EDMTunes Interview: Tom Staar

kvnphm

11 years ago

Tom Staar Fall North American Tour 2013
British producer Tom Staar went on a North American tour that will sweep over 5 cities to close out his 2013 year. We dropped by for the opening show of the tour at Avalon Hollywood and asked the man of the night a few questions. Tom Staar wow’d the crowd that night with the perfect bass-filled progressive house set playing his great remix “Don’t You Worry Child” and this writer’s favorite remix of “Can’t Stop Me Now”. The great set was followed by a friendly interview from this popular producer.

Your most recent release “Faces” with vocalist Chrom3 has created a huge buzz on the web. Tell me a little bit about the track and how did you and Chrom3 come in contact with each other for it.

I wrote “Faces” originally in January 2012 so it’s been basically 2 years and had Motown Record sample in it but I had problems clearing it the track dragged on until we found the vocals which took ages. Then Chrom3 came along through a friend and he did the vocal so it’s been a long time coming.

With 3 Beatport top 10’s, you’re a man who obviously knows your music. Tell me what were your expectations of “Cheyenne” and your remix of “Don’t You Worry Child” and what was your reaction when you found out these tracks hit the top 10?

It was great and an honored to actually asked to be doing the remix in the first place, and obviously with it being their (Swedish House Mafia) last single. It did really well and they were playing it on their final tour so it was a real success.

One of my favorite tracks done is Shermanology’s “Can’t Stop Me Now” done with British producer Kryder which was played through almost every set during it’s release. Walk me through the process of how that track was made and did you expect that track to blow up to the level it did.

I think with that remix it was actually Kryder who was asked to do it and I’ve worked with him a lot with his music. So he asked me if we wanted to work on it together. So I was like yes of course and that’s how that track came about.

Seems like you’ve also made a few tracks with Kryder as well. Do you like/prefer working on tracks with other people? What makes working with other producers so great?

I really like a bit of both, I enjoy working with others since we get the chance to bounce ideas off. It seems like I get things done a lot quicker working with people rather than on my own. I feel like on my own I’m just going in circles trying to figure out what sounds good. So I like a little bit of both but to be fair it’s a lot better with someone else there to vibe off of.

You’re house tracks are incredibly diverse and usually have a heavy bass that packs a punch. Tell me what exactly makes you produce tracks that are bass-orientated.

It varies each track and I don’t really any specific beginning point. From original tracks it could get started from anything really. Maybe get some ideas of chords but I usually just let things happen without having a set formula.

Not many people are aware but you actually co-own a house and techno label called Moda which has a huge following in the UK. Could you explain the origins of Moda to us and how exactly has Moda transformed over time since it’s creation.

I worked on Moda a few years ago and since then musically I’ve kind of gone in a different direction, but I still have quiet a lot of involvement with the Moda. The label which is now Moda Black has made it more the deep house kind of stuff where it has releases from Hot Since 82 and more. Since I produce a lot of behind the scene in the deep house genre as well I like to keep on top of both.

You’ve been in the industry for more than a decade. What do you currently think of the EDM movement in the US?

I think it’s great with how big it is now. In lots of ways it’s kind of watered down since the scene is getting so big so a lot of producers think they have to stick to this big sound and aren’t quiet varied in what they do, but as a whole it’s a good thing that it’s spreading and becoming more popular.