Eric Prydz: The mastermind

First things first: Eric Prydz didn’t tell us that he’s re-planning a journey to Australia. As you’ve probably read, the Swede does however rue his 11th hour cancellation in the final days of 2008. His debilitating fear of flying means he will probably never announce a tour or festival booking here in the conventional way. “If I do come to Australia for another tour, then I think I will first travel to Australia, and then I will plan the tour,” he told inthemix. “If I announce an Australian tour, you can be sure that I’m already there.”

So what’s the good news? Well, it comes in the form of a three-disc set called Eric Prydz presents Pryda. Recently released, the compilation affirms the producer’s mercurial talents in the studio. Pryda is just one shade to the Eric Prydz picture, but there’s enough firepower in the alias to warrant a collection of this size. As our reviewer wrote: “He’s one of the most intuitive artists ever in terms of knowing what works in the club, with every subtle shift in melody, every drum roll, every build and every swell tweaked within an inch of its life to squeeze the most out of the dancefloor’s reaction.”

When inthemix gets on the phone to Eric Prydz, he’s in Stockholm, walking the dog. In conversation, he’s an eminently decent guy: direct, unaffected and happy to talk. You can’t imagine him fitting into the regularly douche-y behaviour on show in Take One, the 2010 documentary following his Swedish House Mafia friends. “It has a very distinct, melodic Pryda sound all the way through it,” he says of the new compilation. “I don’t want to reveal too much about the Eric Prydz album that’s in the making at the moment, but it’s certainly a different sound.” Here’s what the unassuming dance music mastermind had to say.

You’re prolific under all your aliases. Would you say you’re a fast worker?

I’ll tell you what, sometimes it can take me one or two hours to make a track. Other times, it can take a month. I don’t think I’m a fast worker, to be honest. Whenever I’m making new music and I’ve found a groove that I really like, I put it on a loop for hours, testing it on different speakers. I even put this reverb effect on it so it sounds exactly like it would in a club, and I just vibe out to it, you know? I’ll take out the kick-drum, put it back in. I can do that for hours. If I didn’t have that process, I could probably finish my tracks a lot faster.

When you’re making a Pryda production, is there a setting that you picture it being heard in?

Up north in Sweden, and even from living in London for the last eight years, during the winter it’s so dark and cold. We only see the sun for a few hours every day. Whenever you’re in the studio, you have to dream yourself away to another place just to stay sane.

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