On the remix of “Ignition”, he said, “I always had a thing for old R&B/Hip-hop classics — ‘Ignition’ had always been at the top of my ‘too good to remix’ list. But one day I was talking to DJ edit master Benzi (also 1/2 of TWRK) and he had an idea for a revamped classic for his Girl Trapz series. He sent through the a cappella and I had a quick 1-minute DJ tool laid down. I played it out several times, but crowds always found it too short — I then thought it would do well with a proper full re-interpretation. The rest is history.”
Regarding his future plans, MYRNE said, “I have a few big remixes coming out this year – but definitely the focus next year is a big EP with all my friends on it.”
When asked what he loves most about electronic dance music, he said, “Compared to all other creative industries, I feel the levels of collaboration and support in electronic music exceeds the rest — everyone’s just so open and supportive, regardless of genre; regardless of artist or listener.”
On his daily motivations, he said, “What really helps with my creative process is realizing there are literally an infinite amount of chord progressions. I try to set several hours every day just messing around on instruments — no end goal in mind, just jamming. It’s really easy for me to get passionate when I find an unusual progression or voicings that I don’t regularly hear. In terms of work ethics it’s the stuff I say in interviews (like this one) — ‘I’m dropping an EP next year.’ So I have to stay alive to see it through!”
His music has received support from Diplo and The Chainsmokers. “If anything it signified that other people too found my music listenable, and that they thought it deserved to be played to the hundreds and thousands who they perform for. It was really nice to get that support, especially from artists whose work I admire — I didn’t set out to create DJ-ready songs to be played by big DJs, so it was humbling to see I had that part down,” he said.
For aspiring DJs and producers, he recommended, “Don’t get too caught up learning how to make producer-specific sounds; it’s nice to learn how to wrap your head around complex sounds and synths, but getting lost trying to recreate every single weird sound we encounter can have a damaging impact on creativity. Songwriting is way more important!”
He listed the late Aaliyah and Whitey Houston as his dream collaboration choices, as well as Kehlani. “I grew up with ‘I Wanna Dance With Somebody’ and ‘One In A Million’ regularly on repeat on my parents’ radio, and that’s usually how I remember the prevailing state of music from that era. Kehlani’s on that list because I think she’s making similar moves and it would be larger than life to immortalize something so nonpareil,” he said.
For his listeners, he concluded, “It’s crazy that you’re reading this from whichever side of the planet you’re on, and even crazier that you’ve somehow managed to find and listen to my music. Thank you for allowing me to do what I love.”
