Nate Mars lately unveiled his newest undertaking, the In Time (Remixes) assortment, that includes reimagined variations of his authentic In Time EP, launched simply final November. This eagerly anticipated launch showcases remixes by esteemed artists Liondub, Tim Reaper, and Starkey, every injecting their distinctive aptitude into Mars’ tracks. Alongside these remixes, Mars introduces “Parallelogram,” a recent authentic monitor that completely encapsulates his signature type.
Kicking off the In Time (Remixes) is Liondub’s reinterpretation of the title monitor, “In Time.” Liondub, a seasoned determine within the world drum and bass scene, delivers a clean and polished rendition, infusing the monitor with a seamless drum and bass rhythm that propels the listener ahead. With Liondub’s intensive expertise and collaborations with reggae and dancehall artists worldwide, his tackle “In Time” units the tone for the remix assortment.
In the meantime, Tim Reaper, founding father of the esteemed Future Retro London file label, gives a classy remix of “Beginning Over.” Recognized for his mastery of jungle and breakbeat hardcore, Reaper showcases his technical prowess with intelligent breaks and minimalistic vocal parts that spotlight the essence of high quality dance music. His remix exemplifies the spirit of authentic jungle music, staying true to the style’s roots whereas including a recent contact.
Philadelphia-based producer Starkey rounds out the remix assortment together with his distinctive tackle “To Kill A DJ,” infusing the monitor with dub/reggae influences and hard-hitting UK storage parts. Starkey’s dystopian soundscape captivates listeners, seamlessly mixing Mars’ authentic together with his distinct type, demonstrating his versatility and boundary-pushing strategy to music manufacturing.
Lastly, Nate Mars introduces “Parallelogram,” a brand-new authentic monitor that showcases his experience in drum and bass and UK storage. With its metallic percussion, fast-paced breaks, and thick basslines, “Parallelogram” exemplifies Mars’ skill to shock and delight listeners together with his revolutionary soundscapes.
We had the chance to talk with Nate concerning the remixes and what’s forward for this yr. Test it out beneath!
It appears to be like like ‘Out Of The Metropolis’ and ‘In Time’ initiatives had been main latest highlights. What do you hope individuals will take away from each of those works?
I’m very happy with these two releases and they’re each deeply private to me. I’ve all the time been into the sound of the TB-303. It’s a magical instrument that may sound hypnotic at occasions or produce a driving, aggressive bassline however it’s so not often used past Acid Home. For the “Out Of The Metropolis” file I actually needed to push 303 norms and I feel finally DIA LUNA and I made songs the place it serves because the glue however general, we took issues in a extra darkish pop path. That file took place via longtime collaboration and a sequence of reside exhibits collectively, experimenting with looped vocals, drum machines and different {hardware}. Whereas I do DJ a bit today, I nonetheless actually love taking part in reside units with the TB-303 and different gear.
For the “In Time” launch, I went again to my roots in drum and bass/jungle a bit. I’ve all the time been impressed by that sound together with 90s rave music, breakcore and early dubstep. My very first launch was really a drum and bass launch on a compilation known as “Liberation Methods” which additionally featured artists like DJ Spooky, DJ Wally and others from the Liquid Sky period. That launch got here out a number of years in the past and I hadn’t launched any new drum and bass since this most up-to-date “In Time” EP which options 4 new songs. I’ve been making a whole lot of drum and bass although and am at present sitting on a whole lot of unreleased songs. I’ll launch extra this yr. Within the meantime, there may be additionally a remix EP that was lately launched which options remixes from Liondub, Tim Reaper and Starkey; all artists whom I deeply respect. Enormous because of everybody who’s listening and supporting as effectively.
How did you and Tim Reaper, Starkey and the opposite artists for the remix EP meet? It’s superior that they’ve grow to be a part of the ‘In Time (Remixes)’ launch.
I’ve not really met Tim Reaper earlier than. I had reached out to him a few remix for this undertaking as a result of I like his manufacturing type. He’s a really prolific producer, DJ and founding father of the label FutureRetro London which has some wonderful releases. I’m honored that he was up for a remix. Liondub and I’ve identified one another for a few years now via the small New York scene. I remixed a monitor for his label some time again and instantly considered him for this remix EP. Starkey and I’ve additionally identified one another for some time now and have performed a number of exhibits collectively earlier than. His remix of “To Kill A DJ” took that track to a complete different stage! The drums on that one sound bonkers.
Your work and keenness prolong past the studio. What upcoming visible undertaking are you engaged on, and what impressed you to give attention to it?
Along with releasing songs, I like engaged on initiatives the place I can convey music or sound design to immersive experiences like visible installations and video games. I lately began collaborating with a longtime good friend and visible artist Far Eye beneath the title Stress + Time, the outlet for our audio/visible work collectively. We simply had a present on view at a gallery in upstate NY for a month using old skool tube TVs with looped movies that may generate totally different visible and sonic combos as they play. I additionally simply completed engaged on sound design for a really cool impartial sport known as ‘Sound Gardner’ created by James Capuder. Within the sport, you create a sonic backyard by planting numerous crops that additionally generate sounds. Over time, sure crops will go away (every species having a distinct lifespan) and this generates new and fascinating sonic combos whereas additionally making room within the backyard to develop new bushes, mushrooms and flowers. Each of those initiatives had been a whole lot of enjoyable to work on.
