Business-wise and for them as a brand, I think they see it more like a business. They really stand out because they don’t mind putting the emotion up front alongside the aggression.Į: I do think that a lot of acts, and a lot of DJs, these days, they will go with what they know works, and they’re going to take the easy road every time. For me, I would liken it to going to a heavy metal festival and watching the Deftones.
Z: In some respects, and in other respects it’s like, what I do is energy, or what I do is this, what I do is that.” There aren’t too many people on the bill, I think, that are trying to press the emotional button. Because of the music … We just described what you do, effectively, and yet so much of the music on these festivals and on these bills is, in my opinion, and I’m not trying to be insulting, I just feel it’s more linear … Z: Do you feel like an outsider when you’re playing festivals in some respects? I’ll qualify that question. I was like, “Oh, yeah, I like this,” but it wasn’t finished. I went through all these ideas because I have… whatever, hundreds of them. I was on the tour bus and I had the actual riff previously. You did the whole thing in half an hour?Į: I needed a finale for “EDC Las Vegas,” when I did that. Z: Have you ever been satisfied at the end of a session, where you’ve gone, “I really can’t add anything to that piece of music.” What’s the closest you’ve got?Į: “Opus” that I just did. For me it’s always like, “What if I add that?”
Read a condensed transcript below, or click here for the full piece.Į: Tracks are very rarely done. He almost became the group’s fourth member, he says, but decided to move to the UK and begin his solo tour instead. In the interview, Prydz describes the creation of his album’s title track, “Opus”: although the song stands at nine minutes in length, he admits that producing it only took him half an hour! He goes on to speak about his own material in the context of more ‘generic’ festival tunes, as well as his avoidance of using mainstream vocals for his tracks whenever possible.įinally, Prydz discusses his relationship with the SHM trio before their group was entirely formed. Even with the other testers on the lane using the same ball, there was very little transition.Following on the heels of his newly released, debut album Opus, Eric Prydz recently sat down with Apple Music Beats 1’s host Zane Lowe to discuss his production process, his seemingly ancient hit “Call On Me,” and his near addition to the Swedish House Mafia trio.
This let Stroker stay in this part of the lane for quite a while, about the equivalent of two and a half games. The pattern went through little transition with just the Ocean Vibe going down the lane. The polish provided him with plenty of hold, while also creating just enough hook to not hit flat when he kept his line even tighter.
The box finish easily gave him the length to get the ball to the breakpoint effortlessly without expending much energy early on the lane. He started the ball on the 10 board, playing a small swing over eight at the arrows and out to seven at the breakpoint. The polished box finish allowed him to line up where he is very comfortable. Stroker really liked the motion he had with the Ocean Vibe on the medium pattern. While the Ocean Vibe was good for our testers on the dry oil pattern because of its easy length, it was even better on the fresh medium oil pattern. All three of our testers saw the Ocean Vibe offer more skid, more angle at the breakpoint, and more back end hook than the Scorpion. The Ocean Vibe comes out of the box finished with Crown Factory Polish, with 500/1000/2000 SiaAir under the polish to provide a glossy finish.
The symmetrical Vibe core comes back in the same form as the previous version, along with a pearlized version of the CT Reactive Plus coverstock. With the introduction of the Ocean Vibe, the iconic Vibe nameplate returns to the Hammer lineup for the first time since the release of the Orange Vibe in 2019.