Umru (Oct. 2019)

The musical puzzle that lays in front of artists is both sprawling and overwhelming. To make sense of the swirling emotions within humanity and form sonics that mirror them monumental. But in walks Umru. Just as the puzzle seems almost impossible, he reminds of the missing piece that had fallen on the floor. Like a breath of fresh air within pop production, Umru is solving different artist’s puzzles while also looking to finish his own.

Based in New York, Umru is seeing production for more than its surface later ability. More so than just a collaboration tool, it is. in his hands, being transformed into a means of shared expression in a time of distance. In strengthening the vision of others, Umru finds a voice his own which carries through each of his works. This voice, ultimately, is telling a story self-discovery and freedom, stitching itself into endless far-reaching stories.

And so the puzzle sits on the table still with pieces missing, with a slew of holes and complexities. All of our puzzles do. All of our personal stories are united in the full photo being incomplete. But without individuals such as Umru, the pieces would be missing a lifetime. With every song he creates, one which touches another’s heart, a piece of their puzzle is found. The resulting image is slightly more clear and ever more beautiful.

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Our first question as always, how’s your day going and how have you been?

Good! I’m alright, I’ve felt really busy, yet unproductive recently though.

In your eyes, what defining features in your upbringing brought you into the path you’re on now and what was their significance to you as an individual?

I’ve got two very creative-minded parents and was lucky to be in an environment with few obstacles in getting to do the things I wanted creatively. I was able to use my dad’s old laptop with Ableton Live installed for example. I think access to the internet was also a defining feature, moving through online communities from Minecraft servers to Tumblr and Youtube fandoms to Soundcloud and Soundcloud producer group chats on Skype and Twitter. I was in a very small town and definitely relied on these communities just as much if not more than “real life” relationships to develop as an individual.

What were the core visions you went into music with at the beginning and how do you reflect on those original mindsets and values?

I don’t have this stuff all figured out honestly. I didn’t start making music with an end goal in mind. I started working on music early on enough that I wasn’t thinking about these things, I was just finding sounds and directions I liked on the internet and wanted to start replicating them. Since then I feel like I’ve been able to carve out and develop a sound world that’s uniquely mine even if my influences are pretty clear, but I’m still an immature artist with a lot to figure out in terms of vision.

Do you feel there was ever a shifting or eye-opening moment within your career that made you realize what it is you truly wanted to create?

The closest thing I can think of is A. G. Cook emailing me and expressing his interest in the parallels between our work. This was in 2016 or 2017, I was a high schooler and “Soundcloud trap” producer. I was a fan of PC Music but never imagined my music in a Pop context. Not too long after, A. G. had me working with him on tracks for Tommy Cash and then suddenly Charli XCX. “I Got It” came out on Charli’s mixtape, Pop 2, not much longer. Then a month after I worked on it, all of a sudden, I had all this new attention as a forward-thinking pop producer. It definitely helped me understand that the lines between these worlds were more blurred than ever, and my direction has definitely shifted since then—as much as I still end up focusing on sound design and convoluted production techniques, I want to make pop music, and stretch what that can mean as much as possible.

Now, how do you ensure that as an artist who collaborates heavily with others you don’t diminish or lose your own personal spark and vision? How do you approach creation with others to be able to allow yourself to be heard and not simply listened to?

I used to be very protective of my work and “sound” and found it hard to collaborate a lot of the time. But I’ve learned to step back a bit and trust everyone else a bit more and the result has been better music. Especially in the pop world it’s impossible to get too attached to your work because there’s just endless music that will never hear the light of day and I have to be okay with that. And the work that does get heard may go through many changes by others after I work on it, I’ve had to learn to get less bothered by that inevitable process.

Which artists in history do you feel you could work well and create great art with, even though to many it would seem like an impossible or confusing combination?

I’m honestly a lot more interested in working with people who are making the current musical moment interesting. There’s plenty of good music throughout history but it’s exhausting to think of everything in the context of the past. I go to music school and everything is constantly about emulating the legendary studios and gear of the golden era of recording which never feels that relevant to me. That being said, I would love to work on a track with Screamin’ Jay Hawkins, J Dilla, Sylvia Striplin, Wendy Carlos, or John Tavener.

What improvements and developments do you hope to see within your sound and artistry going forth and do you feel you’re near a point of satisfaction with those elements?

I’m never near a point of satisfaction, I’ve spent a long time trying to perfect a complex, detailed, sound design-based approach and I’ve still not made it far enough in that direction. Now, I’m feeling like a more immediate, stripped down, and more fun style that’s less concerned with the perfect details is becoming my new goal. This is after hearing projects like 1000 gecs and waterboy by William Crooks that are in this vein. What I need to improve most on is songwriting and the simplicity and catchiness of pop music that I’ve relied a bit too much on collaborators for in the past.

What do you feel is your largest goal with creation and with your efforts as an artist? Do you feel it important to speak to others or is there personal learning that you’re drawn to?

I’ve never been good at speaking to others in any other way, so music is definitely the way I do it. I guess the largest goal is simply to create or help others to create music that positively impacts as many people as possible. Production ends up being a very supportive role if you’re the kind that works with recording artists, and that’s definitely a role I’m still learning to fill. If I can get super-rich and famous that would be sick too.

Looking forward, what has you most excited for the future and what moments are you ready to experience?

Music! There’s a lot of really important work happening right now and It’s gonna sound really good in the future.

Do you have anyone to say thank you to or anything you’d like to say into existence? The floor is yours.

Thank you Rylee. Thank you A. G. Thank you Tiam and thank you Paramind for having me speak.