The world of trance is a pleasantly broad one in this day and age. After a creative glut after the Golden Age imploded to a degree, we’ve now got people like Sander van Doorn throwing everything and anything into the mix, Rafael Frost injecting huge electro house basslines into his tracks, Above & Beyond playing and signing lots of groovy progressive bits, and all other shades that a man or woman could wish for. Glenn Morrison his taken the spirit of trance and applied it to slower, chunkier big room house and prog backbones to great effect in the last couple of years, and as a result has found fans on both sides of the fence.
Sure, he’s released tracks on huge house labels like Black Hole Recordings, Maelstrom, Coldharbour and Armada, but the crossover appeal of hugely emotive tracks like the massive No Sudden Moves has seen him make a name for himself with the likes of Azuli, Sven Vath, Great Stuff Recordings and Sasha...(who have him playing at their next party) and the proggier Hope Recordings. Aside from his original productions and remixing the likes of Pewt Shop Boys and Bernard Sumner, he also makes music for video games, TV and film for the likes of EA Sports, Rockstar and Hugo Boss. Basically, he’s got some skills. We caught a bit of online banter with this bright talent as he prepares for his first London gig.
So…how would you describe your sound?
I would like to say it really crosses a more ethereal realm in dance music, with lots of spaceyness juxtaposed with gritty baselines and a big room ravey vibe.
When and how did you get into dance music? What was the club scene in your area like?
I started listening to dance music when I was around 13 years old. That was the year I started listening to trance and Oakenfold, the glory days of late ‘90s prog-trance. It had a fundamental impact on how I related to the world and to the way in which I approached the musical canvass when it came (later on) to producing.
The club scene in Toronto was really cool (for international talent), we have one of the best clubs in the world here, so each week it seemed as though there was another amazing DJ flying in. Some of my favorite parties had to be Oakenfold and Max Graham one night, Sasha & John Digweed for their Delta Heavy Tour, and the Axe tour with Sander Kleinenberg.
Was there any particular record that made you say “damn – I want to do that?”
All the time! Haha. I’m constantly inspired by my close friends in the industry and other producers who I admire. I guess that’s your last question so I’ll save the name dropping to the end ha ha.
You set up your own label in 2005 – how did you get from where you were then to where you are now?
Blood, sweat, and tears is the analogy that I love to make. I have given my all for over 7 years now in various parts of the music industry, all with 1 goal – to make a positive difference globally in the EDM world.
Making music for video games and the like – is it as satisfying a creative experience for you as making tunes for dancefloors?
Absolutely yeah. Dance music is so rigid in its structure; I think any proper musician will always want to test the boundaries and their own musical capabilities. I always find it so funny when dance guys nestle themselves into a particular niche sound with no real experimentation outside. Either they are very close minded or they don’t have a musician’s heart!
I get inspiration from so many different experiences, it would be asinine of me to say that one thing or one other thing determines my whole music-making path here. For example, I’ve been making a ridiculous amount of tracks this past month, I think in large part because of my girlfriend. I really love her and she is a big inspiration for me. I think this actually has played a huge role in my ability this month to be pushing out these emo-type melodic houser tracks.
How did you first meet Deadmau5?
Joel and I met through friends initially and from there a good friendship was born. He’s one of the most brilliant engineers and musicians that I’ve ever worked with, and we had a great thing going on last year. I’m really happy to see him doing so well globally, he deserves it.
Remixing Pet Shop Boys after only a couple of years of people really knowing your name on a global scale – was that pretty surreal?
All of the success has been really surreal yeah. At this point I’m just trying to keep a humble head and work harder than ever to take things to the next level. I care more about just making good music and being a good person than about being in the limelight. If that happens then great, but I’m here for the music, I always have been, and always will. That’s why I admire John Digweed so much on a personal level. One of the most humble DJs and one of the most brilliant ever in the history of dance music. A true inspiration for me he is.
What have been the biggest and best gigs you’ve played this year?
I’d say the Anzu Club in Itu, Brazil was unbelievable a couple weeks back. In April I played all over Europe, and Club Coliseum in Macedonia was incredible, Zoran and Sasha have their operation running like the stock exchange over there. Last Friday too in Windsor was unbelievable, the Boom Boom Room is one of the best clubs in Canada by far.
Does it annoy you that many – especially in the press – think that “trance” is a shameful word?
I really could care less about what they think to be perfectly honest! At the end of the day we the producers are making music that we love, that thousands of people love. It’s doing what you love and being rewarded for it by kind emails, words, feelings, emotions, reactions.
I say let the internet forum jockeys and the press talk what they want, they’re not doing anything worthwhile in the industry anyways right. For this particular type of music, people go to nightclubs and listen to music they like. I care about these people as these are the people who form the core of my market and fanbase; I’m interested in making them happy. People have from the test of time loved to categorize things, it makes it more “accessible” to understand and comprehend. I think the music that is coming out today that is truly brilliant incorporates elements from all of the subgenres. Anyone who loves to pigeonhole is not a musician.
Which other producers do you really respect and admire?
I really love a lot of the older guys to be honest. Robert Babicz, Carl Craig, Oliver Huntemann, Dusty Kid (one of the only guys my age that I actually love production-wise), Charley May & Duncan Forbes from Spooky, Bruce Aisher (the Don), Amon Tobin, Chymera, Martin Buttrich, Kris Menace, Joris Voorn, etc. To me, these guys are all proper musicians, and have inspired me in so many ways. They present a piece of music like a piece of art, a journey or experience that is so individually sound and unique. This is what I try my best to do when I approach creating a piece.
Glenn Morrison plays at Azuli’s next party at Pacha London. www.azuli.com for details.
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