“I push myself to be more consistent, but I never compromise on quality” Funkin Matt interview

Rave Arts talks to Funkin Matt about the release of his latest techno masterpiece, Open Your Eyes.

Funkin Matt, a renowned producer and DJ hailing from Oslo, Norway, has been a prominent figure in the electronic music scene since 2007. Known for his ability to seamlessly blend techy electro bangers with future house bliss, Matt has consistently delivered quality music with room for experimentation and genre twisting.

With releases on labels like Tiesto’s “Musical Freedom,” Diplo’s “Mad Decent,” and A-Trak’s “Fool’s Gold,” his tracks have become mainstays in the sets of top DJs worldwide. Funkin Matt is a well-known artist amongst Heldeep fans and followers and Open Your Eyes will be his 10th single on the label.

With “Open Your Eyes” marking your 10th single on Heldeep, how has your sound evolved over these releases?

Since my first release, “Aurora,” my sound has evolved quite a bit. “Aurora” was a very melodic, bassline-driven track, made at the tail end of the Future House era. My subsequent releases have gradually become darker, more techy, and influenced by techno. I’ve been blending house and techno for a while, with tracks like “JOI,” “AVA,” “Supercoil,” and “Somebody” with Oliver Heldens. I enjoy creating technical, club-oriented tracks, but I also have a strong affinity for melodies. My latest tunes have leaned more towards the melodic side. In that sense, I’m continuing where “Aurora” started but with a darker techno palette.

What inspired you to create “Open Your Eyes,” and how does it differ from your previous work?

“Open Your Eyes” is heavily inspired by my tracks “Memento Mori” and “JOI.” “Memento” was inspired by the movie “Tenet,” while “JOI” drew inspiration from “Ex Machina.” Movies have always been a significant source of inspiration for me, whether it’s the plot, like with “JOI,” or the sound design, as with “Tenet” by Ludwig Göransson. This track differs in that it leans more towards a melodic techno sound, with big synths taking center stage and everything else playing supporting roles.

As a producer with a history of blending techy electro and future house, how do you approach genre experimentation in your music?

I’ve always enjoyed blending genres and have probably tried producing all the main genres in electronic music. I like using sounds typical of different genres and combining the best elements from each. For example, I might create a trance-like melodic part and then drop it like it’s bass house, or start with a movie soundtrack intro that transitions into techno.

Can you share any memorable experiences working with labels like Musical Freedom, Mad Decent, and Fool’s Gold?

Releasing on these labels was a significant boost for me. At the time, having the right label was crucial, and all three had a lot of hype. I remember being really into what A-Trak was doing, so I sent him a track called “I Wish” via Twitter DMs. They loved it and ended up releasing it, along with a few other tracks of mine. When Tiesto heard “I Wish,” he wanted it for Musical Freedom, but it was already on Fool’s Gold. So, I created another track, “Alive,” which was influenced by “I Wish,” and Tiesto signed it. I later did more work with Musical Freedom. During this time, I was also releasing tracks on Mad Decent. Everything happened very organically, which is why it worked out so well.

How has the electronic music scene in Oslo influenced your style and career?

I wish I could say it shaped my sound and career, but it hasn’t really. I’ve always been more focused on the international scene, especially in the Netherlands, UK, and US. That said, I’ve had some great experiences in Oslo. When it really clicks, it’s awesome! There are some cool artists from Norway, but we’ve always been spread out, each doing our own thing.

What challenges do you face when trying to innovate within established electronic music genres?

Innovation used to be driven by new technology, with new synths, drum machines, and sounds emerging regularly. Recently, we haven’t seen much innovation in terms of new sounds. Now, innovating often means changing BPM, blending genres, or reviving older styles with a fresh twist. Personal style, melodies, and production techniques are more important than ever for standing out. It’s harder to innovate than to copy, so unfortunately, there’s a lot of copying.

How do you maintain consistency in delivering quality tracks while still allowing room for experimentation?

Maintaining consistency while allowing for experimentation is challenging. I always prioritize quality and experimentation. I push myself to be more consistent with releases, but I never compromise on quality. As a producer who likes to handle everything from sound design to mastering, things take time. Innovation comes through countless hours of experimentation, and that’s what I love to do.

Which DJs or producers have had the most significant impact on your music and career?

My great friend and colleague Gregor Salto has probably had the most significant impact. He gave me a chance with my early releases on Samsobeats (together with Sidney Samson) and brought me to Amsterdam for my first big gigs abroad. The remix I did for Gregor’s “Bouncing Harbour” took me from being a bedroom producer to gaining recognition. This got me into the Dutch scene, and we later started a label together called Fjordin. On Fjordin, I released tracks like “Elephant” and “Elastic,” which further shaped my career.

Your track “Supercoil” received significant attention upon release. Can you share the creative process behind this track and what you think contributed to its success?

“Supercoil” was inspired by acid house and techno, particularly Josh Wink’s “Higher State of Consciousness.” I wanted to create a long-format track for clubs, similar to the tracks I made earlier in my career. It’s a 303-driven, evolving piece with lots of automation and cuts, doing everything possible to make something interesting out of a simple 303 bassline.

Having collaborated with various artists like Elohim on tracks such as “AVA,” how do these collaborations influence your music style and production approach?

“AVA” came about after Elohim reached out saying she loved my track “JOI.” I really love her voice, so I asked if she wanted to collaborate. She was interested, and we aimed to create something like “JOI” but more driving and techno-influenced. We recorded a bunch of words that fit our narrative and arranged them to complement the track. I loved making “AVA,” and we’ve recently made another track called “The Call,” which is special to us.

What’s next for Funkin Matt?

At the moment, I’m experimenting a lot. Over the years, I’ve noticed cycles of intense production followed by experimentation and the emergence of new sounds. I’m currently in an experimentation phase, so I haven’t released as much lately, but every piece is evolving towards something. From experience, this is when I do my best work, so I’m excited about the tracks I’m working on right now. I can say that they are melodic and epic.

Open Your Eyes is out now on Heldeep