Nate Mars just lately unveiled his newest venture, the In Time (Remixes) assortment, that includes reimagined variations of his unique 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 contemporary unique monitor that completely encapsulates his signature model.
Kicking off the In Time (Remixes) is Liondub’s reinterpretation of the title monitor, “In Time.” Liondub, a seasoned determine within the international drum and bass scene, delivers a easy 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, affords a classy remix of “Beginning Over.” Identified for his mastery of jungle and breakbeat hardcore, Reaper showcases his technical prowess with intelligent breaks and minimalistic vocal components that spotlight the essence of high quality dance music. His remix exemplifies the spirit of unique jungle music, staying true to the style’s roots whereas including a recent contact.
Philadelphia-based producer Starkey rounds out the remix assortment along with his distinctive tackle “To Kill A DJ,” infusing the monitor with dub/reggae influences and hard-hitting UK storage components. Starkey’s dystopian soundscape captivates listeners, seamlessly mixing Mars’ unique along with his distinct model, demonstrating his versatility and boundary-pushing method to music manufacturing.
Lastly, Nate Mars introduces “Parallelogram,” a brand-new unique 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 along with his progressive 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’ tasks have 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 instances or produce a driving, aggressive bassline however it’s so hardly ever used past Acid Home. For the “Out Of The Metropolis” file I actually wished to push 303 norms and I believe finally DIA LUNA and I made songs the place it serves because the glue however general, we took issues in a extra darkish pop course. That file happened via longtime collaboration and a collection of stay reveals collectively, experimenting with looped vocals, drum machines and different {hardware}. Whereas I do DJ a bit lately, I nonetheless actually love taking part in stay 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 truly a drum and bass launch on a compilation referred to as “Liberation Techniques” 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 lots of drum and bass although and am at the moment sitting on lots of unreleased songs. I could launch extra this yr. Within the meantime, there may be additionally a remix EP that was just lately launched which options remixes from Liondub, Tim Reaper and Starkey; all artists whom I deeply respect. Large due to everybody who’s listening and supporting as nicely.
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 truly met Tim Reaper earlier than. I had reached out to him a couple of remix for this venture as a result of I like his manufacturing model. He’s a really prolific producer, DJ and founding father of the label FutureRetro London which has some superb 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 couple of reveals collectively earlier than. His remix of “To Kill A DJ” took that track to an entire different degree! The drums on that one sound bonkers.
Your work and fervour lengthen past the studio. What upcoming visible venture are you engaged on, and what impressed you to concentrate on it?
Along with releasing songs, I like engaged on tasks the place I can carry music or sound design to immersive experiences like visible installations and video games. I just lately began collaborating with a longtime buddy and visible artist Far Eye beneath the identify Strain + 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 style tube TVs with looped movies that will generate completely different visible and sonic mixtures as they play. I additionally simply completed engaged on sound design for a really cool unbiased recreation referred to as ‘Sound Gardner’ created by James Capuder. Within the recreation, you create a sonic backyard by planting varied vegetation that additionally generate sounds. Over time, sure vegetation will go away (every species having a special lifespan) and this generates new and fascinating sonic mixtures whereas additionally making room within the backyard to develop new timber, mushrooms and flowers. Each of those tasks have been lots of enjoyable to work on.
There’s an environment of independence and confidence in your individual creative course 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 stream naturally. Particularly once I’m engaged on music which I do every day, I make some extent not to consider something associated to biz and actually concentrate on 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 stay out on the earth and possibly resonate with individuals. Musically, I do spend time enthusiastic about pushing sure sounds I’m impressed by in new instructions although. That’s what led me to put in writing “songs” with the TB-303 as a substitute of “tracks” the place there are lyrics and extra of a construction. I believe the 303 has a lot room to encourage and attain new ears outdoors of Acid Home. This considering can 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 believe there may be nonetheless a lot extra room for exploration.
I observed you have got releases relationship again practically 15 years on Spotify. What received you began, and what retains you stepping 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 outdated. Finally that led to producing music as a result of I’d hear or think about different devices taking part in melodic components whereas I used to be training 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’d follow. Now, I type of can’t not preserve going. If time passes and I don’t work on music for a bit because of varied 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 believe it is vitally vital to make time to “soak up” different artwork types. I’m sort of an extroverted introvert. Whereas I may 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 the moment blaze via e-book each two weeks or so and get out in nature to hike fairly often. Some superb books I’ve learn recently 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. Presently, I’m studying “Crime and Punishment” by Fyodor Dostoevsky after simply ending Cormack McCarthy’s newest novels, “The Passenger” and “Stella Maris”. Extremely advocate all of those. Additionally advocate Elden Ring and Name Of Obligation for PS5. Haha.
Wanting again, have 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 tremendously impacted my journey in music through the years. My good buddy and unimaginable music producer Eric Maltz who now lives in Berlin began a file label with me referred to 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 have been open and labored on a bunch of music collectively. We’ve discovered so much from one another through the years. On the movie/TV music aspect of issues, my good buddy Greg Tobler is an incredible combine engineer who has labored on some nice reveals for HBO, Netflix and others. He has given me many alternatives through the years to hone my expertise and I’m very grateful. On the enterprise aspect of issues, my good buddy Justin Klienfeld who owns rephlektor, a music PR and advertising company has given me a lot unimaginable recommendation through the years, serving to me navigate the ever-changing panorama of the trade. There are such a lot of different individuals I wish to shout out right here however these 3 individuals come to thoughts by way of the direct influence they’ve had on my music. I additionally tremendously belief their ears and typically share tasks 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 huge effect 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 in search of you? Are there upcoming releases you have got slated, and what are your targets?
I’m at the moment sitting on lots 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 fairly large audio/visible venture that includes some outdated movies that at the moment are within the public area. I’m enthusiastic about that venture and could have extra to share quickly!