rerun before bed. That's not going out time." And the other thing is, unfortunately, like a lot of middle aged or elderly musicians, I have a little bit of tinnitus so I have to be very cautious around loud music.

Are you going to write a third memoir at any point?  

Only when I figure out something to write. It's definitely not going to be anecdotes about sobriety because my anecdotes are: woke up at 5 a.m., had a smoothie, read The New York Times , lamented the fact that people are voting for Trump, went for a hike, worked on music, played with Bagel the dog, worked on music some more went to sleep, good night. It would be so repetitive and boring. 

It has to be something about lived experience and wisdom. But I don't know if I've necessarily gotten to the point where I have good enough lived experience and wisdom to share with anyone. Maybe if I get to that point, I'll probably be wrong, but nonetheless, that would warrant maybe writing another book.

  Machinedrum's New Album '3FOR82' Taps Into The Spirit Of His Younger Years  

Photo: Grace Phillips

Beatport's Sofia Ilyas On Creating A More Equitable & Connected Music Industry

"What I love about the music industry is there are so many gaps, and so many observations you can make and sort of insert yourself in and create something quite special itself," Sofia Ilyas of carving out a career as a music professional.

Given that Beatport Chief Community Officer Sofia Ilyas has dedicated the last 15 years or so of her life supporting burgeoning artists, subgenres and underrepresented groups, it's somewhat surprising that she grew up in a household without music.

As a teen, a Sony Walkman with a radio and mixtapes featuring the likes of Radiohead were a lifeline to a world Ilyas' family didn't want her to participate in. She was even kept home during school field trips to the National Gallery museum in London, where she's since hosted her Piano Day music and art event, and will soon be curating a room for their 200th anniversary celebration .

Ilyas has had to sacrifice a lot — namely, a relationship with her strict Muslim family — to carve out a career in music, and hers is a story of patience and resilience. After leaving her home in Cardiff, Wales for London to pursue higher education (against her family's wishes), she found solace and connection in live music. She'd hang out around the sound booth and introduce herself and ask questions about how things worked. Slowly but surely, she befriended people that worked at labels and venues, and even artists — Four Tet grew to know her by name after she kept coming back to his shows.

After years of being a part of the London scene as a dedicated fan, at age 30, Ilyas became co-manager of indie record label Erased Tapes, where she helped popularize neoclassical music and one of its purveyors, experimental German pianist Nils Frahm. Alongside Frahm, Ilyas launched Piano Day, where a diverse range of artists help them celebrate the past, present and future of the instrument alongside contemporary dancers and painters.

Now, as the first Chief Community Officer at major dance music platform Beatport, Ilyas is building community within and across disparate global electronic communities. She aims to bring more women and people of color into the mix.

"We're living in a time where people are feeling incredibly lonely and disconnected from community," Ilyas tells GRAMMY.com. "I [want to] facilitate people to come in to hear from each other, especially women, in a room that feels safe to hold discussion."

GRAMMY.com recently caught up with Ilyas for an insightful, engaging conversation on her work to support women and people of color in electronic music, making piano cool, her hopes for a more equitable music industry, and much more.

This interview has been edited for clarity.

You recently hosted your Piano Day annual events in Melbourne and London — tell me your vision for Piano Day.

When we launched Piano Day in London with Nils [Frahm], it gave me an excuse to try my own events. I had the artists performing in different corners of the room and a painter in the middle, watching and being inspired. I've always looked at different arts and wondered why they can't also be present in the music world and why we can't support each other across various industries. I've had a contemporary dancer at almost every event I've done in London. Piano Day was my way of having my own event that I could own and really show off my curation. Even with the first event, people were saying the space was beautiful and the curation was so good. I felt really validated.

[For Piano Day,] I always ask artists what they can do that's a little bit different, beyond performing their album or recent EP. I had one artist who had never played piano before, and he made a few mistakes and everyone was applauding him like it's okay . It's really important to me that Piano Day offers something that maybe the audience will never see again and they feel they've experienced something very special. An even bigger extension of that is the lineup that I curate for the National Gallery; coupling a piano player with a dancer who had never met before, and multiple artists only ever played piano maybe three times. I love that the artists have felt safe to trust me and that it's the type of event where they can take a risk.

