Disco Lines is a Genre-Bending Chameleon of Dance Music
At just 23 years old, Disco Lines has an incredibly bright future ahead of him. The genre-bending producer's chameleon-like abilities have led to widespread praise from his peers. Flawlessly bouncing between disco-tinged pop, dark and dirty tech house, and vibrant, effervescent future bass, he refuses to be held inside a box.
The young artist first discovered electronic music through early Skrillex. As he delved into music production, he crafted a fresh multi-faceted approach to his sound. It is rare to see an artist that receives such widespread support from a range of acts like Loud Luxury, Zedd, Gryffin, Wax Motif, and Tchami, especially considering how many of his tracks have been released independently. However, the broader industry has taken notice of the artist, and he has had successful releases with Astralwerks and, most recently, Sony Music.
His clear and present early successes are proof that there is no ceiling on the future for Disco Lines.
You grew up playing guitar and piano, although these instruments are essential tools for music production, knowledge of them doesn’t equate to loving electronic music. Do you have a memory of when you first discovered electronic music and what the journey was for you from that moment of discovery to eventually sitting down and producing on your computer?
A friend showed me Skrillex's “Scary Monsters and Nice Sprites” when I was in middle school. Instantly, I fell in love. Piano and guitar were stale to me and I was hungry for something fresh. The melodies in electronic music were gorgeous, the production unparalleled, and the sound was novel. I had never heard anything like it before. I remember immediately running home and scouring every dubstep music blog in search of new heat.
Eventually, I came to the realization that this music was made by humans. I think I literally googled something like “How to Make EDM” and from there went down the rabbit hole of YouTube music production tutorials. It definitely did not come natural to me at first but if you spend every waking moment you have in Ableton you will most likely get better.
Your style is refreshing in that you really are not conforming to any one genre or sound. Future bass, trap, tech house, deep house, melodic… you’ve covered them all in a short time. Is it important to you to avoid being put in a box musically?
Yup, variety is the spice of life. My taste in music changes all the time. In terms of learning I also feel like it’s important for music producers to explore multiple genres. Future bass taught me sound design, layering, and theory. Trap taught me sampling and chopping. House music taught me how to deal with the low end and song structuring. Exploration is the best way to learn. I am always exploring and eager to learn more.
“Destiny” is an incredibly interesting track from you. We’ve obviously discussed your ability to float between genres, but this one in particular incorporates unique styles, specifically breaks. What inspired this one?
I've been listening to a ton of UK Garage, D&B, and breaks recently. The sounds are gritty and filled with character. Fred Again, Flume, and Overmono to be more specific.
Although you are of course not firmly in the tech-house world, you’ve produced a handful of tech-house tracks, recently ‘TECHNO + TEQUILA’ which had its own viral moment. What are your views on the genre as a whole and do you see yourself leaning more into those styles as you go forward?
Well look at ACRAZE, he won the iHeartRadio Music Award for Dance Song of the Year for “Do It To It” which tells all you need to know about the popularity of the genre. It’s awesome.
I have loads of unreleased tech house heaters in the vault. My sets are majority tech house cuz I love playing it live.
You’ve had a busy 2022 so far with four releases already in the books. As you continue to grow and develop as an artist, what’s the plan for releasing music going forward?
The next song that I am dropping is a tune that everyone is referring to as the “Beach Song” on Tik Tok. Should be coming out around mid-October. After that we got loads of banging house singles that I am stoked to put out.
Do you hope to continue to drop singles that allow your creativity to remain flexible or are you aiming to put out a more long form project that contains a firm sonic narrative?
I’m going to focus on pushing out quality singles for now. I'm only 23 so I feel like I have lots of time to grow and figure my life and music out. Who knows! I might pull a Diplo and drop a country album.
Do you have a wish list of dream collaborators in the studio?
Whethan, Chris Lake, The Sponges, Fred Again, TSHA, Suicide Boys, Getter, and Chris Lorenzo
If your live performance could look like anything you want it to (visuals, dj set vs live etc), what would that ideal stage set up be?
Give me every single laser and firework and I will blow your mind. And also a few hundred thousand dollars to pay for those.
You just had a slot at The Brooklyn Mirage opening up for James Hype and Loud Luxury. For an up-and-coming artist, can you tell us about this experience?
It was surreal! I have never played in the city before so to have a crowd that size was breathtaking. Thankfully NYC brought the energy and we had an absolute time.
Is the preparation different for a set like that versus a club set or a smaller room?
Of course… as a DJ you have to adapt. Most of the preparation comes from years and years of playing small rooms, opening for artists, and just learning about the club scene in general. In college I would always open up at the Fox Theater, play frat parties, and I even DJ’d at this one taco spot. Experiencing these small rooms gave me the confidence to perform on bigger stages and thus, venues like the Brooklyn Mirage are no sweat.
To narrow in on the music, my preparation for a club set is incredibly simple. I just download new songs that I have been bumping that week onto my USB and go from there. On the other hand, if I am playing a festival set or a theater, I am definitely going to cater the performance and put a considerable amount of effort into the set list/flow of the performance. Regardless of the venue, we were having fun. Disco Disco Good Good!