A Sit Down With DJ Eco

08:29 Apr/01/2018

With consistent support from DJ's like Armin van Buuren, Ferry Corsten, Markus Schulz and many more, Eco managed to make his name as one of the most promising producers of today. 'Light At The End', 'Tonight Is Forever', 'And We Flew Away', 'Borealis' and 'Lost Angeles', each of his productions are original pieces of whatever dance style inspires him at that very moment. It's time to outgrow that talent tag and take the next step in his musical career: 'M(You)sic'.


 "I find experimenting a lot of fun, but really tying it all together and cleaning things up on the production and sound end, may be my weakness, if I’m being honest."


What is DJ Eco signature sound?

My sound… people describe it as very emotional. I listened to a lot of progressive rock and psychedelic rock. So I like to put that into my music. Very experimental melody.

How does it feel to always receive such positive feedback and continued support from a musical icon such as Armin?

Huge. It cannot be understated how much Armin’s support has helped turn millions of people onto my music. Without even just half of the enthusiasm and support he’s given me over the years, I’d be another unknown bedroom producer somewhere on SoundCloud and probably not being asked to give this interview, about an album that 10% of my current fans would have heard. There exists an alternate reality where Armin doesn’t support my music 10 years ago, and I just kind of fly under the radar making music for myself and my friends and that’s it. Luckily, that’s not how it all played out this time.

Your new album has just been released and is called M sic. What's behind that name? 

Everyone interprets music differently and feels differently, just like with a book or with art. That is what M (you) sic stands for, the personal touch to music. My website is called The Sound of Youth, which you will return to, but which also stands for young, refreshing and approaching a different way of trance. I also really feel like a young man, a newcomer in the trance world. 
Do you remember the kind of music that you were listening in your childhood and do you remember when you came across to EDM music and particularly trance and progressive?

My dad used to drive me to school for more than a decade of my life. Even at the age of 3 or 4, he was playing a lot of interesting music on the ride to school: Pink Floyd, Santana, Eric Clapton, Jimi Hendrix. I was a rock and roll kid, then a ghetto hip hop kid, and then a trance teen once I heard my first CDs from Ferry Corsten and Tiesto.

“Wolves” takes listeners on an emotional journey, making it apparent that you aren’t producing music to appease the masses. What were some of the similarities and differences you found during the creative process between “Wolves” and your debut album, “M(you)sic?”

I’ve talked a lot about having “creative control” and free reign by the label Black Hole Recordings. To Armada’s credit, with “M(you)sic”, I was given much of the same. Both labels were fans of what I bring to the table and both gave me creative control to come up with whatever I wanted to. However, in 2011/2012 while I was writing “M(you)sic”, I was at a crossroads in my career. I still had it in my mind that I should shoot for things like global tours and festival gigs and chart success; I was still even pushing myself for DJ Mag voting at that point too! So musically, while Armada didn’t really put any shackles on how I should produce, I did have that in the back of my mind: things like, “I should make a big vocal tune!” or “I need the big anthemic melody in this track!”, etc. Now I’m 4-5 years older and wiser, and to put it frankly, I don’t really give a f**k anymore about a “DJ career”. I take that side of things as it comes, and like I said before, I really just produced this album in my own bubble. I wanted to make something that I could finish and still want to listen to myself. So I had zero regard for which songs “would be a hit” or not, and I think it shows.

Do you have professional training in music or are you self-taught? Do you think is very important for a young producer to attend music composition classes or you feel as many people that formal training kills creativity and innovation and nowadays it’s easier to learn to produce with amateur video tutorials from you tube?

I’ve only had classical piano training but for 14 years, I did it mostly by ear. After all that playing piano, I still can’t read musical notes! You may be able to hear that in the style of music I produce, the songs lack a sort of strict composition that maybe some other producers maintain. However, many other producers rely too much on notation and midi files and stuff like that which ends up comprising music that some of the critics call “cookie-cutter trance”. I don’t think producers need formal training and I always caution young kids just starting that they SHOULDN’T quit their school and go to music school, it’s a waste of time and money. Music should start out as a hobby and if you’re good, then you make the jump. You should never throw all your eggs into that basket, as we say in America.

From which track of yourself do you get goose bumps? 

Well, the track that I have the most with is 'Tonight is forever', this is an older track, ever released under that German label. This is my personal favorite, the track is very melodic and the audience always goes crazy! 
Hellovators has a special place in my heart of this new album, this track consists of two parts that contain 4 mini tracks. It is actually the whole album summarized in a track, in terms of emotions. Cheerful, hopeful, sad, everything is in it. 

Which of the tracks on the new LP would you say holds the most meaning to you personally and why?

Probably the closing track, “The Lonely Soldier”. When I first thought about incorporating guitar into my music, I did it while inspired by one of my favorite rock bands Explosions In The Sky. That was the sound I envisioned trying to mash up with the emotion of progressive trance, and when I finished that track, I realized I accomplished it. That song really tells a story in itself and encapsulates the whole point of the album I think.

What has been the most memorable gig of your career thus far?

Hands down, it has to be A State Of Trance 450 in New York, at the Roseland Ballroom; not only because of the sheer size of that gig at that early point in my career (a good 6000-7000 people crammed into there?), but that, and I didn’t know it at the time, it would be demolished years later. So, it exists now only in my memory, all the parties I enjoyed going to over there, but most importantly, that one night that I felt like I was on top of the world. Every dog has its day…


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