I'm always looking for acts that are open to trying something a bit different and to be challenged by the fact that it's solo piano predominantly. And to also be inspired by the space, the National Gallery is such a prestigious, iconic venue. It's quite an unusual event because you've got people who've come to see the artists and regular visitors who have just come to see the paintings and they happen to stumble across what's happening. What's even more special for me is the audience is full of children. [I've been wondering] how we can do more music events that kids can come to, because I saw how inspired they were.

You'll be returning to the National Gallery in May to help curate their 200th anniversary event. How are you thinking about everything it stands for while bringing it into the future with music and women and people of color?

I've always had an attachment to the Gallery because there were school trips to it and my parents would never let me go. So for them to email me, "Hey, we've been to a couple of your events, would you like to bring Piano Day to the National Gallery?" I was just overwhelmed and hugely complimented.

I went to each room, sat down and thought about the feelings [it brought up]. I ended up landing on the blue room, it's got a lot of English paintings in it. I liked the idea of English artists against old English paintings, sort of breaking that mold of stiffness and classical looks to be like, this is now the future of London coming into the gallery. We placed the piano right in front of this really famous huge horse painting to really make that statement.

I am very mindful of having a diverse and interesting lineup. I always have one artist that starts the event that is a nod to the traditional kind of way of playing [piano]. It usually evolves to some artists playing the neoclassical sounds and then it moves into more the dance element and vocalist and then it ends on "this is the future" type of thing. I always like having that momentum.

Let's talk about your new record label RISE . What's your vision is with it and who are the artists you're currently working with?

I started Rise last year for artists that want help to get to the next level and get the attention of the label they want. I wanted to do a label that was within my bandwidth because I have a full-time job. If there're artists that I can help get from point A to B, then they go on to C, that's a great thing. I have Frank Hopkins on the label, who's an electronic artist, and Kareem Kumar , who's a Black artist who is known for playing in the streets of London. [Kumar] has built an incredibly huge audience on socials that has been a real inspiration to so many youngsters during COVID. They played together for the first time at the National Gallery, where Frank added some really nice ambient sounds and Kareem played the piano.

Too often, labels are quite a stiff experience, they want to assign that artist forever. If there are any artists that want help on press releases, overall branding and PR, that's exactly what RISE is there for. We can help them release some records, sort their online profile and offer guidance to basically uplift the artist so they can get the attention of booking agents, a label etc.

I see the future of labels where they are this sort of incubator-type of model, where they help an artist and the artists can grow into their own team or go off into another label. I envisage more labels existing like mine, where they're helping the artists onto that next level.

What do you think needs to shift for the music industry to be more supportive — financially and otherwise — of artists, particularly young people of color?

One thing that could be great is the labels that are doing well commercially — I'm sure they do this to a certain extent — choose two artists every year for an incubator program and make it more visible. Right now, most labels' A&R is a very closed thing. I think [it would help] if the labels made a very clear way of sending them demos. I know it is difficult because these days, even [people at] labels are so overworked and they don't have time to think about things like this. Maybe a music organization or a body out there could pick this idea up and take it to some of the major labels.

On the live side, [we need] more community spaces where an artist can come by and play regularly to fans and bring their friends and family around. Most venues are so hard to get on the bill, [so there's a need for] smaller 100-capacity-or-so spaces that open the doors more to local artists. We rely on the same names over and over again, whether it's festivals or local clubs, etc.

With your work as Beatport's Chief Community Officer, what are you actively doing to bring in and celebrate more women and people of color in dance music ?

I've always been aware of diversity and my color and who I am in the music industry. Especially when I was around all those white male composers who knew everything about production and I knew nothing, that was very daunting. Even things like drinking — I don't drink and the amount of times it feels uncomfortable to be in the music industry. Many people in South Asian communities, especially Pakistani, grew up in a non-drinking culture, and we should have awareness to make those people feel comfortable otherwise they're never going to join the music industry.

