Wait For Me is a growing name in the minimal tech & tech house scene. With recent releases on Unnamed & Unknown, Kubbo Records, and Nozzo, Wait For Me has quickly garnered attention for his unique blend of highly detailed percussion, simple yet groovy bass, and catchy vocals, gaining support from a range of established artists including Tomi & Kesh, Gustaff, and MK.
Actual DJs is a mesmeric tech house cut which boasts layers of subtle sophistication. Its rolling bassline provides a steady groove, while sharp fills and a chanted vocal add understated depth to the mix with a deeply hypnotic allure perfect for those seeking a nuanced yes highly impactful dancefloor jam.
Can you tell us about your journey into the tech house scene and what inspired you to pursue this genre?
My music journey really started in the nu disco/disco scene where I cut my teeth djing & learning a bit of production. I think it was DirtyBird records that really turned me onto ‘tech house’ and from there I just kept exploring and exploring until I finally found that minimal tech/tech sound that I fell in love with. I really owe my love for this genre to people like Tomi & Kesh, Gustaff, Nacho Scoppa, Tomas Bisquerra, and many more. These are the ‘new kids on the block’ really leading the charge in the type of heavy percussion, high energy minimal tech that I love. I’m just obsessed with tracks that focus on groove and insane percussion. I love layers upon layers of intricate percussion lines and that sort of stuff just speaks to me when I produce. That, and I can’t produce shit for melodies so have to rely on varied percussion to keep my tracks interesting hahaha.
Your EP ‘Work & Desire’ has been a standout release. What was the creative process like for this EP?
Well the goal started with just getting onto Unnamed & Unknown. I’m a huge fan of Pedro and his label and have always had a ton of respect for the sounds he put out. I wanted to make that EP a bit of a “resume” for what I can produce so wanted to share three tracks that were in the same type genre but all with a different vibe/feel. For the title track “work & desire” I wanted to go for something super high energy and a “fast” feel. I had heard the “watch me work it” vocals in a mix online and knew I had to source that sample. When I found it I focused on getting the groove & drums right and from there the vocals fit in perfectly. I also ended up using some familiar shouts/sounds from 90s hip hop and jock jam type stuff because that sort of stuff is always going to give you that “energetic” feel. For the “git get it” track I wanted something completely stripped back and focused just on percussion & groove. This one I purposely limited myself with elements and just made something that had an attitude. And for “the name is bob” track I remember listening to a lot of old disco tracks and hearing that walking bassline (you know something that goes up and down up and down type thing) and wanted to write something that had cool percussion with a disco style bassline. From there I stuck with the disco feel by finding some cool guitar shots/samples. What ended up happening was I did a ton of resampling/effecting of the guitar to make new sounds and just found it was really leaning towards this cool, summery, funky vibe. I really like the way that one came out.
How do you balance the technical aspects of production with the creative side of making music?
When I’m starting out a track I try to kind of “shut off” the technical part of my brain. Basically the part of my brain that is trying to get me to get the mixdown perfect and the sounds sitting exactly right. Because my ears are getting better and better at knowing what sounds good from the getgo I can usually make small adjustments on the fly and make sure technically the track is sounding good. But, when I’m starting off I just want to essentially get a groove/loop going that almost makes my body start moving. If I’m bouncing around in my chair I know I’m heading in the right direction for a good track. My track writing process usually goes… 1 – get a groove 2 – rough arrange the groove into a full length track 3 – breakdowns/build ups & adding more elements to fill out the track 4 – volume mixdown (get the track sounding as good as possible with just the volume faders) 5 – advanced mixdown (processing, eq, compression, etc etc etc) 6 – master. This way I only focus on one thing at a time to keep important parts of the process separate.
Your track ‘The Name Is Bob’ shows a unique funky character. How do you develop such distinctive sounds in your tracks?
This one really took a lot of inspiration from old disco tracks with that “walking” bassline. And then for getting different/distinctive sounds that is exactly it… I’m always LOOKING for those sounds that people maybe aren’t thinking of or using. When it comes to hunting sounds I really like to stray away from the usual suspects. Sample packs and sources that specifically are made for tech, minimal tech or tech house are usually something I’m not going to use to get that “unique” sound. I tend to use a lot of those packs for my drums because I like that sort of sound but then when it comes to vocals, melodic sounds, chords, strings, synth shots, basically anything NOT drums I am going to go hunting in random stuff and just see if I can find something weird that fits in the track. I can’t remember where that guitar sample came from but just remember it was in some random pack on my computer. I liked how stabby the guitar sounded and also gave off a summery type vibe so I just had to work it in.
Your latest single lands on Unlearn Records – was there any particular vibe you were going for with this one?
Grooooooove. Ya just straight groove on this one. A really rolling, smooth and bouncing bassline that basically just moves up/down with the kick. I just want this one to blend into a mix that’s all about drums, percussion and bass.
What challenges have you faced while establishing yourself in the global tech house scene?
Kinda just getting “in the door”. When you have no releases and you are trying to get tracks signed it’s tough because you don’t really have a resume to share with people. You just don’t have a lot of credibility. So, getting those first few tracks on reputable labels was challenging. Once you have that though it gives labels more reason to check your tracks out because you can say things like “oh ya I’ve released with nozzo, black seven, unlearn, etc etc etc.”
How do you stay innovative and fresh in a genre that is constantly evolving?
I really try to just do my own thing and make what I want to make. I don’t like following trends or making tracks that have the “latest sound” just to stay up to date with other people. Don’t get me wrong, if there is a trend that has a sound I like I will see about integrating it. But, I’ll never integrate a sound I don’t like just because it’s the cool new thing. Right now to keep things fresh I’m starting to really dive deep into 80s pop and integrating a ton of that sound into my tunes. People like Prince, Morris Day, Vanity 6 and all of that “Minneapolis pop” sound are a massive influence on me right now. So in 2024 expect to hear a ton of linn drum samples, big snares and corny synths in my tracks hahahha.
Can you share your experience working with labels like Kubbo Records and Groovy Bone?
Groovy Bone is owned by my dude Tyler aka Diskull and is a homie! He was actually the first one to give me a chance and signed my first track ever a few years back. He’s always been a massive support and love working with Tyler because it’s like working with family. Working with kubbo was great too! Gustaff really is approachable for feedback & suggestions and once we had the right tracks was super happy with the support and guidance he provided.
What role do you think DJing plays in your overall approach to music production?
A small one 🙁 I really don’t care too much about djing at the moment. Back a few years ago I was doing a lot of shows/djing and I just got kinda burnt out. I enjoy djing but it’s not my #1 priority right now. I’m focused on making cool tunes and also teaching music production to young producers (I do a ton of 1on1 coaching/teaching).
Finally, what can your fans expect from you in the near future, any upcoming projects or collaborations?
Yes! 2024 is going to be a cool year. Expect a lot of different sounds from me. Stuff that leans heavily on 80s pop, heavier drums, basslines with more attitude and more of a driven type sound. I have releases set up with labels like kubbo, unnamed and unknown, data transmission, high pressure, nozzo and a ton more. I recently did a remix for Loz Seka that I’m super excited for as well. I have collaborations/remixes I’m working on with people like CHARMAN, tomi & kesh, pedro vasconcelos, will umaña and more. I’m also starting a label with Will who is down in Costa Rica. We share an appreciation of that percussive sound so keep on the lookout for new sounds on Those Who Know http://thosewhoknowrecords.com !!!