When most individuals consider EDM DJs, they consider extroverted neo-rock stars. These jetsetters are so dedicated to the occasion that they curate sounds that shake the air round it. Their lives — the epitome of cool — are soaked with champagne and exclusivity.
Whereas that is true for some, in actuality, an affinity for making digital music usually goes hand in hand with a love of computer systems and of spending time alone — producing music, taking lengthy, solo flights from gig to gig, and passing seemingly countless hours in airport-terminal purgatory.
Colorado-based producer Matthew Philpott-Jones, professionally often known as DMVU, is not any stranger to this state of affairs. His love of digital music was a pure development from his fondness for computer systems and gaming whereas rising up in icy New England.
Philpitt-Jones’s most up-to-date launch is Reward Be Delusion or, the Ripple, a fifteen-track, hour-long album out on the Dome of Doom label. He first joined Dome of Doom in 2020 with the meditative, experimental Two Pairs of Eyes, Gazing Solely at Every Different, then returned with extra blissful and contemplative digital music — a stark distinction to the head-banging, whiplash-inducing bass music that originally obtained him observed within the industrial EDM world.
Westword caught up with Philpott-Jones to study extra.
Westword: When you’ve been in Colorado for fairly a while, you’re initially from New Hampshire, which isn’t the primary place folks consider once they consider digital music. What initially obtained you into EDM, and what impressed you to start out writing your first songs?
Matthew Philpott-Jones: I used to be actually into hip-hop across the age I found digital music. It was largely my pals’ older brothers listening to Amon Tobin and Aphex Twin, and me simply listening to it from the opposite room and being shocked. Ultimately my finest good friend on the time ran away from house and had nowhere to go, so he stayed with me and my mother and father. We had been each into computer systems due to video video games, and at some point he was similar to, “Hey! I do know you’re keen on enjoying drums. What if I informed you you could possibly make drums on the pc?” And I used to be utterly blown away. At this level in my life, music was made by devices — guitars, pianos, issues like that. I didn’t fathom that you could possibly use a pc to write down a music.
Digital music may be fairly segmented and elitist, culturally. Some home heads don’t like bass music, bass music fiends don’t like home, and a few exit of their strategy to actively disparage others. Why do you assume that is?
Whereas I do assume being an elitist is type of ridiculous, I do perceive it in a approach. Most individuals discover one thing that they really feel is sacred, they usually’re afraid that if too many individuals learn about it or partake in it that it’s going to lose its magic — which in a way may be true. However realistically, that’s often not the case. Persons are defensive for issues they care about, together with artwork. I believe everybody type of goes by an elitist section once they’re younger, however virtually everybody I do know has fairly rapidly grown out of it. We’re simply right here to get pleasure from it for what it’s price.
Talking of elitism, there is a conception in digital music that it is all made by computer systems and that it is not “actual music.” What do you say to individuals who dismiss digital music due to the digital factor?
I imply, to be completely honest, that’s not one thing I’ve heard anybody complain about in just like the previous ten years, however I additionally suppose I am a part of a circle the place that’s not too widespread. However often to individuals who say issues like that, I might inform them that they need to most likely notice that almost all of music they like one hundred pc incorporates a lot of digital components. A lot fashionable music, even nation, is made on a pc. It’s a extremely outdated ideology. May as effectively inform folks to make use of a rotary telephone as a substitute of their iPhone.
You had an enormous hit, “Bloccd,” which obtained performed by Skrillex, Diplo and different mainstream acts. Have been you involved that when this began blowing up, it was going to compartmentalize your sound?
It was type of one thing I used to be afraid of. I had seen quite a lot of artists I actually get pleasure from get large, and unexpectedly their sound appeared to progress far more slowly than earlier than. But in addition, as an artist, I perceive that. We’re all making an attempt to make a dwelling off what we love, and generally you discover a pathway to take action, and who can blame anybody for taking it? I believe I used to be so apprehensive about compartmentalizing my sound after that music that I over-corrected and began making actually loopy and emotional music. It’s nothing I remorse, however I positively may’ve chilled out slightly bit.
You launch a reasonably broad number of music, as exemplified by final yr’s releases. Chemical compounds is a big-stage, festival-ready extravaganza, whereas Two Pairs of Eyes is extra melodic and experimental at instances. What’s with the distinction, and do you assume that extra artists ought to take this strategy?
To begin with, I believe artists ought to do actually no matter they need. I need zero say in what somebody does; that’s utterly on them. If somebody desires to make the identical model again and again, I believe they need to. I do know individuals who could make the identical model again and again, but nonetheless handle to convey one thing distinctive to the desk each time. I simply personally have actually unhealthy focus, and I get tremendous bored and antsy once I work on one thing that feels like the very last thing I labored on. So I often simply undergo the throes. I’ll make one thing actually chill and emotional, after which I’ll make one thing aggressive. I’ve a writing model for each emotion.
Take heed to Reward Be Delusion or, the Ripple at dmvu.bandcamp.com.
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