You just got off stage at Electric Daisy Carnival. How was it?
It was really, really insane to be up there and see all those people. I couldn’t expect anything better. The visuals were amazing and I think it was the best EDC show I’ve done so far.
You’ve revealed something that bothers you in the industry: producers who pay to get their names on tracks without actually helping with the creative process. If you could magically make the industry perfect, what else would you change?
First of all I would change the programming of all the big festivals. A lot of festivals book because of pressure from the booking agency. I just think they should program music-wise, what fits best. If I was able to make the scene perfect I would choose by genre, not by how big the artist is. Next to that, I think like you said, it’s really important that artists should produce their own music and not just buy something that’s hype. Not just pick a good-looking guy, teach him how to mix really quickly, let someone else make his tracks and set him on a stage, and people will think it’s him. That’s something that bothers me because we work really hard to get our sound out there.
You talk a lot about “hype.” Where’s the production hype today and where’s it going?
We have much hype with the harder kick drums; I think it’s gonna be over soon. Of course the dubstep hype was huge and I feel it’s a little over now. Sad enough, because it was a serious next-level thing. Skrillex was the biggest one, of course, but it’s cool to see that he can do more things than just one genre. I think there’s a hype coming with producers using real instruments and going back a little more to music’s origins.