Contributing Writer
Copenhagen artist Radeckt has already seen plenty of success with heavyweights like Dixon, Âme and Mind Against, all supporting his classy House sounds that have found a home on esteemed labels from Ultra to Human by Default. Last year he was behind the summer hit ‘Dope Dance’, which was praised as Pete Tong‘s Essential New Tune on BBC Radio 1, and now he steps out with his own sure-to-be essential label Rendition.
Hi Radeckt, welcome to Music Is 4 Lovers! Can you tell us about the electronic music scene in Copenhagen, where you’re based, and how it has influenced your work as a producer?
It has been a very thriving scene for years with a lot of talented producers and dj’s surfacing. The clubs have developed as well, going from a few permanent mainstays to more than a handful of respected electronic clubs. Years ago, when I started producing, the scene in Copenhagen was very small. So, a lot of influence came from abroad, but as the scene flourished and more people got involved in electronic music, I found my close group of people. For years now, I have been close friends and part of a studio collective with some people I have respected as producers. Sharing a studio with Nandu and Tripolism, the feedback and sparring possibilities in the group have always influenced how I think about and evolve my productions and habits in the studio. We support each other and are proud to help represent Copenhagen on the electronic music scene.
Your sound has been supported by heavyweights like Dixon, Âme, and Mind Against. How does it feel to receive such recognition from some of the biggest names in the industry?
That is of course a great privilege and is something I’m proud of. It feels good that your hard work pays off and that some of the biggest DJ’s & producers in the world appreciate and want to play the work I’ve done.
Your track ‘Dope Dance’ was named Pete Tong’s Essential New Tune. Can you walk us through the creative process behind that track?
It was the first evening Nandu, Tripolism and I had in the studio together. Basically, it was about having fun, and there were no limits. The main idea for the track was made in a few hours that first evening together. A lot of work went into the details of the production & arrangement to perfect the final version you hear now. During the process of *inventing’ the idea, there was no box to think out of, it was a free creative musical space. Several times, we talked about how we got inspiration from different genres and different decades for the track. Even though we have been five people in the process of producing Dope Dance, everyone feels like they have had a role and are an equal part of the track.
You’ve just launched your own label, Rendition, congratulations! What inspired you to take this step and what are your aspirations for the imprint?
Thank you so much, guys. I think most producers know about the frustrating process of releasing music with other labels; it’s time-consuming and often a waiting game even to get a concrete response. It’s important to get supported and recognized by marquee labels in the industry, but it can also be a relief to have your platform to release your music on, which has your vision and is where you decide what goes out or not. My management and I decided last fall that the time was right to start up my own label, and here we are. With time, I want to release music from other people besides myself as well, do parties and at some point have other creative outputs than music. I’m a very big fan of clothing and scents.
What can you tell us about your inaugural release on the label, ‘Talk To Me’ EP?
I can tell you that it’s very much inspired by the comeback of the housey sound and stabs. It’s two tracks that are quite stripped back. They are built up just how I love melodic house: groovy, with drive, something to sing along to, and a bit of emotion in there as well. A big shout out to Keena for wanting to work with me on ‘Talk to Me’. The track wouldn’t have been the same without her authentic vocals.
Your music is often described as ‘dancefloor friendly’. When creating a track, how much do you think about its potential reception in clubs and festivals?
When I have my basic idea, I try to imagine where during the day/night it will fit and create drums, synth fillings, and arrangements from there. Sometimes, I get to where I imagine the point where the track reaches that high level of amazing wholesomeness. Other times, it ends up weird and completely different than expected because I went with the flow. That can be a good thing, but It also happens that it ends up in that project folder I never look at again, haha. Most of my music is made for a dancefloor, so of course, it needs to sound good and have the right elements and mix to work. If it doesn’t work, no one will play it. Not even me, which I guess is the first test of any track I make!
What are some of the biggest challenges you face as an artist in the melodic house and techno genres?
There is a lot of competition. A lot of talented artists. So it’s hard to get the amount of visibility you always search for. Especially when you maybe aren’t the social media wizard, some other people are as well. Can someone teach me how those f******* TikTok algorithms work, haha? Keep on working, and be persistent.
What advice would you give to aspiring producers who are trying to carve out their own niche in the electronic music scene?
It’s OK to get inspiration, but don’t try to sound like other people or a track you want to “replicate”. When you go to the studio or wherever you are sitting, TRUST your process and ideas. Wait to reference your track until you’ve made your basic idea; stay in your cocoon where only your ideas and unique thinking exist. Don’t be afraid to sound a little weird; let it out, and be playful. It may sound like general advice, but it’s the best way to create your niche and get to know what defines you as a producer and your sound. Be patient; Rome wasn’t built in a day.
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