Who’s ready for some fresh sounding Dubstep?!
Much like RandoRando, Rekon sports a talented new sound with a small taste of the past. There’s always something refreshing about getting sent tracks that don’t just blur into the sea of new artists trying to make it. Skrillex is a great example. As much as Skrillex is hated for how much he’s loved he still did something right by standing out in a unique way and incorporating a fresh recognizable style into his productions. This is what we like about Rekon.
Although fairly new to the scene he has definitely earned his spot in our innovative category with his new track, Cyborg. Enjoy!
P.S. Quit Being Lazy and Rate Below!
So to start this off right we’d like to ask how you got into producing in the first place. How did you begin your career in music and ?at what age did you start producing it?
Well when I was sixteen I felt this attraction to music. It was insane. I could hear a great language and I wanted to understand it and learn to speak it. So I started searching for music software and just started tweaking knobs without any knowledge of anything! Later on I joined a rockband and played as keyboardist, which was my first experience in composition and learning an instrument. It was pretty fun! We had the chance to open shows and go to concerts for some great bands in that time, like from Autumn to Ashes and Emery.
Later on, large trance events in mexico caught my attention so I started with electronic music. This worked pretty good for a few years so I decided to get into something where I could develop my own sound and try out all that I’d have learned. I always liked the electro, banging or indie dance sound cause I grew up with music from artists like, Prodigy, Apex Twins, Dieselboy, Daftpunk, and Justice… So little by little I began to develop this project I called Pyramyth.
Your tracks are filled with a barrage of sounds. What synthesizers or VST’s do you most commonly use in your tracks?
It’s strange sometimes because I use to do so much cut & glitching that if I used any VST it would end up sounding like some other thing completely opposite from the track I started!
But what I enjoy to tweak the most is Operator, Minimonsta, and NI’s Massive. Plus some external routing to fogger pedals or overdrives, just stuff like that.
What is your favorite Digital Workstation or Sequencer?
I have a deep love for Ableton and Logic, but I’d say that it’s mostly 90% Ableton.
Where do you pull most of your inspiration to make music from? If it’s from some other producers or musicians than who?
Anything with good rhythm, melody or harmony is my inspiration… These days there is a lot to choose from. I mean top charts are a great way to find the top producers, but bear in mind that you need to search for gold, even if it’s hidden in the dirt.
Inspiration sometimes gets you at work, or sometimes while listening to new stuff, but most the time what works for me is to have a good drum kit and from there I always get inspired and imagine how it could sound. So I just stand up and start dancing all around, feeling it, You know? Having this crazy break, or this sentimental melody… which can end up in a massive drop. For me, inspiration is all about imagination.
We have seen some of your tracks have been made in collaboration with another inspiring artist, Digital Freq. How did you two come to meet?
Digital freq is a crazy talented guy. His music opened the ears of people all over the world to Mexico’s electronic music. I had the chance to meet him back in my trance years and we always shared music stuff. Then when I started Pyramyth I went to him to ask for some advice and things just started to make sense. Later we were recording crazy talkbox stuff, having good times jamming around. That’s actually how we ended up with that funky track, together forever, and we decided that one day we would throw an EP out. It took some time because we both were doing our own stuff, but we got the time to fix it up and then came the astronaut. He has been a very supportive friend.
You have been gaining a lot of popularity lately, especially in our neck of the woods. I’m sure a lot of new producers out there would love to know what your game plan was to get your name out there and how difficult it was to pull it off.
People always think about getting in the big spot, like touring all around the world, being seen on magazine covers, money, You know? Sometimes we focus only in a result, but what do we need to do first (being realistic) to get there?
I sort of asked these questions when I was transitioning from an old project, and even thought about dropping out of music and quitting, just like that. Then I realized I had never followed a plan, a plan that I could be sure about, and be sure it ended in something great. So I started working on my new sound. I received support from Bug-Eyed Records and Burn the Fire Records. They shared my vision of the project and decided to release my new songs.
Really it’s all about stamina and focus.
You’ve been releasing killer track after killer track. Do you have any plans for an EP or Album release anytime soon?
Right now I have plans for some tracks in December. A new single and a remix of a track from Cold Blank. Also working on some new stuff for the Follow up EP with Digital Freq. Going to get it done by December and then in January I’m touring in Europe, which I’m pretty excited about, but then I’ll have to work on the go for a month. Crazy stuff is coming!
We’ve asked this question before in an earlier interview so we thought we’d get your input as well. What do you think is more important in the mixing process? The track Mixdown before it’s mastered or the track after it has been professionally mastered? What do you do?
I would no doubt go for the mixdown before master. I prefer to listen to un-mastered mixdowns because you can hear the whole dynamics the artist was trying to get. Really every little detail. Mastered tracks are banging and loud as hell, but they’re intended to be heard in large systems or small speaker systems equally. So they can take 100% of them, but studio monitors have this deepness and wideness that can show you every little detail… Obviously you won’t have a good master without a good mix, so the mixdown, before master, is the most important thing… You can even achieve a level where a master engineer will just have to pump your mix. No EQ or anything!
Do you have any advice for the wave of bedroom producers trying to make it in the scene?
Sure! Wake up early, stay up late! Don’t waste too much of your precious years on stupid things. Focus, get you in the picture, and get it done before you’re thirty!
Lastly, is there anything you’d like to say to the world before getting back to pumping out killer tracks?
Think for a second. If you die today… What would people remember you for…?
Sleep on the floor from time to time… and be nice to cats.
You can keep up with the latest from Pyramyth at:
Or get some of that fresh music to go!
BARE has been setting a standard for filth in the dubstep scene recently and as of yesterday he has managed to set that bar even higher with his finalized release of his new track, “Bass Star“. Give it thirty seconds and you’ll understand why it’s called Bass Star. Do not miss this fresh release and make sure to support this artist and all of his bassy goodness.
So today we were sifting through a shitload of moombahcore artists on soundcloud and came across this greasy beast. Far Too Loud has been destroying the scene with his high energy bass-lines and unique style for quite a few years now. He’s already won an award for best single and climbed the ranks into his own comfy spot amongst the giants. This is his track 600 Years which dropped a few months ago but his style varies from track to track which makes him well worth checking out.
P.S. Sounds like a dash of Knife Party but that’s just me. What do you guys think?
Dirtyphonics is a French electronic music band from Paris, formed by Charly, Thomas, Pho and Pitchin. Dirtyphonics is well known for their innovative live performances and production style. They’ve been active since 2006 and since then they have released a total of six EP’s, the last of which was released on Din Mak Records in 2011. With another EP on the way Dirtyphonics is slowly gaining a lot of popularity in the EDM community. Here’s their new remix of Apex by Foreign Beggars.
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L.A based producer KillaGraham (pronounced Killagram) has been making waves of late with a number of Dubplates of fire that have been circulating amongst the likes of 12th Planet, Excision, Datsik, Zeds Dead, Skrillex and more.
From the banging Electro House title track to the cheeky triplet rhythms of the aptly named ‘Clowns’, this EP covers all the bases and is threaded together with the consistently top notch production and edgy melodies that Graham is rapidly becoming known for.
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Buy EP on Beatport: http://www.beatport.com/release/lifted-ep
Another fresh track by mau5trap’s ?Z who has been spewing out trap beats like this one for the past few months. Flawless remix.
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