RL Grime on EDM Culture, Raves, Capitalism, and the Art of the Remix
Right now, RL Grime is on top of the game, having produced some of the industry’s most original and refined re-mixes for Benny Benassi, Chief Keef, Shlohmo, and Jamie Lidell. His sound is darkly seductive, covering the entire spectrum of electronic music: one second he’s melding elements of acid-trap and dub-step with breakbeat builds, crooning pop samples, and trancey flourishes, and the next he’s getting totally funky with low-key screaming and synethesizers hyperventilating like airplane turbines. It’s taken the better half of a decade for the LA native to craft such a distinct and recognizable sound, and subsequently become one of the most sought-after names on the electronic music circuit. Currently on tour promoting his debut album, VOID, themed to deep sea claustrophobia, we called him up to discuss the rave scene, the artistic process, and the similarities between DJing and sex.
M: What are some of the secrets to making a great remix?
I like remixes that display the artist’s own style and have a lot of their own element, not just reconfigurations of the same track. It’s more of putting your own touch to it so it sounds like there’s a common line between all the work you put out. I think finding your own style to a remix is the most important thing.
M: Nowadays, everyone has a laptop and everyone wants to DJ clubs and they want to put out tracks. In a marketplace that’s become so diluted, how does an artist such as yourself stand out amidst all the noise and create music that is both original and palatable?
I’ve been doing this for a while now. I first started making music back in 2009 and I’ve only been happy with the music I’ve made in the last couple years. It’s been a long time developing my own sound and voice. I think it’s a process of time and once you finally groove it comes pretty naturally.
M: When do you think you first started coming into your own element?
Winter of 2011 was when I first started getting really happy with the stuff I was making. There was emotion and identity behind my projects.
M: You went to Northeastern and NYU for college. How did going away from California to these institutions on the East Coast infuse into your foundational approach to creating music?
I think it totally changed the way I was listening to music and making music. Growing up in L.A., raves and big electronic music festivals were so accessible, even when I was in tenth and eleventh grade. So I was able to go see Justice and MSTRKRFT and all of those guys in very intimate venues and very early on. I think I was exposed to clubs at a very young age, but moving to New York kind of presented a different way of looking at things because I was meeting new people and listening to all this new music and it was changing the way I was creating.
M: How so?
I was exposed to all this new electronic music. I was hanging out with Shlohmo and Groundislava and all those guys. Just hearing their music and hearing what they’re into, we all sort of had very similar influences very early on. It was just cool to vibe with people who had similar vision.
M: Who then were your influences?
Like I said, I still really, really love Justice. Their first album definitely changed my life; just listening to it, I’d never heard anything like it. I was really into Crookers, and Boys Noize was a really huge influence. Nowadays, it’s more the down tempo stuff that’s influencing me, a lot of slow R&B. I’ve been getting more influenced by a lot of rap stuff.
M: There’s definitely been a resurgence of higher production value in rap that goes hand and hand with a lot of contemporary electronic music.
Oh, yeah. It’s cool to see because nowadays whenever you see a new track, it’s the rapper, the title, and who it’s produced by. It wasn’t always like that and it’s really cool to see producers shining now, especially in rap music.
M: What are your thoughts on the current electronic music and rave scene?
It definitely has been over-saturated. Like I said, I’ve been pretending, or being a part of these shows for six years now. I feel like I see a lot of the same names on the lineups. I feel like people are getting burnt out of seeing the same thing over and over, but a lot of festivals get the big names but really make an effort to let more of these unknown guys shine. That’s something that’s going to become more important in the festival world: booking new talent.
M: In regards to the commodification and monopoly of the electronic music industry, how do you think America ranks against other countries in Europe? For two decades European techno was considered light-years ahead of America, and still today maintains more of a cultish club vibe to it. America’s electronic music continues to remain rooted in capitalism and whatever is trendy at the time.
I think that’s always going to happen though. Even in the hair metal era, there’s always been rock stars and I think in America that’s bound to happen with such a big industry. But even in Europe, it’s becoming more like that now. A lot of people are trying to keep the underground alive out there, but especially in Holland there are all these Dutch DJs who are icons out there and it’s the same way in America.
M: What’s been your favorite venue to play?
I really like U Street Music Hall in D.C. It’s always a good party there. I like how dark it is and that it’s underground and very intimate. That’s a great club.
M: Tell me a little bit about your debut album, Void.
It’s featuring a few artists who I’ve been a big fan of. It has How to Dress Well, Boys Noize, and Big Sean. It has 12 tracks.Â
M: How does Void differ from what you’ve done previously?
A lot of the tracks are things I’ve always wanted to make, but have never had the proper format to put them out. I’d make an interlude or a ballad that wouldn’t make much sense if I put it out on SoundCloud. It would have no context, but since I was doing an album I was able to try some stuff I’ve always wanted and have it in the proper album context so it makes sense.
M: What’s the album’s theme?
When I was thinking about the album, it was all based on a lot visual identity stuff, which I worked with my art director with. The theme is deep sea and deep sea creatures. I really like the whole aesthetics of deep sea stuff so I tried to make an album that lives in that world. So it’s dark and there are moments of beauty and emotion. It’s definitely a dark chord that the album has.
