EMUH, acclaimed producer, musician, and vocalist, boasts tracks with Prime Society Records and Space Yacht, and remixes for Arnold & Lane and GAWP. Operating as Hume Audio, he’s a seasoned engineer and producer, collaborating with artists like Casmalia, Longstocking, Mitch Dodge, Schade, Speaker Honey, and ZOF. His work has graced major labels including Universal, Insomniac, and Columbia.
His latest EP, Dial Tones, delves into the double-edged sword of technological progress and its impact on humanity. Recently released on Feral Records, we sat down with EMUH for an insightful chat.
How have you seen the electronic music scene in Seattle change over the years, and what role do you see yourself playing in its evolution?
There’s been many cycles over the years – currently the underground is creeping its way back up and I’ve been seeing a lot of awesome forward-thinking music in the city. I see myself as an arbiter for dance music as well as for dynamic spaces that foster community and diversity.
Your new EP, ‘Dial Tones’, delves into the interplay between technology’s benefits and pitfalls. What inspired you to explore this theme, and how does it reflect in the sound?
Dial Tones is a commentary on the current state of dance music and technological reliance, contextualized within dance music. I want to be on the forefront of the music speaking for itself and pushing past the influencer, and image-driven narrative. I drew inspiration from many genres for the EP – Tech House, Breaks, House, and Pop. My music serves as a reflection of my varied musical palate.
Having a diverse background in production and engineering, how has your work with various artists and labels influenced the creation of ‘Dial Tones’?
In my business Hume Audio I’m extremely fortunate to work on all genres of music. This valuable experience has strengthened me in my freedom and skills to make the music I want to hear in the world.
Each track on the EP seems to narrate a distinct aspect of human-technology interaction. Can you elaborate on how you crafted the soundscapes to match these narratives, particularly in tracks like “Frog Kiss” and “G-Bounce”?
Frog Kiss is a track I made many years ago. It’s inspired by the classic story of a cursed prince that must live as a frog until he is kissed by a princess. The frog eventually comes across a beautiful princess and they get to know each other, falling in love. The princess kisses the frog on the cheek and he’s returned to his human form. This song is about how everybody is deserving of love and recognition, using dance music as a medium for this narrative. There are strong introspective, uplifting, and aquatic vibes throughout this track. It all started with the frog croak, a troupe I’ve used in a few of my past releases.
G Bounce was born out of my love for classic hip-hop, house, indie, and techno music. All of the tracks on my EP implement the Prophet Rev2 which is a fantastic synthesizer for creating old-school, cheesy, and quirky vibes that still feel comfortable in modern music. I was also really inspired by the frenetic and intricate energies of artists like Mochakk, Claude VonStroke, and Walker & Royce for this track. For this song I wanted to create a composition that sits in the middle of a 3 circle Venn diagram of Techno, House, and Tech House.
In ‘Dial Tones’, you blend electronic music with human experiences and emotions. How do you balance the use of technology in your music while keeping it emotionally resonant and relatable?
With my background in songwriting and performance, I usually write my songs similar to how one would compose a singer-songwriter track on guitar or piano, instead using Ableton as my instrument. I also always incorporate my own voice for a more overt self representation in my music. The most important thing – my tracks need to make me dance & vibe out in my studio.
Given your critical view of technological integration in society, how do you envision the future of music production and consumption in the context of advancing technologies?
Music technology is reaching a plateau in my opinion. While technology has made some aspects easier, intuition and songwriting remain to be two of the most important aspects of being a musician. I’ve seen a lot of artists implementing recording, synthesizers, and older production methods, as well as pushing performance-based music. The future of music production and consumption on the other hand… I have no idea. A lot of people listen to music passively/algorithmically and I hope that these marketing technologies become more diverse and democratized. Maybe it’s a pipe dream – but I’m hoping for the best!!
Are there any artists or producers you’re keen to collaborate with in the future, and why?
I’d love to collaborate with my friends Longstocking & Rachel Vick. They both are unafraid to make the music they want to hear, instead of following trends. I’m so inspired by people who let their passion guide them!
What has been the most challenging aspect of your career so far, and conversely, the most rewarding?
Navigating the realm of modern art as a neurodivergent individual who thrives in solitude poses a difficult… but rewarding challenge. The demands of the industry often emphasize networking, collaboration, and social engagement, qualities that don’t align seamlessly with my preferences – I often find solace in solitude. However, my studio has become a spiritual sanctuary over the years—a space where I can harness my creativity without the distractions of the external world. In this haven, I can delve into the intricacies of my mind, translating my unique perspectives and tastes into powerful, evocative works of art. The reconciliation lies in embracing the inherent value of individuality, challenging the traditional expectations of the art world, and allowing myself to contribute to dance and the dialogue in a way that is authentic to my nature. Recognizing that my studio is a refuge has allowed me to bridge the gap between my inner world and the external demands of a rapidly evolving artistic landscape and planet. For me, embracing this is the most rewarding part of being an artist.
Can you give us any hints about upcoming projects or directions you’re excited to explore in your music?
I have some really fun collaborations I’ve worked on lately, as well as more of my own solo music. ZOF and I have a silly 420-friendly track coming out next year. My friend Moto Tembo and I are also working on an EP that I’m so excited about! With his expertise in analog synthesis and evocative songwriting, we’ve forged a powerful alliance that’s going to make some powerful waves. We work so well together and these songs have truly flowed out of our souls. Stay tuned for a new solo EP in May, more details to come soon!
What advice would you give to aspiring artists and producers who are just starting out in the electronic music scene?
Sorry to sound cheesy, but… Never give up on the journey! This isn’t an easy path. You have to wake up every day and commit, your hard work and resilience will pay off but don’t expect instant gratification.
Dial Tones is out now on Feral Records