Translated material
Direct speech: Redlight
Under the name Clipz, the Bristol producer Hugh the Sanddate earned the title of a real veteran of a “broken barrel” and drama-n-beis-this is what the authors of the Fact Magazine call him. Not so long ago, the sand refused his illustrious name and previous sound and began to work with a new as a sound for himself, which included elements of completely different styles. | Redlight will perform in Solyanka on April 8 |
Hugh sand
producer
About the past
I grew up surrounded by a large amount of music-all this rave scene of the nineties. I am from Bristol, so from an early age I was immersed in underground music. When I was 20, I went a lot to Garij Riva, went to Aiya-Napu ( popular among British underground musicians resort-approx. Look at me ). Now I try to use the elements of that culture and all the experience gained during that time to create new music, new sounds and new styles, working with wonderful artists.
About the change of name
I just felt bored. For me, being a creative person is the time to set new tasks, experience myself, swim against the current. And it seems to me that at some point you can become too successful, too lazy, hide on the same thing, stop expanding the boundaries of what you are doing. This is what, as it seemed to me, at some point happened to me. Therefore, I created myself again and now I can feel that I am moving ahead.
About your sound
In fact, I am open to everything - I just want to experiment. But it should be Redlight music. If I wrote this, there should be a certain energy, a certain sensation from the track, even if it is very slow. The main thing is that he carried certain feelings, and the form can be any. |  The producers and labels, whom Redlight considers close to his genre: Roska, Untold, Mensah, Pearson Sound, Joy o, Donae'o, SX, Girl Unit, Swamp 81, Night Slugs |
About DREAD MC, accompanying Redlight at all living performances
We met him five years ago, since both are from Bristol. And a couple of years ago they decided to record the track together. I really liked how he works, his energy; He also likes my music, and for both of us, this is generally a new experience. Well, yes, we just like to work together, he easily has an audience, communicates with her perfectly, knows what he does - in general, a professional. Empse is like guides, they connect all points to each other. They are not so important for the recorded mix that you can listen to at home, but if you are in a club, at a concert or at the festival, they are a very important part of the show. Empsis enter into dialogue with the public; They say that you are listening now and maybe what will happen next. I am now playing a lot of music that no one knows, and Emsi is very helping: they explain what is happening and create the right atmosphere. |  |
About the anonymity of modern musicians
Everyone is now hiding their names - it seems to me that it is pretty fun, creates more puzzles. The music changes very quickly and it’s good that the artists manage to follow it. The most important thing is that the listener does not think: this is such an artist and he must sound like this. You just listen to music, not a name. I think it's good.
About the border between pop music and underground
I think now this border is strongly blurred, many of those with whom I started are now in the charts. The choice in the hands of the artist-he wants to write an electronic pop music (and now the most successful time for this) or wants to continue to play less in clubs, continue to experiment, and extend musical horizons. I like what is happening in pop music now, and if this is what the artist really wants to do, this is excellent. But at the moment I just want to write good music and I will only be glad if people like it. To do something with the expectation of a place in the charts is wrong, this approach will most likely simply lead to the collapse of your career.
About the difficulties of pioneers
Now there is a danger of too much to get too much. You can write something five years earlier, which no one at that moment will understand, you will not receive the respect that you deserve, and then someone with your ideas will fall on the first lines of the charts. Now we are playing in America, where only Dubstep has been popular recently and all visitors are waiting for him. And the music that we play is a mixture of different sounds, it is no longer a dubstep, not a house, but something new. In a word, they still need some time to figure it out in this.
About the Roller Express project
This is the studio and the soundtime that we formed along with Toddla T. At the beginning of last year, we both moved to London. He is from Sheffield, I'm from Bristol. We both looked for a studio, and then decided - let's build together. They found a place, invited people who helped us with the organization. They called the Roller Express studio. We have there for each room, plus vocal in the middle. Many come to us to sign up, there are many artists around all the time. And once we all played at the same party: I, Toddla T, Dread Mc and Serocee. It was very fun and we decided that sometimes we can act together as Roller Express. That is, this is such a creative association, it is a certain wyb.
About plans
Soon I will return to England and continue to engage in my album, I hope to finish it. I will finish the EP of the Roller Express EP, I will continue to producing artists. In general, I want to continue to move forward and open new horizons. And with the accumulated experience and a new name, I feel that I can achieve this. | The vocalists with whom Redlight most of all liked to work: MS Dynamite, Ben WestBeech, Wretch 32, Tinchy Stryder, Nicole Jackson |
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