Dubeats
After a string of highly regarded modern balearic eps in the last two years Subatomic boss Steve Miller aka Afterlife punches back in with the anticipated “Baywatch” EP looking forward to brighter days ahead. True to the trademark mind-clearing touch he’s come to be known for Steve Miller lands a new vividly hued quartet of sun-baked groovers, engineered to symbiotically uplift and soothe both the body and soul. This couldn’t be more needed today.
Fresh coastal air blows across the opening track, “Fly”, and we’re invited to take off to the sound of exotic string movements, as subtly arranged portamentos and prismatic synths entangle in one sensual dance. Bringing some further muscular heft to the bass range, title-cut “Baywatch” ignites a dancefloor-friendly fire of playful acid synth and slo-scudding pads on a retro tip. The result is as funkily efficient as it invites to deep-dive in Afterlife’s intricate sound design and lavish interplays on textures and envelopes.
Artist: Afterlife
Title: Baywatch
Label: Subatomic
Release Date: 2021-04-02
Interview with Afterlife
Afterlife has been a name that’s been around for some time. Can you talk us through your career history? When did the music begin?
When I was 5 years old, I started paying attention to music and classic piano lessons. Then got into soul, psychedelia, blues, and jazz, toured for 6 years playing keys and co-writing in a rock reggae band with Basil Gabbidon from Steel Pulse. Worked with K Klass on some of their remixes whilst quietly working on the Afterlife project, meeting Jose Padilla, and working in the whole chill out scene producing, collaborating, and gigging a lot in Ibiza and Europe, and doing tons of remixes. These days I generally focus on my own studio productions and the odd remix if it inspires me.
Where are you from? Where are you based now?
I’m from London. I live in Cornwall.
How have you found the last year musically?
Inspiring, I was able to spend more time in the studio on my own work as two albums with other artists got cancelled due to restrictions.
It seems that a lot of artists felt the same way as the quality of the tracks I have been receiving for my monthly radio show has been truly amazing and inspiring. I think it had become a trend to work “on the go” making music on a laptop with headphones because of so many gigs and I think the music suffered a little for that. For me 2020 has seen some of the best electronic releases in the last 10 years.
What inspires your music?
Freedom of expression and right now, my modular synth rig where pretty much anything is possible that to create from what I start with in my mind. I never realised how much more liberating it is than fixed architecture synths with presets you can edit. Creating patches, I always stumble across little bits of magic which influence the outcome of where I was heading with a sound. For some reason it keeps growing.
Talk us through the tracks on the Baywatch EP?
It’s a concept ep of hope. Track 1 get on an aeroplane flying somewhere nice. Track 2 arrive at the gig, usually by the sea. Track 3 sink into the atmosphere. Track 4 feel the energy from like minds hooking up again.
You’ve been producing for a long time. The quality in your production is clear. What three tips would you give to young producers to achieve quality output?
- If you are the mix engineer then get as much experience as you can with a good engineer and study as much as you can.
- Get the best monitors you can afford and make sure you have room correction. The software option is much cheaper.
- Listen more, do less, don’t rush the mix.
Who do you admire now musically?
For beats Third Attempt. Jimpster, Sun El Musician, more ambient stuff , Evan Fraser and Vir McCoy recently made a lovely album called Guardians, anything by Kaitlyn Aurelia Smith.