British producer Tom Staar went on a North American tour that will sweep over 5 cities to close out his 2013 year. We dropped by for the opening show of the tour at Avalon Hollywood and asked the man of the night a few questions. Tom Staar wow’d the crowd that night with the perfect bass-filled progressive house set playing his great remix “Don’t You Worry Child” and this writer’s favorite remix of “Can’t Stop Me Now”. The great set was followed by a friendly interview from this popular producer.
I wrote “Faces” originally in January 2012 so it’s been basically 2 years and had Motown Record sample in it but I had problems clearing it the track dragged on until we found the vocals which took ages. Then Chrom3 came along through a friend and he did the vocal so it’s been a long time coming.
It was great and an honored to actually asked to be doing the remix in the first place, and obviously with it being their (Swedish House Mafia) last single. It did really well and they were playing it on their final tour so it was a real success.
I think with that remix it was actually Kryder who was asked to do it and I’ve worked with him a lot with his music. So he asked me if we wanted to work on it together. So I was like yes of course and that’s how that track came about.
I really like a bit of both, I enjoy working with others since we get the chance to bounce ideas off. It seems like I get things done a lot quicker working with people rather than on my own. I feel like on my own I’m just going in circles trying to figure out what sounds good. So I like a little bit of both but to be fair it’s a lot better with someone else there to vibe off of.
It varies each track and I don’t really any specific beginning point. From original tracks it could get started from anything really. Maybe get some ideas of chords but I usually just let things happen without having a set formula.
I worked on Moda a few years ago and since then musically I’ve kind of gone in a different direction, but I still have quiet a lot of involvement with the Moda. The label which is now Moda Black has made it more the deep house kind of stuff where it has releases from Hot Since 82 and more. Since I produce a lot of behind the scene in the deep house genre as well I like to keep on top of both.
You’ve been in the industry for more than a decade. What do you currently think of the EDM movement in the US?
I think it’s great with how big it is now. In lots of ways it’s kind of watered down since the scene is getting so big so a lot of producers think they have to stick to this big sound and aren’t quiet varied in what they do, but as a whole it’s a good thing that it’s spreading and becoming more popular.
