Following INVŌKER’s ‘Superhero’, When We Dip XYZ is proud to present ‘The Chaos Inside’ from Imeïa, who has already been spotlighted on imprints such as Isolate, Frau Blau and Sum Over Histories. On this EP, the enigmatic producer blends impactful grooves, uncharacteristic delays, poignant textures and creative use of silence. We caught up with him ahead of the release to discuss the tracks, his style and rise to the forefront of the scene through releases with Sum Over Histories, Isolate, Frau Blau and now When We Dip XYZ.
Hi Imeïa, first I’d like to ask, how you would you describe your sound? It is quite hard to fit into a box stylistically, but there are still some elements and choices we hear you use from tracks to tracks.
Defining one’s own sound is quite challenging. Personally, I like the term ‘orchestral electro’, although my style isn’t an exact match. I enjoy blending orchestral melodies with electronic elements, an ongoing journey towards shaping my musical identity. Collaborating on this EP with When We Dip marks a significant step in that direction.
My penchant for melancholic melodies leads me to fuse dark electronic tones with glimpses of optimism, infusing hope into the track. My signature sounds include heavy bass lines, ethereal choirs, tribal drums, and my own vocals. I often explore high pitches, aiming to create memorable experiences for the audience.
How did you end up producing the tracks from this EP with When We Dip XYZ? They showcase quite a big range in terms of production, from ‘Le Pire Pour La Fin’ which starts things off slowly, then the epic ‘The Chaos Inside’, the banging ‘Elegancia’ and finally ‘Blue Romance’.
I’ve always leaned towards EPs over singles, as they allow for a more comprehensive message delivery. Variety in atmosphere and experiences is crucial to keep listeners engaged; monotony can easily lead to disinterest.
‘Le Pire Pour La Fin’ serves as an introductory piece with a slow BPM, setting the stage before delving into darker realms.
While I typically infuse tribal influences into slower tracks, ‘The Chaos Inside’ breaks tradition by catering to the dancefloor.
Transitioning from darkness, ‘Elegancia’ offers a reminder of hope through its joyful melodies.
‘Blue Romance’ showcases a raw demo of my vocals against a simple melody, intentionally avoiding a conclusive tone to leave room for further exploration.
Speaking of vocals, they’re a striking aspect of your productions. Did you always include them in your own productions?
I think vocals add an extra layer of vitality to the track. My mom is a singer and I grew up admiring her voice without trying to explore my own. I believe it’s time to embrace my voice and to try incorporating it in my tracks. I aim to create music authentically, starting from scratch, although I acknowledge the value of samples in lending a historical context. A right balance of samples and real instruments is the key.
Can you give us a bit of insight into your production process? What’s your workflow looking like? Do you come into the studio with a pretty rigid idea in mind or rather go as you play?
I find this question particularly intriguing as it resonates with thoughts I’ve been mulling over lately. Walking into the studio with a preconceived idea often leads to limitations and a loss of spontaneity. The mood you’re in when creating may not align with the initial concept, stifling the authenticity and depth of the production process. To me, production is a personal journey, not a rigid task to be checked off. When obligations and guidelines dictate the process, originality can suffer.
In terms of my process, it typically follows a familiar pattern. I start by layering choirs and high-pitched notes, gradually incorporating various voices and samples with different pitches. Experimenting with singing atop these layers comes next. Once satisfied, I focus on crafting a powerful bassline, as it serves as the foundation for the intensity I seek. From there, I search for tribal kicks, unique drum patterns, and low-pitched claps and toms to add depth and texture to the track.
You’ve also just released your track ‘Just A Guy You Touch’ on Sum Over Histories’ Path Integral VIII V.A. How does it feel to be recognized for a second time by Frankey & Sandrino?
Working with Frankey and Sandrino has been essential in boosting my confidence and propelling me further along my production journey. I now feel more confident with my productions, allowing myself to explore new sounds. Sending numerous demos to Sandrino, I’ve learned the importance of perseverance, striving to deliver the best tracks. While I’m still honing my identity as Imeïa, I’m edging closer to achieving a distinct and recognizable sound.
In comparison to the impressive labels you’ve added to your pedigree, you’ve been fairly quiet on showcasing yourself to the world. Any reason for this?
I’ve always been fiercely protective of my private life. Initially, I hesitated to even share my pictures, but I’ve gradually become more at ease with it, especially considering my involvement in visual projects. Growing up in a family that prioritized education, I didn’t fully embrace my artistic side. Despite obtaining two master’s degrees and working for five years, I’ve come to realize that it’s not my true calling. Now that I’ve identified my wish to be remembered both as a producer and singer, nothing will deter me from building my brand and pursuing my dreams.
You’ve released two edits so far, one from IDM producer Lorn’s ‘Until There Is No End’ and another of The Beatles’ ‘Now And Then’. What’s your approach when delving into edits?
For me, the most authentic approach is to start fresh and completely disregard existing instrumentation. I relish the opportunity to craft a new interpretation from scratch. As you’ve observed, I have a penchant for creating edits that transcend the club scene, offering something enjoyable for everyday listening. The Beatles’ acapella tracks have inspired me, and I’ve found similar creative sparks with artists like Lorn. Typically, upon my first listen to a track, I can immediately envision the direction I want to take with an edit.
We originally discovered you with the track ‘Aleph Mim Iane’ on Isolate. What can you tell us about this track?
Producing ‘Aleph mim Iane’ was an exhilarating experience; I aimed to create a track that would ignite dance floors, punctuated with my signature high-pitched notes. I was surprised at the time that Dixon would select three tracks from the EP. It was a tremendous honour to have my music played by him in opening sets and revered clubs worldwide for an entire month. Being featured in Dixon’s top 50 was a pivotal moment for me, reinforcing my commitment to this path and encouraging me to continue signing with labels like Isolate.
Isolate has become a second home for me, thanks in large part to Alican, my current mentor, and Murat Uncuoglu, who has provided invaluable guidance throughout my production journey. Without their support and wisdom, I wouldn’t be where I am today, making informed choices and pursuing my passion with confidence.
Aside from the release with us on When We Dip XYZ and the V.A track on Sum Over Histories, any other exciting things coming up?
Exciting new releases are on the horizon across various labels, though I learned not to discuss them until they’re officially out. I’m dedicated to refining my craft, putting in the effort to create tracks of higher quality and explore fresh atmospheres. I hope you will enjoy the results of this hard work.
I’d like to express a huge thanks to the When We Dip family who trusted my art. I’m now more motivated to produce more unique tracks.
I’d like to add that I firmly believe that everyone possesses talent, especially when they strive to create something unique and distinct from the rest, even if it takes years to achieve. The journey is truly rewarding in the end.
Get the release: xyzlabel.lnk.to/TheChaosInside
‘Blue Romance (Dub Mix) free download:
Connect with Imeïa:
Soundcloud – https://soundcloud.com/imeia
Instagram – https://www.instagram.com/imeia.music/