LessThan3: How would you describe deep progressive house and your passion for it?
Matt: I like depth and subtleties in records. I don’t like to give every idea away immediately. I much prefer tracks that grow on you, and the more you listen to them, the more you layers you discover.
LessThan3: Who are your main influences in the dance music arena? How about outside of EDM?
Matt: Within dance music, John Graham (Quivver) and Maetrik. However, most of my influence comes from outside EDM. Top three would be: Tool, Telefon Tel Aviv, and Richard Devine.
LessThan3: You made a lot of headway with Rift. What went into this production? How did Andrew Bayer stumble upon remixing it?
Matt: It’s based entirely on five different guitar parts. I never intended for it to be a dance piece, but after being stuck on it for a little while, I added some housey elements to it, and it seemed to tie the thing together. Andrew certainly didn’t stumble into a remix of it; he was the first person to have heard the track and pitched it to Anjuna with his intention to remix it as well.
LessThan3: Both you and Andrew attended Berklee College of Music. Did you meet in a class? Tell us about your friendship with him and the courses you took. What other producers do you keep in touch with from Berklee?
Matt: Andrew and I never knew each other at Berklee. I graduated two years before him, so our paths never crossed. It wasn’t until after I had graduated and was working in Washington, DC that we met each other in a club. That was about three years ago. We both find it curious these days that it seems like neither of our names can come up without the other being mentioned alongside. I suppose it’s good in a way, but curious nonetheless. From Berklee the producers I stay most involved with are Andrew, Kerry Leva, and Paul Beckwith.
LessThan3: Talk to us about the pros and cons of becoming an EDM artist after attending the Berklee College of Music. Do you think a traditional musical education will become more important as EDM becomes more sophisticated over time?
Matt: EDM in general (not entirely) is relatively unsophisticated music. If you look at the trend now, it’s getting even simpler and simpler. The pros of music education are the knowledge you come out with, which of course is the con as well. Generally, if you have the desire to go to music school, your horizons are slightly larger than just EDM, and by all means, if your reason to go is to learn and expand your musicianship, then you absolutely should consider doing it. Berklee was the right choice for me, but it’s not the right choice for everyone. Because of my training (even before Berklee, which was just the icing on the cake), I analyze everything. I can’t turn off the analyzing function in my brain when it comes to music because of how second nature it is at this point. For this reason, most EDM bores me because there’s not much there for me to have to think about. I suppose if I had never done all the music education, it would be easier to enjoy simpler music, but I personally enjoy music that not only stimulates me emotionally, but also intellectually. Alas, ignorance is bliss.
LessThan3: Do you ever get confused with the British producer Lange? How about doing a Lange & Lange collaboration?
Matt: Very frequently. I used to correct people whenever they’d confuse us. Now whenever I get a message that they loved my set in South Africa (that Stuart played, not me) I just say “Thanks.” Everyone wins that way, I guess. I doubt a collaboration would happen anytime soon.
LessThan3: In what ways is EDM still struggling?
Oversaturation of a market with not enough cashflow or demand. There’s way too much music released and not enough quality control. The value of music has dropped to the point of where companies like Spotify
are supposedly saving the industry? Who pays less that three euros for 100 plays of an album? How many albums have you bought that you’ve listened to over 100 times?
LessThan3: Tell us about the launch of your label isoRhythm. How did you derive the name and what sound do you aim to promote?
Matt: An isorhythm is a musical term describing an element having a rhythmic motif and meter that is independent of other rhythmic elements. I’ve used isorhythms exuberantly for the past ten years or so, and when I was thinking of names for the label, that meaning of that particularly resonated with me. As far as the sound I aim to promote, it’s quite simple: mine. I’m not releasing records by anyone else, and it exists as an entity that is far more than just a record label. The first release was actually a sample pack sourced from field recordings I had made in April. isoRhythm also encompasses sound design and composition for advertising, as well as a publishing company.
LessThan3: Do you have any surprise tracks in the works? Perhaps a style your fans wouldn’t have anticipated?
Matt: I’d like to think at this point my fans accept and enjoy the fact that I like to experiment and take influence from a wide variety of different genres. I suppose you could say there are some surprise tracks in the works, but I wouldn’t say stylistically that it will be so much of a surprise, as it’s moreso an evolution.
LessThan3: If you had to rename some of dance music’s genres, what new names might we see?
Matt: Rainbow Brite, Bigfootstep, Langecore.
LessThan3: If the world were ending in LessThan3 minutes, and you had an iPod with every song ever made on it, what would you listen to?
LessThan3: Describe your sound in LessThan3 words.
Matt: Post Organic.