Before we jump into Red Wild’s club-oriented catalogue and his collaborative latest release, we should mention what’s, in our opinion, one of the project’s greatest strengths. You see, the Raleigh-based DJ and producer is perfectly in tune with the electronic community around him, and beyond his records, he’s a charming, leading creative figure, a busy talent that’s focused on making things happen. ‘We The Beat’ is the strongest evidence of that.
An expansive, eclectic EP focused on danceable EDM and more niche deep house and techno cuts, ‘We The Beat’ sees Red Wild rallying a pool of like-minded producers and DJs around him, effectively taking charge of an entire scene. Passionate about music as a collective experience, the American sonic alchemist also sees this record as an opportunity to share his knowledge with others and, in turn, develop a stronger local scene.
Intrigued by the project, we caught up with Red Wild to find out more about his artistry and future goals… Interview below!
Hey Red Wild, thanks for chatting with us! I have already introduced you, but I’d love to dive deeper for anyone not familiar with your project. For instance, what can we expect from a Red Wild DJ set? I love the slightly retro/lo-fi character that sometimes shines through your records.
When I’m DJing, I love to incorporate variety into my sets, mainly because I enjoy so many genres of music. Generally speaking, I like to play anything under the electronic umbrella, including House, Garage, Deep Tech, Techno, Soulful House, etc. I’ll even play disco in there, too. Having a good amount of variety in a set keeps it from being stale.
For my own music, I draw much inspiration from the 90s house sound: the TR-909 drum machine, rompers, and analogue basslines. The gear I use and record with for production helps greatly for that retro feel in my music.
What motivated you to take up DJing in the first place? Do you have any ‘heroes’ you look up to?
I got really big into producing house music and wanted to find a way to share my tracks with others. Luckily, DJing and house music go hand in hand, and it wasn’t long before I bought a cheap deck and began practising. I then got really active in my local scene, fell in love with the community, the dancefloor, and the music. I’ve never felt such a compulsion to go after something in my life, ever.
As for those who inspire me, artists like Daft Punk, Disclosure, Justice, and Kerri Chandler are up there. They don’t compromise their sound for others or popularity.
‘We The Beat’ is the title of both your latest single and EP. It’s a strongly collaborative release, and it’s great that you reached out to upcoming producers and DJs, allowing them to learn more in the process. How did you get here? Where is the idea for it all coming from?
I came up with the name for this project after witnessing CHKLTE perform a DJ set locally at The Portal. Seeing the dance floor that night inspired me. The title ‘We The Beat’ refers to the dancefloor, the people dancing, representing the beat, becoming the beat itself through physical movement via dance and also being moved emotionally by the music.
I had been collaborating with other DJs and producers locally, and the name ‘We The Beat’ fit the idea of a collaborative release. Music is greatly enhanced when it’s shared with other people.
Speaking about the single, ‘We The Beat’ is rather vibrant and nostalgic, a slice of classic house with elegant techno flavourings sprinkled throughout. Are you proud of the track? Did you work with your collaborators remotely or in the same room? Did it take a long time to write and produce?
I’m very proud of the title track; it’s my best release yet. It’s really a milestone for me in terms of the sound I’m going to be pushing in the future. It’s the only track that’s been self-produced in the EP, but I thought the name ‘We The Beat’ would fit nicely. As the first track, it sets the tone for the listeners before they listen to the rest.
For ‘We The Beat’, I felt really compelled to finish the track, so I got the majority of it done in about one day, working on it overnight. I’ll make a few mix adjustments some weeks later, after getting feedback from my peers. Shout out to DJ Ed McFadden for the advice and thoughts regarding ‘We The Beat’.
For the rest of EP I worked in-person with other collaborators, either in my bedroom studio or at their setups. I prefer working together with others in a physical space. It makes the experience of making a track more memorable and exciting. We’re here, we’ve got to make a track together, so let’s do it.
Widening the discourse on your production workflow… do you work mostly in the box (digitally) or with physical gear? Do you produce specifically for the dancefloor?
Physical and digital. I work the best of both worlds together, although people know me as being a pretty obsessive gearhead! Having physical gear is really great; you get to connect with the instrument. Bob Moog said that when you connect with an instrument, it’s almost a spiritual connection, a connection that living beings respond to. I agree with that greatly.
But it’s also nice to work in the box digitally as well. I use a custom template in FL Studio that really helps my workflow, and without that, I don’t think I could get so much done as I do. So I blend both to get my sound.
For now, I’m producing with the dancefloor in mind, experimenting with interesting arrangements and sound design. I love using delay creatively.
What more can we expect from ‘We The Beat’ (the series), and when?
I’d like to continue the ‘We The Beat’ series and the collaborative work I’m doing. It’s a really unique concept that I can use to spread production knowledge and experience with other people and just generally have fun with music. We The Beat 2 is bound to happen, and if you’re reading this, maybe you could be on it next…
As a DJ, you are bound to have collected some cool stories; what’s the funniest/quirkiest thing that has happened to you while DJing?
One of the tracks on the EP, ROOM 303, was originally at 130 BPM. I started playing it at Ed McFadden’s place, and he’s like, “Bro, this is Trance, we gotta speed it up.” So we sped it up to 138 without master tempo on, so it pitched up too. It sounded so much better that I ended up keeping the change. Don’t overthink it, if it sounds good, it’s good.
I also got Spiderman himself dancing while I was Djing at open decks too, that was pretty sick.
What are the next steps for your project? Anything exciting on the horizon?
Yes, I have a four-track EP ready for ears. This one’s really exciting. The cover art will raise some eyebrows. I’m also looking to do more live DAWless performances using my synthesisers. On August 21st, I will be bringing the synths to High Garden, 8:45-9:30 pm. Expect gritty, acid house, 303 techno goodness.
