byDJBLVD breaks down the latest from "The Backrooms" in Q&A
Following a stream of impressive releases throughout 2023, byDJBLVD is joining us to talk about his recent track, ‘The Backrooms’. In this enlightening interview, we learn more about his process for creating such striking productions that never fail to bring the energy. With a stellar signature style, one that blends elements from genres like Funk, Soul, and UK Garage, byDJBLVD’s collection of followers continues to grow, seeing his reach extend far beyond the boundaries of his hometown of New York.
So, join us as we delve behind the scenes of byDJBLVD’s ‘The Backrooms’.
Hi byDJBLVD! How are you doing?
Hey, I'm doing great; thanks for asking! Feeling blessed beyond belief as we start the new year, and I'm glad to be chatting with y'all at the top of it. I'm looking forward to a good interview -- let's get into it!
Can you describe the initial inspiration or concept that led to the creation of 'The Backrooms'?
Absolutely! Have you ever heard of "The Backrooms?" To simply define what they are, think about any place that serves the public: a hotel, restaurant, general building, etc. In these places, there are front rooms, meaning the rooms we can see and engage in and with, and back rooms, which are areas outside the public eye and, therefore, secret. There's a crazy large community that created countless short fiction shorties based on these back rooms that explore themes of the uncanny, exploration, the absurd, horror, and psychology. These themes are broken up into levels.
When it comes to my song "The Backrooms," I based the inspiration of the sounds and overall "story" of the track on level 37 of the back rooms, which is called "Sublimity." A sense of calmness defines the level, and it only consists of 80s-style tile architecture and water. Additionally, the sound is severely altered in the level, with things sounding very muted, dampened, or, in the case of my song, with lots of reverb. Everything began to make sense once I started playing with the different sounds I knew I wanted in my song. I encourage you to look up the lore behind the back rooms; it gets interesting.
'The Backrooms' has a unique blend of genres, how do you approach combining these different musical elements in your productions?
I wish I could detail precisely how I approach combining each element into my songs, but it's trial and error. Lately, I've been big into incorporating different aspects of West Coast Funk and Soul into my music. A significant part of what made West Coast pop off was the usage of live instrumentation with other digital elements already prominent across different styles and cultures of music. With "The Backrooms," I used a couple of reference songs to help guide the sounds and instruments that should be in the song. I specifically listened to many of the West Coast rap group 2nd II None and new-age artist Ness Julius for inspiration on how to layer all my sounds.
In short, less is always more, and make sure you have a couple of reference songs to build on.
Could you walk us through your creative process when it comes to crafting the groovy basslines and colorful melodies that characterize your music?
The bassline and supporting melodies are always the most challenging part of every song for me, and they never fail to get easier. For this song, I sampled the bassline and chopped it up to give it more swing and human touch. As always, I choose musical keys that align with the emotion I want my song to evoke in listeners. I'll usually create my bass and melodies a couple of semitones below the song key to add a bit of dissonance. I recently received feedback that some of my music lacked a human touch and that authentic swing feel, so I've been actively researching ways to characterize my music more, outside of the different ways of sampling and chopping.
Another critical part of my creative process that helps me characterize my music is producing what feels right and not following the crowd. To me, a lot of UK Garage right now sounds the same. When I finished "The Backrooms," I was insecure about how it sounded because I didn't feel it fit in with everyone else's sound. It turns out that it did well reception-wise, and since its release, more people have reached out and encouraged me to keep exploring different sounds in my UKG tracks.
Were there any technical challenges or breakthroughs you encountered while producing 'The Backrooms'?
Nope! Creating "The Backrooms" was relatively seamless since I spent much time thinking about the song's development and how I would structure it. If anything, this is one of those rare times when I produced a song, and it didn't have any challenges along the way. I think that's why this is also one of my favorite songs.
Can you share any insights into your use of vocal samples in this track and how they contribute to its overall vibe?
Oh, this is my favorite part of the song! See, I had already decided on the song's theme as part of the backroom lore before I found the vocal sample. I was browsing on Splice one day and casually found the vocal sample, which fit perfectly! Of course, I had to chop it up and add some effects to make it my own, but it felt like it was nearly made for my song, especially for an excellent closing section. It added a nice level of depth to the track, which helped differentiate it a bit from the last phrase.
Could you highlight any specific equipment, software, or plugins that played a crucial role in shaping the sound of 'The Backrooms'?
My number one plugin that helped me shape the sound of each element in the song is iZotope Ozone 11. It's my #1 go-to plugin for shaping a sound and enhancing its feel. I used a bit of my MIDI keyboard in the creation of the track as well, but I leaned heavily on Ozone. The suite has many tools I use occasionally, so it's easier to say the whole thing.
As a producer known for your distinctive sound, how do you keep pushing the boundaries of your creativity and maintaining a fresh sonic identity?
Honestly, I try to minimize the amount of opinions I listen to regarding how my UK Garage tracks should sound. It's good to seek the opinion of others but remember, not everyone has your best interests in mind. A producer told me the song wasn't good and that it should be scrapped because it wasn't true UKG. However, who are we to tell another artist that they should scrap their brainchild because it doesn't fit the status quo? We, including myself, must continue to push the boundaries of genres, explore different sounds, and create the lanes that give us our identities.
How would you describe ‘The Backrooms’ to someone who hasn’t heard it yet?
Imagine a live orchestra appeared in the middle of your dream and started playing music; that's it.
What message or feeling do you hope listeners will take away from 'The Backrooms,' and how does it fit into your broader musical journey?
First, I'd like listeners to walk away from listening to "The Backrooms," feeling a sense of calmness and interest in learning more about my music. "The Backrooms" represents the start of a new point in my musical journey, where I focus on producing what makes me feel good. I spent a lot of time in 2023 listening to the opinions of others, and that led to not releasing a lot of music that I should've. In 2024, I plan on focusing on taking views with a grain of salt and leaning into what makes me happy, what makes me groove, and, most importantly, what makes me proud of the producer I'm becoming.
As he continues to display a passion and love for his craft, one that sees him showcasing confidence in his abilities, sound, and style, byDJBLVD remains a talent to keep watching within Electronic Music today. So, we finish this interview by thanking him for his time and eagerly look forward to hearing what this talented Producer and DJ will next offer his fans.
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