I was always obsessed with music as a kid. Have you always felt this way about music? Your music in general seems to be fairly upbeat, and in your recent interview for Mixmag you said that rave music has been an “antidote” for the difficulties that have accompanied the last couple of years. But since I’m doing everything in my room at the moment, I can’t actually fit everything! It’s kind of a rotating chaos. I have a few other synths and I have another keyboard. I have a Roland Jupiter X synth, and I have two Xone K2 controllers which I play different stems through. Ableton Push is then kind of my central hub. I produce on Ableton and I use Native Instruments’ Kontakt plugin a lot. I’ve been able to experiment with this music course and expand my creative output.Ĭan you describe your production process? What is your current setup like? There have been a lot of positives that have come with this pause. Especially when you’re doing something creative and trying to break through, things can feel non-stop. In a way, it was great to have a pause in London, because it’s just such a growing city. I only ended up using one of those tracks in the end for the actual album, but the whole process just furthered my creativity and had me writing for the whole lockdown. And then that kind of became the starting point for my next step, which were the seeds of Wonderland. It just really ignited my creative force, and I ended up writing 100 track formulas in less than two weeks, which is just an insane amount, and the most I’ve ever written.
You’ll record five different instruments and then just fill in the parts, basically. Basically, you kind of take out any thought about where your tracks and the music might end up, and you just write and get into a creative flow. To get myself back into the groove, I ended up doing an Ideas Generation course with this guy called Mike Monday. So I was really deflated after that happened. I did a Mixmag lab, and I was about to leave on a tour with 808 State the weekend everything shut down.
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Annie Mac was playing it most weeks at the time.
One of my tracks, “String Theory,” was Pete Tong’s Essential New Tune on BBC Radio 1. Would you say that the pandemic helped catalyze your creativity?Īt the start of the first lockdown, things were just about to take off for me. In general, it seems like you’ve been pretty productive during the pandemic you just had an album called Wonderland come out and what seems like quite a few mixes, tracks, and EPs. I’m working on manipulating each part of the stem and coming up with something that is just completely fresh. I’ve only just started having a go at it, but I’m really keen to try and actually put some of my own music into stems and create new, on-the-fly live versions and perhaps to build a hybrid live-DJ set. Can you tell me a little bit about how you’re using the feature and how you’ll use it on the kickoff stream? You’re collaborating with Native Instruments on the new Beatport and Beatsource LINK initiative. We sat down with the artist to discuss some of his humanitarian initiatives, his recent creative renaissance, and how he used original stems with Beatport LINK for his recent live stream. McGinley recently joined Native Instruments in our kickoff stream for TRAKTOR PRO’s integration with Beatport and Beatsource LINK. Much of the music featured at these parties is jubilant and rave-ready, an aesthetic that McGinley has championed in his output and credited with the feeling of freedom and queer communion that sustained him through the last year of lockdowns. The mastermind behind the LGBTQ+ club nights Super Electric Party Machine and WUT?CLUB, McGinley has galvanized a vibrant queer nightlife movement in London, and has slowly shifted his affinity for activism towards climate justice and club events in support of the global environmental group Extinction Rebellion. – has escalated from party promoter and event organizer to internationally-touring DJ and producer over the short span of five years. London-based artist Anthony McGinley – also known as ABSOLUTE.
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