Same thing with Lemaitre, I’ve been a big fan for a really long time and it’s also really cool to start the show with a band.
I’ve kind of just been a fan of his music and I also love his aesthetic and art direction he’s a friend of my brother’s and my VJ Ghostdad has done content for him in the past and I’m just super super into his music so it was just kind of a nice sensible link-up. You’re touring with Giraffage, right? How did you guys link up? More of that thing you hear in the beginning of Flicker is actual instruments. Some of the tracks on the new album like Flicker use souls samples, where are you finding your sampling material? I reharmonize everything and I play different chord progressions every night. It’s like with any band you have a set list. Yeah, the visuals are synced up to whatever’s happening on stage. With all the visual and lighting cues, how much improvisation goes into your set? And the visuals are definitely a point of pride for me. It turned out to be a really gratifying way to perform this music. I had this obsession of making more of it playable live.
I wanted to make a big distinction between the old show and the new one so I could call this show “live” and then it was a challenge to actually make it “live” and once I started doing that–incorporating live vocals, keys–I just loved it and I was hooked and so i started pulling more and more stuff. Like if I went to go see my favorite artist I wouldn’t want them to play other people’s music, I would want them to play their own songs and so I just wanted to move away from a DJ career and more into an artist career.
And the difference between my show now and my old one is that now it’s wholly original. I was so crazy involved in getting those visual to where they are. There was like a 6-month process getting those tour visuals prepped and it took up so much of my time. And I figured the best way to do that was to put as much me into it as I could. I wanted to make sure that people were getting as much me, my signature, my identity, as possible. It seems like you put a ton of effort into the live setup especially on this tour, what exactly was the theory behind all your visuals and hardware going into it?
We spoke to Porter on the phone during his Worlds tour about the new album, his live show, and what it means to be a DJ in 2014. He became fed up with playing to the stereotypical EDM crowds. So he stopped touring, put out one song in 2013, and emerged on the other side this past summer with Worlds, a beautifully crafted electronic album that is made to be listened to as much as danced to. His 2012 single Language was much more melodic than the bass-heavy tracks he had put out on OWSLA, and it turned out to be his best selling record up to that point. But as EDM grew in popularity, Porter has been distancing himself from his dance-friendly roots. Since then, the North Carolina DJ/producer had the honor of releasing Spitfire, the first record on Skrillex’s OWSLA label, which reached #1 on the iTunes dance music and Beatport charts. Say My Name was a veritable hit, and launched the career of the then 18 year-old Robinson. Remember when Porter Robinson’s Say My Name came out? It was 2010, EDM was just starting to break into the mainstream, electro-house had everyone fist-pumping, and artists like Afrojack were ruling the summer with 128 BPM bangers.
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