So I'm not really saying that dubstep is bad now, but I'm saying there's a certain arm of it that I really, really enjoyed-just no one's writing it. I've got no problem with it, but it made me uninterested to write it because I just wasn't getting a buzz…it doesn't doesn't really resonate with me. It just isn't creative in the way that I would like it to be. It's not like there is no creativity in dubstep-there's some really mad creative stuff going on. Steele: “I think it's just times change people. Kocay: What do you think was the catalyst for the change in how dubstep is being made now? And now the choice is either you write a pop record and it doesn't have a really soft drop or you write a dance floor record and it doesn't have any chords in it. I kind of fused the two together and it's not like we lost chords and composition and melody in dubstep, but it felt like it's really softened. I wanted to have chords and melodies and all that kind of stuff. It was all about really driving bass and crazy sounds. So the thing that I think I brought to dubstep back in the day was notes and chords and sort of interesting composition. Steele: “I think it is compositional creativity. Kocay: What was it that you stopped hearing that you liked about dubstep? I just didn't even know that that was what it was that I was trying to achieve.” And I think it's… just all the things that I loved about dubstep, I stopped hearing in other people's music and I even stopped hearing it in my own music. I want to do Flux Pavilion 100% to its core, the best that I can, which is being fun and wild and outrageous and epic and emotional.
So I'm not really that interested in keeping up with what everyone else is doing. “What I'm realizing now is I have my own style of dubstep that I really like, and that really resonates with me. It just became heavy and monotonous to me, so to have to keep up with that, I just felt like I wasn't really writing the music that I wanted to write, which is why I stepped away from dubstep to go and explore other types of music. It wasn't outrageous and fun and wild and fantastic. I kind of became a little bit disenfranchised with dubstep in particular because it moved away from that. I haven't really gone back in terms of sound, but what I'm doing now with my new records is I feel like I've connected with what it is that I want to write. That's kind of really what my music is starting to feel like. It doesn't necessarily sound like that now in the modern time because we are quite used to this music, but at the time it felt really outrageous and just fun. Steele: “ I guess it feels like when I started it was wild and fantastic and outrageous. Kocay: Can you describe Flux Pavilion from when you first started and then contrast it to Flux Pavilion now?
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It's like dance floor, but it also has so much more intricacy because I've just spent hundreds of hours learning about music, how to approach it, how to write it and how technology can help you adapt.” I feel like I'm right in music that I could never have even imagined a few years ago. “Now bringing all of back towards Flux Pavilion, I feel really confident in it.
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