Music producers constantly feel the need to rush through the creative process, feeding the algorithms with forgettable release after forgettable release. It almost feels like this is the norm, as fewer producers than ever emphasize writing dance records that stand the test of time.
Tim Green is a music producer who puts his heart and soul into every record and whose results speak for themselves.
And with the release of his latest 6-track Eastbound Silhouette mini-LP, we wanted to see exactly what goes into writing dance music that stays with us.
Snag Premium House Music Samples Without Breaking The Bank With Our Massive Curated List Of Warm, Punchy Sounds From Across The Internet. Click Here To Get 4k+ Free Sounds and Samples
Stream Eastbound Silhouette Below
‘Lune’ is the debut track of the mini-LP that announces the rest of the body of work. And while the soft and subtle tune sets the pace for the rest of the LP, tracks like ‘Tears’ and ‘Sequoia’ maintain the energy and level of mastery we could only expect from a producer of Tim’s caliber.
Having only been released on Lee Burridge’s imprint since 2020, Tim’s sound has found an easy home alongside other industry heavyweights, and Eastbound Silhouette only seeks to continue that legacy.
Unreleased IDs from the record have been played at these events by Lee Burridge, Sébastien Léger, and Tim himself. Tim Green has been a frequent performer on All Day I Dream’s 2022 World Tour, playing at the inaugural All Day I Dream Festival in Northern California, All Day I Dream of New York Glow, All Day I Dream of Ibiza Allure, All Day I Dream of Denver Dazzle, & All Day I Dream of Montreal Magic.
“I’m extremely excited to have this release come out, what I think of as a Mini-album! Six tracks that I hope take the listener on a mini journey! Some dance floor, some more home listening. But it’s an honor to be back on All Day I Dream, a place I call home and my family.” – Tim Green
What is the hardest part about writing songs that stay with an audience?
Truthfully, the hardest part is the unknown.
As songwriters, we don’t always know what will stick in somebody’s thoughts or memories – or what is considered a catchy melody or hook within a song. Some people are better at it than others.
But even they still don’t know 100% what will be connecting best with the audience. Plus, it’s a fine line between catchy and annoying versus catchy enough to make you listen over and over again without getting sick of the song.
I aim for sincerity when writing songs and melodies in my music. Something that is truly reflective of me and my personality. And something creates a robust emotional response in me.
Then the rest is just luck if the audience connects with it or not.
Ready to make waves on Spotify? Learn from ‘How to Start Promoting Music on Spotify: Top Playlister UOAK Shares How to Grow a Mass Following on Indie Playlists’ – elevate your music here.
How do you keep loop-based songs exciting and engaging over long periods?
Simple, really, with a lot of attention to detail on every sound within my songs. Plus a lot of dynamics and changes within every sound. I always want movement in every part, even if it’s subtle changes or subtle details.
Because I think music should have a human feel to it. Especially within electronic music, everything is usually perfect and correct, thanks to technology and its flawless nature. So, trying to make sounds vary and evolve over a song’s length takes it away from being repetitive and computer-perfect.
Any live musician playing the same part or riff a hundred times will never play that riff precisely the same twice. It will always be slightly different. A different timing, or loudness and dynamics, etc….
So, I try to keep things more varied.
Want to excel with FabFilter’s Saturn 2? Delve into ‘How To Use FabFilter’s Saturn 2: Waxman (CA) Shares Expert Advice To Get The Most Out Of The Saturator’ – unlock your potential here.
Why do producers prioritize writing throwaway tracks instead of timeless songs these days?
Well, I’m not sure if these producers are purposefully trying to write throwaway tracks or are just not interested in creating music that can exist on different emotional levels.
It’s at least what I enjoy trying to do with my music – have it work for listening and dancing purposes. I sometimes wonder if, technically, I might be working in the wrong music genre. Because I’m on a mission to constantly fuse dance music and its rhythm with thoughtful and sometimes complex melodic instrumentation.
I might be better suited to a genre that isn’t about dance music.
But maybe I’ve got it all wrong, and perhaps the producers out there just writing banging dancefloor tunes that are more about energy and dancing too is possibly the better idea?
I don’t know, to be honest. But I think both can and should co-exist as there are opposing audiences out there who want either side or both sides to this argument. And I love the challenge of trying to make it work.
Interested in producing music while traveling? Discover ‘Making Music on the Go: Chris Luno Shares His Secrets to Being a Music-Production Nomad’ – unlock the nomadic producer’s lifestyle here.
When do you know a song is worth finishing?
I usually know when I can’t sit down for too long in my studio. If it always makes me stand up and either dance, pace, or sometimes (secretly) fist pump, haha 😉
Share three quick-fire tips that completely changed your perspective on songwriting in dance music.
Know Your Theory
Knowing music theory doesn’t make you a better songwriter. Sometimes, working outside of music theory creates more exciting ideas.
Write Music You Want To Listen To
Writing melodies I want to hear, even if they don’t sound like anybody else, is good. As it is honest to myself and will ultimately speak to me better and, in turn, my audience better.
Keep It Simple
To make a technically interesting song doesn’t mean you have to be flashy and complex. You just have to use as few ingredients as possible but in clever ways.
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
