Music producers constantly feel the need to be rushing through the creative process, feeding the algorithms with forgettable release after forgettable release. In fact, it almost feels like this is the norm, as fewer producers than ever put an emphasis on writing dance records that stand the test of time.
Tim Green is one such music producer, who puts his heart and soul into every record and whose results speak for themselves.
And with the release of his latest 6-track Eastbound Silhouettes mini-LP, we wanted to see exactly what goes into writing dance music that stays with us.
Stream Eastbound Silhouettes Below
‘Lune’ is the debut track of the mini-LP that announces the rest of the body of work. And while the soft and subtle tune sets the pace for the rest of the LP, tracks like ‘Tears’ and ‘Sequoia’ maintain the energy and level of mastery we could only expect from a producer of Tim’s caliber.
Having only been releasing on Lee Burridge’s imprint since 2020, Tim’s sound has found an easy home alongside other industry heavyweights and Eastbound Silhouettes only seeks to continue that legacy.
Unreleased IDs from the record have been played at these events by Lee Burridge, Sébastien Léger, and Tim himself. Tim Green has been a frequent performer on All Day I Dream’s 2022 World Tour, playing at the inaugural All Day I Dream Festival in Northern California, All Day I Dream of New York Glow, All Day I Dream of Ibiza Allure, All Day I Dream of Denver Dazzle, & All Day I Dream of Montreal Magic.
“I’m extremely excited to have this release come out, what I think of as a Mini-album! Six tracks that I hope take the listener on a mini journey! Some dance floor, some more home listening. But it’s an honor to be back on All Day I Dream, a place I call home and my family.” – Tim Green
What is the hardest part about writing songs that stay with an audience?
Truthfully, the hardest part is the unknown.
As songwriters, we don’t always know what is going to stick in somebody’s thoughts or memories – or what is considered a catchy melody or a catchy hook within a song. Some people are better at it than others.
But even they still don’t know 100% what will be connecting best with the audience. Plus, it’s a fine line between catchy and annoying vs catchy enough to make you listen over and over again without getting sick of the song.
Personally, I just aim for sincerity when writing songs and melodies in my music. Something that is truly reflective of me and my personality. And something creates a really strong emotional response in me.
Then the rest is just luck if the audience connects with it or not.
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How do you keep loop-based songs interesting and engaging over long periods of time?
Simple really, with a lot of attention to detail on every sound within my songs. Plus a lot of dynamics and changes within every sound. Even if it’s subtle changes or subtle details, I always want movement in every part.
Because I think music should have a human feel to it. Especially within electronic music, everything is usually so perfect and correct, thanks to technology and its flawless nature. So trying to make sounds vary and evolve over a song length takes it away from being repetitive and computer perfect.
Any live musician playing the same part or riff a hundred times, will ultimately never play that riff exactly the same twice. It will always be slightly different. A different timing, or loudness and dynamics, etc….
So I try to keep things more varied.
Why do producers prioritize writing throwaway tracks instead of timeless songs these days?
Well, I’m not sure if these producers are purposefully trying to write throwaway tracks, or if they are just not interested in creating music that can exist on different emotional levels.
It’s at least what I enjoy trying to do with my music – have it work for listening purposes and dancing purposes. I wonder sometimes that technically I might be working in the wrong music genre. Because I’m on a mission to constantly fuse together dance music and its rhythm with thoughtful and sometimes complex melodic instrumentation.
I might be better suited to a genre that isn’t about dance music.
But maybe I’ve got it all wrong, and perhaps the producers out there just writing banging dancefloor tunes that are more about energy and dancing too is possibly the better idea?
I really don’t know to be honest. But I think both can and should co-exist. As there are opposing audiences out there who want either side or both sides to this argument. And I love the challenge of trying to make it work.
When do you know a song is worth finishing?
I usually know when I can’t sit down for too long in my studio. If it always makes me stand up and either dance, pace, or sometimes (secretly) fist pump haha 😉
Share three quick-fire tips that completely changed your perspective on songwriting in dance music.
Know Your Theory
Knowing music theory doesn’t make you a better songwriter. Sometimes working outside of music theory creates more interesting ideas.
Write Music You Want To Listen To
Writing melodies that I want to hear, even if they don’t sound like anybody else, is a good thing. As it is honest to myself, and will ultimately speak to me better, and in turn, my audience better.
Keep It Simple
To make a technically interesting song, doesn’t mean you have to be really flashy and complex. You just have to use as few ingredients as possible but in clever ways.