1Mix Radio: Interview: Sean Tyas

Friday, 4 March 2016

Interview: Sean Tyas - Degeneration

Highly respected international DJ, studio genius and veteran of the Trance scene Sean Tyas has been pioneering cutting edge sounds for the genre for well over a decade. It may therefore come as a surprise to learn that Degeneration is his debut artist album.

Having remixed a diverse range of artists including Armin van Buuren, Moby, Pink, Gareth Emery, Dash Berlin and Bloodhound Gang as well as releasing countless critically acclaimed hits on the likes of ASOT, WAO138?!, Subculture, Captivating Sounds, VANDIT, Discover, Spinnin, Doorn and of course Black Hole.…. Sean Tyas is without doubt a certified member of the A list Trance elite.

After interviewing Sean Tyas before many years in his studio in Switzerland and in various festivals including Tomorrowland, I felt that is the right time to connect with him and find out his point of view on his new album concept Degeneration that has been at the forefront of electronic music related social networks as subject of discussion and admiration of his fans. Except that he is an expert in production Sean Tyas is humble down to earth guy that respects every single penny from your pocket when you buy his music or you pay a ticket in a club or festival to experience him radiating energy behind the decks. I'm super glad that he accepted the challenge and here is the interview that has many intresting insights that hopefully has not been yet in other interviews.

Interview is written and conducted by Dimitri Kechagias, Music Journalist and radio host at 1mix radio.

Dimitri: First it would be great to go back in time and narrate for us the time that you travelled to Europe from USA and you took the decision to leave in Europe and particularly in a beautiful city in Switzerland. Can you briefly take us back in that period and do you recall it pleasantly or there are moments that you don’t wish even to think about?

Sean: During the move itself? Well first I had moved over to Cologne, Germany for about 10 months, and then I found my way over to Switzerland. A major part of that of course, as is usually the case, I moved in with my future wife to be. Over the course of all this transition, I guess the most unpleasant aspect of all of it was learning the new language simply to function in the new countries.

I didn't really have the luxury of time on my side to go and take German classes, and even those would have only gotten me so far, since in Switzerland, it’s not regular German being Spoken, its Suisse Dutch, meaning Swiss German, a dialect that may as well basically be a different language.

The Swiss call it an “accent”, but if you ask any German, they will say they can’t understand it for the most part. So I guess the unpleasant part, wouldn't have been the learning, but simply just not understanding simple dinner conversations for years with my new family – that was difficult. But now, I have overcome that and speak it enough that this is no longer an issue. It took 10 years!

Dimitri: You have produced wide variety of styles but your uplifting trance productions were extremely solid and fierce and these have made the world to focus on you. Would you like to talk about your early uplifting trance sound and how this sound has changed and mutated to the Degeneration album sound?

Sean: First off, I have always said I hate using the word “uplifting”. I want the person who invented this idea to call it that bound and quartered. All music, to someone or another, is “uplifting”. So if I was to say, that older “melodic” sound of mine, I could agree with that I think… Now as far as a transition, I have always been a person that is more satisfied pushing myself and accomplishing new goals. Feel free to have a look at my discogs, and there is no denying that I have probably some of the most “melodic” trance tracks of any given trance artist. But to me just making melody, though it is one of the most important things in music to me, I've also done it dozens and dozens and dozens of times. What has pushed me, is a thirst and desire for something “new”. I am quickly bored and there are a million “artists” that can do their cookie-cutter stuff. I am looking to break down walls and push myself. And this is the Degenerate sound.

Dimitri: Lets move on the album itself that sounds truly amazing. In the sleeve notes you write that the main obstacle that you had to overcome was your own fears and all those questions that come in your mind as producer. Do you have a particular strategy that may others can adopt as well on how to overcome your fears as producer?

Sean: I think like many things and major accomplishments in life, you just have to stop, take a deep breath, do it, and try your best not to think too much. Making music I have always felt my best work was done without over thinking, without spending days and weeks on a hihat, because then you just get no where. So that would be the answer to that question, as strange as it seems, stop thinking too much.

Dimitri: I would like to address to you some of the questions mentioned in the sleeve notes slightly altered and see if you can have an answer on them:

a)Do you feel that the story that Degeneration captured the minds of your fans on the way you have intended and do you have any examples that proves your point?

Sean: Well so far the responses and feedback have exceeded all of my expectations, to the point where I was actually expecting (and was even ready for) some trolls to say “ah we were expecting 26 track that are all four-to-the-floor trance tracks”, but I have not seen that even once through all of my social media since release, and its now super clear to me how amazing, open-minded, and forward-thinking a fanbase I have. Makes me super proud to know that.

b)While you were producing the album did you send the tracks to other people to tell you their opinions or you decide to do whatever you want without talking to the label or close friends? Are you influenced from critical even slightly negative opinions in your music?

Sean: Tracks constantly got sent over to a couple of very close friends and my management for feedback. In the end I am my own boss and make the decisions, but it was always good (and it IS always good) to have a second or third set of ears than can listen more objectively than I can, being the actual producer and having an “attachment” to certain elements that maybe a track could do without.

c)If we go through the album do we find easily spotted references to artists that have influenced you and if yes can you again give us some clues?