What's been incredible is that Robb [McDaniels, Beatport's CEO] and the team have been, "You own it, you do what you believe." In the first few months, I hired a DEI consultant named Vick Bain, who was an amazing mentor for me. I'm a real big believer in experts. I was able to really upskill myself very fast through having her around.

Putting aside diversity, we're living in a time where people are feeling incredibly lonely and disconnected from community. That's why I'm doing panel events with DJ sets with Beatport. I [want to] facilitate people to come in to hear from each other, especially women, in a room that feels safe to hold discussion.

First meeting of the year was at the National Gallery. Can’t wait to curate my piano event there this year 🥳 pic.twitter.com/RVNFNZWdTV — Sofia Ilyas (@sofiailyas) January 5, 2024

How have you taken it upon yourself to bring more women and artists of color with you along the way, and do you make space and advocate for people?

It's always something that's on the top of my mind because being a South Asian woman in music is already quite difficult at moments. You look around wondering Is there any support for me ? And with my journey of having walked away from my family, part of me is already exhausted from that experience and existing in the music industry in an environment that often feels very alien to me.

Just being a woman in a C-Suite position isn't not easy. I've never been in a role where the focus is to champion women and that's why I'm so grateful for Beatport.

Throughout my career, I've always given out a lot of free PR and guidance, and quite often that's been for women. I've always wanted to be available and I'm always happy to give my time. If anyone reads this, and they want to email me and ask me any questions, I'm always really happy to help.

What's some advice you have for young women of color that want to work in the music industry but don't know where to start?

What I love about the music industry is there are so many gaps, and so many observations you can make and sort of insert yourself in and create something quite special itself. Once you start getting to know your local community, [you can get] so much support from others. I made a lot of my friends by going to vinyl markets and going up to my favorite labels and saying hi. When I was trying to work in the music industry and sending a ton of emails, I got nothing in return. But as soon as I started being a bit more active in the live [music] side, I met so many people.

Don't think you need to do it alone. For so many years, I kept what I was experiencing to myself and I would always present this polished person on Instagram. Lately, I've started really opening up more about how I feel. When I turned 43 recently, I posted on Instagram about how I sometimes overwork to avoid [loneliness]. I was surprised by how many people, especially men, messaged me and said I feel that way too. I'm learning to be more vulnerable.

Don't be afraid to ask questions. You just have to get over ego and fear. I can't sugarcoat it; unfortunately, there are [some] people who are going to make you feel really stupid for asking. Lean on your friends and know you're on the right path. Know that we need more women and more diversity in the industry. Look at people that inspire you. When I used to look at Four Tet, I'd be like, Oh my God, an Indian man on stage, that's so cool . So, look for your inspiration points and be vulnerable with your friends, because it is going to be difficult sometimes. And you can definitely email me anytime. [ Chuckles .]

What does a more equitable music industry look like to you?

Well, that's a big question. I think [it would involve] everyone being more conscious. Whether it's a booking agent or a label looking to sign someone, if everyone is thinking around diversity and consciously looking and making their spaces more open to women. I always think about open doors. How can everyone open their doors more while considering the space people are entering into. It's one thing opening your door but it's another thing if that person enters a space and doesn't feel safe.

For me, a place where everyone's consciously thinking about this, and it isn't just on the organization or a few artists or someone like me in my role to try and figure it out. I think if everyone was conscious of it, things would just happen more seamlessly.

How LP Giobbi & Femme House Are Making Space For Women In Dance Music: "If You Really Want To Make A Change, It Can Be Done"

• 1 Jamie xx Returns To Present With 'In Waves': How Time Off Led To An Album Of Renewal
• 2 Zedd's Road To 'Telos': How Creating For Himself & Disregarding Commercial Appeal Led To An Evolutionary New Album
• 3 10 Cant-Miss Sets At HARD Summer 2024: Disclosure, Boys Noize, INVT & More
• 4 "Let Yourself Be Idiosyncratic": Moby Talks New Album 'Always Centered At Night' & 25 Years Of 'Play'
• 5 Beatport's Sofia Ilyas On Creating A More Equitable & Connected Music Industry