For the 21st Arteq podcast, we are honoured to present one of Australia's finest exports in the techno realm; Sly Faux.
Sly Faux is one of our favourite artists in the Australian community. He has consistently applied himself to his body of work, and has reached a level of mastery in the production realm. His body of work is completely elite and in a field of its own. He has gained traction from global behemoths and it is inevitable his music will continue to break dance floors.
Greg, Sly, thank you brother. This mix is amazing, and we look forward to an Arteq party with you laying it down.
More from Arteq and Sly Faux below.
What direction did you take on the podcast?
To be honest, it's the exact same direction I would have gone if I was playing out. I enjoy starting things off quite tame, then bringing more abrasive tracks into the mix.
What did you use to record this mix?
My normal DJ setup - A Xone 92, Maschine mk3 and 2 NI Kontrol x1s
Your productions have become well known abroad, what does it feel like to have the likes of Richie Hawtin, Nicole Moudaber, Eric Prydz & more supporting your music?
It's just been the natural evolution of my music. I haven't really given it much thought. Of course having the support is great, however I just release what I am happy with - When it gets supported by others, that's a bonus.
What's in the pipeline for Sly Faux?
Release wise, tomorrow my collaboration with Fur Coat is out on Renaissance. My artist album is done, but we are just waiting for the right time to get it out. On the show side of things, I'm in the same boat as everything else - nothing due to the current climate unfortunately.
Okay, you're in the studio, about to start a new track. What's the first 3 things you do?
For me, writing a track is quite a journey from start to end. I can't say I have a process when beginning one. But I might start with going through my voice notes when I've hummed a melody in. I will then import that audio into Logic, and export the MIDI from the audio. I've got auto load templates which then allows me to just send the MIDI to a bunch of synths. From then, it's just a matter of seeing what sticks. I usually know quite quickly if the idea is worth exploring. However, a lot of the music I write will never get released. You have to know when to run with something or just leave it. Quality control of your output as an artist is very important, and is often overlooked. Remember - your record will be online forever.
How have you been during the turbulent year of 2020?
The year has been touch and go at times. I work from my studio everyday, so in regards to work - nothing has changed. I miss regularly seeing close friends, and even the most mundane life events. Having to hold off on several releases is frustrating, but really; it is what it is. We are all in this together, and this has affected us all in different ways; that we have had to come to grips with. Hopefully, sometime soon we all start to experience some normality; I'm sure we are all yearning for that.
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