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Interview

Jul 30, 2014

TSiD Interview: Discussing Genres, Ghost Producing, Top 40 and the USA with tyDi (Part 3)

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Written by: Keith Wozniak

Finishing up my recent interview with tyDi I asked him about some buzz words that often generate a lot of discussion, passion and even arguments. Those words being genres, ghost producing and top 40 music. I also asked him about the U.S. being in control right now which you can read below.

All of us find ourselves getting into these discussions and there’s a good reason for that, we’re all passionate about music. Continue reading to hear what tyDi had to say about these things.

Also read:

TSiD: Let’s talk about a few dirty words. Words that generate heated discussions. Genres. They unite people in taste but at the same time the discussions that often follow can take a number of directions. Are they necessary?

tyDi: I think it’s absolutely necessary. You need to describe sub genres of music, it’d be very frustrating if you couldn’t. I struggle with if someone asking me in an interview what’s your style I can’t really label it because my set over two hours I’ll go through a bunch of different genres. It’s better for me to describe music that I play in more descriptive words like you know it’s a motive, progressive you could say, it’s powerful and sometimes it’s heavy in parts and sometimes it’s lush. I couldn’t say I’m house or electro or trance because it just wouldn’t work, I play too many different styles.

TSiD: Ghost producing (it looked like steam was coming out of his ears when these words left my mouth).

tyDi: Everyone seems to know that I hate that.

TSiD: I didn’t know that. It’s something that a lot of people have just learned about in recent years and the internet has gone crazy about it.

tyDi: And it should. Everyone should know about it. It’s horrible. I think it’s disgraceful actually. My analogy would be this. Imagine if I wanted to be a famous painter and I didn’t know how to paint so I went to somebody else who could. Paid them the money, said can I have your painting, I signed my name at the bottom of it and then put it in a gallery and said to everyone look at me, look at my work, this is my work. Wouldn’t that be offensive to the people who appreciated it and then realized that’s guys just lying? That’s exactly what ghost producing is. It’s no different. It’s a person claiming to make a song that they haven’t made. It’s a lie and I think that kind of dishonesty with fans is something that you should be ashamed of. I’m not going to name the names of the people I know who use ghost producers but I think that anyone who does shouldn’t be proud of their work. I’d find it offensive if I was a fan to found out my favorite artist didn’t even make their own music.

TSiD: Does that change how you listen to music? If a song comes on that you know was ghost produced.

tyDi: If I hear a song and I know that the person claiming to make it didn’t write it I can still appreciate the song but I’m not going to give any personal credit to the person who’s claiming to have made it.

TSiD: Anyone ever ask you to ghost produce a track?

tyDi: Yea, many times. Absolutely. I’ve been offered huge amounts of money. It’s interesting from that perspective because I’m thinking well maybe it’s a song that I don’t want, I’m not the one lying. They’re the ones lying about it but no, I haven’t done it. I get too attached to my work. I don’t think I could sell my work off. I feel like I’d be killing a bit of my soul doing that.

TSiD: Pop music. Top 40 music. A lot of people can’t stand it but do you think it can be a gateway to a lot of other music?

tyDi: There’s two ways of looking at it. There’s always the bashers that will go oh David Guetta is a sell out or Avicii is main stream. Even me, my song “Stay”, it’s definitely a top 40 crossover track. I didn’t write it with the intention of it being like that but I definitely was influenced by Dia Frampton’s style and she’s not even really top 40 radio. She has a great band called Archis, really emotional stuff. She was doing this indie folk kind of stuff and I started working with her on Stay and it just turned out to have a really top 40 feel to it. I get bashed by people thinking that I’ve sold out but I always just remind them that sure you can say that track sold out, I didn’t intend for it to sell out. I’m happy that it’s on the radio. Now look at my other 100 tracks that are released and tell me if you think they are. I’ve got a whole album ‘Hotel Rooms’ and not a single one would ever get radio play.

TSiD: Ever find someone who heard that song on the radio and then digs into your archive?

tyDi: Absolutely. I think it’s a great thing. Dance music being on main stream radio is really good because it leads people to the sub genres.

TSiD: Dance music continues to be in control in the US, how is it compared to the rest of the world right now?

tyDi: I’m happy with it in the hands of the US right now. My Australian fans are going to hate me for this but if it was in Australia’s hands right now I just think… (pauses) I should look at the good and the bad. The stuff that Australia is putting out I’m really despising this bounce stuff. I just find it hideous. On the other hand there’s guys like Rufus who’s doing really beautiful music, Flume and Aaron Camz. There’s beautiful music coming out of Australia as well but it’s hard to find through all the shit. The same could be said about every country. America has had a lot of bad music from this place too. The reason I said it’s good in America’s hands is because every thing is done big here. There’s a huge market, huge population, the clubs are great, the festivals are just done right. It used to be all UK, Europe and it’s all shifted over to America now and America seems to be doing it really well.

TSiD: Like EDC recently with over 130,000 people.

tyDi: Exactly and there’s a reason I moved here. I’m touring every week and it’s great!

Also read:

Follow tyDi online
Website | Facebook | Twitter | YouTube | Instagram | Soundcloud



About the Author

Keith Wozniak
Founder of this web site, I have also has been involved with raves since 1999 as a raver, flyer guy, owned a promotion company throwing small and large events and also ran one of the first Dancesafe chapters. I've done it all and have never thought the scene was dead. Also writes for SchulzArmy.com




 
 

 

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