There’s an environment of independence and confidence in your personal inventive path evident via the branding and sound of the Nate Mars idea. The place does this sensibility come from?
Thanks. I attempt not to consider my “model” an excessive amount of and simply let issues move naturally. Particularly after I’m engaged on music which I do every day, I make a degree not to consider something associated to biz and actually give attention to getting the songs to a spot the place I be ok with them. When I’ve music that feels completed, then I’ll dedicate a while to consider the place the songs may reside out on this planet and possibly resonate with individuals. Musically, I do spend time occupied with pushing sure sounds I’m impressed by in new instructions although. That’s what led me to jot down “songs” with the TB-303 as an alternative of “tracks” the place there are lyrics and extra of a construction. I feel the 303 has a lot room to encourage and attain new ears outdoors of Acid Home. This pondering can also be what led me to sing and write lyrics for the “In Time” EP. There are another innovators who’re bringing Dnb into extra of a track construction however I feel there may be nonetheless a lot extra room for exploration.
I observed you’ve gotten releases courting again practically 15 years on Spotify. What received you began, and what retains you moving into music?
I’ve been a musician for a very long time, rising up taking part in bass since I used to be round 12 years previous. Finally that led to producing music as a result of I might hear or think about different devices taking part in melodic elements whereas I used to be practising bass or think about what the drummer was taking part in. I’ve just about all the time identified that music is one thing I might stick to. Now, I type of can’t not preserve going. If time passes and I don’t work on music for a bit on account of numerous issues that inevitably come up in life, I’ll begin feeling depressed or responsible. Music is deeply vital to me and it has all the time served as an outlet of emotional expression to rejoice the thrill in life or deal with its challenges.
Are there any moments or actions that place you in a extra impressed or artistic headspace?
I feel it is extremely vital to make time to “soak up” different artwork kinds. I’m sort of an extroverted introvert. Whereas I will be social, I additionally like to spend so much of time alone studying, listening to music, strolling in nature or taking part in video video games. I at present blaze via an excellent e-book each two weeks or so and get out in nature to hike fairly frequently. Some wonderful books I’ve learn currently are “The Coming Wave” by Mustafa Suleyeman which talks concerning the trajectory of AI and the intersection with biotechnology. I additionally discovered Rick Rubin’s “The Artistic Act” to be tremendously inspiring and relevant to any artistic endeavor. At present, I’m studying “Crime and Punishment” by Fyodor Dostoevsky after simply ending Cormack McCarthy’s newest novels, “The Passenger” and “Stella Maris”. Extremely suggest all of those. Additionally suggest Elden Ring and Name Of Responsibility for PS5. Haha.
Wanting again, had been there any key mentors or figures throughout your upbringing who helped put you on the trail to music?
There are a number of individuals who have significantly impacted my journey in music over time. My good good friend and unimaginable music producer Eric Maltz who now lives in Berlin began a file label with me known as AlienUpRock within the early 2000s. We pressed a file, took it to shops like Breakbeat Science, Satellite tv for pc and Eightball in NY when these shops had been open and labored on a bunch of music collectively. We’ve got realized so much from one another over time. On the movie/TV music facet of issues, my good good friend Greg Tobler is a tremendous combine engineer who has labored on some nice exhibits for HBO, Netflix and others. He has given me many alternatives over time to hone my expertise and I’m very grateful. On the enterprise facet of issues, my good good friend Justin Klienfeld who owns rephlektor, a music PR and advertising company has given me a lot unimaginable recommendation over time, serving to me navigate the ever-changing panorama of the business. There are such a lot of different individuals I need to shout out right here however these 3 individuals come to thoughts by way of the direct affect they’ve had on my music. I additionally significantly belief their ears and generally share initiatives forward of launch for a vibe verify. I don’t wish to share music with too many individuals earlier than I launch one thing however this crew is in my inside circle.
And whereas not essentially mentors as a result of I don’t know them personally, musical artists like Huge Assault, The Prodigy, Bjork, Apex Twin, Jamie xx, The Knife, Susumu Yakota, Philip Glass, Goldie and Moby instantly come to thoughts as having made a big impact on my work. I’m additionally deeply impressed by artists who work in different mediums like Agnes Danes, Yayoi Kusama and Tomás Saraceno.
How is 2024 on the lookout for you? Are there upcoming releases you’ve gotten slated, and what are your targets?
I’m at present sitting on a whole lot of unreleased music. Most of it’s acid leaning, drum and bass or jungle impressed and there may be additionally some actually bizarre experimental stuff thrown in. I plan to launch extra data this coming yr beginning in Spring of 2024. I’m additionally engaged on a reasonably large audio/visible undertaking that includes some previous movies that at the moment are within the public area. I’m enthusiastic about that undertaking and may have extra to share quickly!
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