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    Tez Cadey talks ‘Catch On Fire,’ experimenting in the studio, and upcoming plans

    Fresh off the release of new single ‘Catch On Fire’ with Jess Ball, DJ/producer Tez Cadey drops by to discuss how the collaboration came about and more.

    You have mentioned that you played the guitar and the piano in your early years before moving into production of your own electronic music, which artists were you listening to that inspired this change?

    I think the turning point was my discovery of the French duo Justice. Before that I mainly listened to rock and pop but didn’t like electronic music so much. I think that’s why that band appealed to me. It made me cross the gap between the two.

    I understand you have been producing for rap and R&B sounds recently, can we expect to see more of this kind of stuff in the future?

    I’ve did a few rap and R&B instrumentals here and there, but I haven’t made any in a while. I think I was just having fun experimenting. I don’t count on making much more in the future but who knows!

    If you had to pick one rapper to produce for, who would it be and why?

    I’d probably go with Miguel. He has such a cool versatile voice. I feel working with him would open up so many creative possibilities.

    What was the experience of having such a super-viral hit like ‘Seve’ like and how has it affected your development as a producer?

    It had a huge impact obviously. While it made me take music more seriously, creatively speaking it was also very restraining. Before that song I was constantly experimenting and getting my production and arrangement skills better. Not that I didn’t achieve any form of progress afterwards but the pressure to deliver a hit after that song was big and made me stick to the same formula for a while.

    Growing up across the world in Belgium, France and the US, where do you feel like you found the most inspiration for your musical style?

    It really depends on the period of my life. I think the place that influenced me most was France, regarding electronic music. I was a huge fan of Ed Banger during my teenage years and the French Electro-Clash scene. I had just turned 15 and started listening to electronic music around that time. And it just so happens I was living in France then.

    A lot of your recent releases have showed the versatility in your skillset as a producer, was the genre-jumping a conscious decision or just an expression of how you were feeling at the time?

    Thanks. I think it’s more an expression of how I’m feeling than a conscious decision. I see music as an infinite form of expression and have a hard time seeing the genre boundaries. So even if I want to try to stick to a certain genre or style, I usually end up just having fun with the production and have it sound like how I feel it sounds best.

    ‘Catch On Fire’ has a distinctly more warm and acoustic sounding sonic profile to the rest of your 2022 releases, how did the creative process differ on this track compared to the techno-infused ‘Everysingletime’.

    ‘Catch On Fire’ was meant to be a melodic pop track. So, the whole production was structured around the vocal, chord progression and the lead melody. The arrangement came first and then everything was produced in order to serve it. On ‘Everysingletime’ the main focus was making the people dance. So, the basis of the track was the kick and all that low end rumble which make up for 50% of the song. They are two very different approaches. On a pop song like ‘Catch On Fire’ I already know how it will sound once finished, before I even start the production. But for a club track like ‘Everysingletime’ I tend to just build it along and see where it goes.

    On the newest single you teamed up with Jess Ball after 2 years of listening to her work, how did this come about and how did you find the experience of working with her?

    I discovered Jess Ball with her collaboration with Curbi on the song “Lied To” which I absolutely love, vocal as much as production, Curbi being an amazing producer. When I got the email with the demo for ‘Catch On Fire’ I was immediately hooked. Jess has such a nice voice and a writing style that really stands out from what I usually get from singers. Her demos and songs are always top quality. I’m just happy she enjoyed that very first version I sent her.

    With 5 releases out already, what can we expect for the remainder of this year?

    I think I’ll lay low for the rest of the year, I’m not sure what I want to release next. I’ve put out so many songs these last years that I feel I need to take a little creative break to find a new direction to explore. There is a follow up to ‘Catch On Fire’ that is almost ready though. I hope I’ll be able to release it in the first half of 2023.

    With your last LP, ‘Lizard Days’, dropping some 4 years ago now, do you have any plans to return to this format of release and if so, how would a newer project sound compared to ‘Lizard Days’?

    Yes definitely. Albums are so exciting to build but it’s also very time consuming, so I don’t plan to work on one in the very near future. I’d rather wait until I have something to say that can’t be done in any other format. I’ve thinking about it lately though and I’m already pretty sure it would sound very different, probably more electronic and club oriented, with less vocals. I always try not to make the same record twice.

    How would you describe the emotions of DJ’ing to a sold-out crowd at Delta Festival?

    It’s an amazing feeling. Having so a huge crowd is so impressive and fulfilling. But it doesn’t replace the more intimate emotion you get from mixing in a small club or at an early morning after party. On such a huge stage it’s hard to get a feel for the crowd and the party.

    You have said in the past that you were initially reluctant to collaborate with artists as you were so used to doing everything solo, since then you have gone on to work with plenty of exciting artists, just how rewarding has collaborating been?

    I’m loving it more and more. Working alone makes you rely only on yourself. It has its advantages but having a creative conversation with someone else and building a song from that exchange is an amazing and much more laidback experience in my opinion. I feel now it’s more how music was meant to be made in the first place. By a group of people sharing and creating together.

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