Sean: Maybe not specific artists per se, but I was absolutely influenced my genres, and of course the challenge of mixing the genres up a bit. Like for example in Vagabond, the whole concept was to fuse my more melodic trance “feeling” with the power and drive of psy trance…

d)Do you feel that the album represents your 100% capabilities as producer or there are sides of your persona not presented here?

Sean: Hehe, could the range and variety have been more than that? But yes, 100% this represents every last detail of what I would have ever wanted to be on my album. I even covered things that I thought I would have to wait until a second album to be able to do. So let’s say 120%.

Dimitri: How long it took you to produce the album and which tracks were harder to finish and why?

Sean: Roughly 18 months. Some of the tracks were done quicker than others. A good example is Start Over ft. Cindy Zanotta. It was written by Dave Wright and I had to find the right singer for the job. Took a while. Other tracks just flowed through the production process, like Diffuse. Which was just sublime to make, I consider that to be one of the classiest songs on the whole album, it took about 3 full studio days and to me that’s pretty quick.

Dimitri: Do you believe that still there is an album market for electronic music or fans have been educated to buy singles and choose what they like the most from an album rather than the full story?

Sean: That was actually a big part of my fear of making the album: “Is the album market dried up? Is there even a point to this?” Well, I am VERY happy to say I was totally wrong in thinking that. So far I can’t believe how much support people have shown my purchasing the album on various platforms & media… blow away even.

Dimitri: Have you done any particular updates in your software and hardware in order to capture this Degeneration sound texture?

Sean: Interesting question, well one big change 2 years back was that I switched from Logic to Ableton Live, and I think this has really helped take my sound to the next level, simply for one reason: workflow. I work much better in Live and it helps the computer be more transparent and puts your mind on the most important thing: the music.

Dimitri: Can you pick your absolute favourite tracks from the album and give us a short comment of each one you choose. If you wish to talk about each track of the album in your own words we can do that as well.

Sean: I really don’t have “favourites” per se on this. If a track “wasn't” qualifying as a favourite of mine, I would not have put it onto the album. Maybe if I was to pick two that were the biggest technical achievements of the album I would choose Swarm and Kontrast. And then if I was to pick two that defined the best of what I am throwing down in the clubs, I would say Hive and Da Doo Da Dah. And then melodically, if I had to pick one, lets go with the new Start Over ft. Cindy Zanotta.

Dimitri: The second CD includes top remix treatments from great artists. Can you tell us why you choose this particular ones and if there is a remixer that you would like to have in here but it didn't happen and for which reasons?

Sean: These are guys that at the top of their game in each of their respective genres. Amazing producers and great guys as well. It was really hard because there are still remixers I’d love to have added to the mix, but you can only do so much. I am a firm believer in “one remix per single maximum” and to go and get 2-3 remixes of each single would have been bringing a gun to a knife fight really.

Dimitri: Let’s move on to your side as record label owner and your imprint Tytanium that each release is an absolute bomb. Lately we show slowdown in the Tytanium release schedule. Have you signed new music for it and are you always searching for new talents that can send you demo?

Sean: Nope, Tytanium I have stopped now. For a while I put it in the capable hands of Darren porter to run, but with my brand and radio show now being Degenerate, it made no sense to keep pushing two parallel brands – and I know you might say, well OK what about a “Degenerate Music” label. Well I am just enjoying not having a label right now. Maybe in a year or two, we will see. But in the meantime, it seems almost every artist (and his dog and cat) has a label, deservedly or not, and I am happy to let other people handle the releases.

Dimitri: You have reshaped your radio show according to your Degeneration concept. Are you happy with how this show is going and are there any improvements that you should make in the near future?

Sean: I love it this way. One jampacked hour of hand picked new stuff each week is really working well for me. I can’t think of anything I would change One thing really try to stick to is not repeating new tracks (though I’d be lying if I said I didn't plug my album tracks a couple extra times – fuck it, its my show isn't it).

Dimitri: Sean Tyas is all over the place and in many events around the globe. Do you have a favourite country to perform and favourite event or club that you always enjoy to perform?

Sean: USA, Argentina, and Australia are my favorite spots right now. I enjoy all sorts of events, but a great club night just cannot be beaten. Exchange and Avalon in LA are awesome, Ruby Skye in LA, Mandarin in Buenos Aires, and basically anywhere in Australia.

Dimitri: Any ideas to turn your performance into live thing with live recreation of your tracks on the spot while you are on stage?

Sean: Kicking that idea around. That’s really all I’ll say thus far. Not sure it will happen, but not sure it won’t either.

Dimitri: Everybody is shocked about Paul van Dyk accident at ASOT. I wonder if you have been exposed to any dangers while you were playing and if you think that festival organisers take care seriously about the safety of the djs.

Sean: It is horrible. I feel so bad for him, his family and friends. What a tragedy. I really pray he recovers fully, and quickly. I think once I probably put myself in that position, and looking at what happened to Paul, probably it wasn’t the best idea! But I was put into a huge inflatable ball and lowered down to the stage from over three levels up! See for yourself: