LessThan3: For anyone who isn’t familiar with the Sean Tyas sound, how would you describe your music to a newcomer to the EDM scene?
Sean: Melodic and driving. I’ve always been focused on melody over everything else, though bass music is a very strong influence these days.
LessThan3: You have quite a varied style in terms of the tracks you release. Do you have a sound you prefer or do you just enjoy producing a varied range of tracks?
Sean: My first love is making banging trance at higher tempos, but I love doing things a bit slower too, which lets me produce in a totally different style with much louder elements. I think that’s pretty evident, as I kind of switch from one style to the other almost with each record, but that’s never really been done on purpose.
LessThan3: You were born in New York, but now live in Switzerland. How do you feel about the ongoing rise of dance music in the US? Do you feel trance is getting a fair share of the attention?
My growth as a clubber all took place in NYC. It was an amazing time in the late ’90s and early 2000s when we had clubs like Twilo, Tunnel, Limelight, Roxy, and Crobar. All this time dance music was still “underground” in the USA, and it was pretty equal because the commercial side of things didn’t really affect it.
The artists that get the biggest gigs are the ones with tracks on Top 40 radio or Sirius XM, which is understandable–exposure on a large scale equals attention. It’s vital, because these outlets are how the new generation of listeners are introduced to dance music. Invariably they will start to look into the different genres and find deeper things that they love. For example, when a person is introduced to dance by listening to BPM radio, they’ll soon start to look into these artists they hear all day on Beatport and think, “hmmm, now let me check out what techno is, or what trance is, or what drum & bass is.” Hopefully then they’ll find a whole new alley that they’ve yet to travel and really fall in love with it all.
LessThan3: You’ve worked with a variety of producers over the years–everyone from Armin van Buuren to Noah Neiman for your recent single Lose My Logic. How do such collaborations come about and how does working with other producers change or affect your production style?
Sean: I love the fact that collaboration does affect the production, but I think the word “change” is too extreme. When one collaborates with another person, it’s more about adapting and molding the styles together into one idea that makes sense sonically. The whole idea is to have each contributor bringing their own strengths to the table.
LessThan3: Your latest release, Now You See, is an excellent example of your uplifting style. What was the process behind writing it? Do you write tracks like this in tandem with your more electro-influenced output, or do you go through phases of what you like to produce?
Sean: Now You See is going to be my new roadmap to how I’d like to do things with my sound. I feel it’s my traditional sound coming of age, and I’ve been after how to handle having the new and old techniques work for a while. It’s a “less is more” approach–letting the main elements be fewer in number, which allows each sound to have more time to develop. When I would have previously done five or six layered basslines, instead I’d tackle it with just two, and as a result they sound much bigger and you can hear the rhythm with much more clarity. I’m super proud of this one, and I hope everyone enjoys it, too.
LessThan3: How does touring balance with your production schedule? Do your experiences while playing live have any effect on your production style?
Sean: Touring is the production schedule’s kryptonite. I do try my best to be relatively productive while on the road, but that’s always easier said than done. It’s really hard to sit and think creatively or musically while on an airplane or in some airport lounge. I really just long to get back to the studio to sit in front of my fat-ass monitors. The most productive thing I like doing while on the road is programming patches on various synths. Then I can put them to proper use when I get back home.
LessThan3: Your label Tytanium Recordings has a solid release schedule. What is your vision for how the label will progress?
Sean: This next year I’d like to build a couple of the names I’ve already brought on board and really push them. I want to help them develop more of their own individual sounds, and build a great label together. I’ve got a new team working with me across the board, so we’re going to be turning things up a notch in terms of marketing, and we’ll hopefully do some Tytanium shows in certain parts of the world too.
LessThan3: What does 2014 and beyond hold for you? Anything to share regarding your own work or career plans?
I’m actually going to be working on my first album, which is going to take up most of my time. It’s very exciting to finally take on doing an album. I’ve found a great home for the album with awesome label support, so as soon as the details are sorted, we’ll be making an official announcement with more details. There will also be many other releases, such as a collaboration I’m doing with Paul van Dyk
, a remix I’ve done which features Joel Madden of Good Charlotte, plus some vocal tracks with Fisher
. It’s really going to be a game-changer of a year for me.
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.
Sean: : Melodic powerful beats.