Tjaro returns with a new two-track EP that incorporates elements of melodic techno, Detroit house and disco. Tjaro erupted onto the scene last summer with the release of his debut ‘Discreet’ EP, a two-track release that highlighted his musical versatility and incorporated aspects of deep house, tech and melodic techno, the title track from which was supported by Pete Tong on his Radio 1 show.
Since then Tjaro has continues to flex with follow-up What We’re Feeling – a smokey, garage-inflected deep house cut that sounds like a forgotten classic – and Forever U earlier this year, an alien-voiced club cut that sounded like the soundtrack an interplanetary rave. Despite exploring a range of sounds across his first releases, there is one thing that has remained consistent; a rock-solid commitment to quality with a production aesthetic that never fails to leave an impression. Here’s Tjaro in interview!
What is the story behind your artist name?
To be totally honest, there isn’t some deep meaning behind it! When I was figuring out a name to work under, I wrote down a whole list of random words which I felt had a good sound to them. I eventually went with Tjaro—I liked it because it feels different and you can’t quite place it or tie it to a particular place or genre.
How did you get into electronic music production?
I had been dabbling with making tunes from the age of 8 or 9, but very inconsistently. About three years ago, I sat down and decided to take it much more seriously. I started off by making very basic tech house tracks (I listen back to them now and don’t really know what I was thinking!). But my Dad, who works in music, definitely helped me a lot with developing my sense of electronic music too, largely through listening to artists like Photek and many other great producers from the late ‘90s and early ‘00s.
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Who would you list as your inspirations for the genre?
To be honest, I really tend to find inspiration from many different places and genres, not just in electronic music. I think the way I have grown up has definitely had an impact on that for sure, as both my Mum and Dad have very diverse tastes in music from soul, funk, rock and pop, African and Latin, house, hip hop, grime, and beyond. I have always learned to appreciate all types and genres and different production techniques.
What are some tricks you have learned in your journey that you think are important for any budding musician to know?
A principle that has definitely informed my own music is just to ensure that the music I make is for my own sake without being too impacted by other people. Making tunes is, above all, supposed to be a fun process, and when I start to lose that, then I often take a break for a couple of days and come back to it. When you’re enjoying what you’re making, I think it tends to result in the best music.
Is there any specific inspiration behind your new EP ‘Verve’ / ‘Tex’?
Both come from pretty different spaces stylistically. ‘Verve’ is a lot more club-inspired; for my first DJ gig at Loki in London a couple of months back, I wanted to play some of my own tunes, and this one came together very quickly after I had worked out the kick and bass combo. ‘Tex’ is quite different by comparison. I really wanted to work with a lot of modular samples and textures at the time and tried to build the vibe of the tune around that. I started off with the drums and compiled various modular drum samples and textures until I eventually worked out the groove, which was then layered with the chords to create the backbone of the track.
There’s a distinct difference in sound even between these two tracks— is variety the spice of life?
Yes, certainly! I tend to try and experiment as much as I can in the studio with as many sounds as possible to blend different timbres and types of synthesis to define the sonic character of the tune, and these two tracks are definitely typical of that approach.
What does the future look like in terms of collaborations and artists you want to release new material with?
There’s nothing in the works at the moment as far as collaborations go, but it’s definitely something I would like to explore in the future, in many different directions.
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As we move into an age where a lot of music is now being created with the help of AI, what do you think of this shift in the ways people make music?
I think there are positives and negatives with the development of AI. I think its potential for stem splitting and mastering is invaluable for a lot of producers, as it has opened access to using stems in a meaningful way for the first time when there are no multi-tracks widely available. However, I do feel that a lot of the human element from songwriting has the potential to be lost, and that is irreplaceable. That is something we must ensure that we preserve.
As a music artist, can you share some tips about branding oneself on social media to attract the right type of audiences?
I think the most important thing when branding yourself online is to ensure that you connect with your audience in the way that is most true to you. If you lose track of that, then I think it generally comes across to your audience in a negative way. The music and authenticity always come first.
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