Richard McMaster’s (@richard_mcmaster)“Fianna” began as part of a much wider conversation around Irish history, mythology, and the creative relationship that grew out of his earlier coverage on Magnetic Magazine. After Richard first sent over a two-track EP inspired by the Tuatha Dé Danann and Newgrange, one idea gradually evolved into something separate, becoming a collaborative single between Richard McMaster and myself for Magnetic Magazine Recordings.
The title “Fianna” keeps that Irish mythological thread intact, while the finished track moves in a more laid-back, atmospheric direction that feels connected to Richard’s surroundings, his interest in ancient Ireland, and the slower creative pace he describes throughout this interview.
The release has already found some nice early movement in the wider progressive and melodic space. “Fianna” was included in The Grande Sound’s playlist, tracklisted by Anthony Pappa for GU Melbourne, and later played by Viktor at Do Not Sit in Miami, where it opened a recorded set before Richard’s “Disco Hunter” appeared soon after.
That is a useful bit of context for a record that was never built as the most obvious peak-time tool, because the track’s appeal sits more in its mood, pacing, and sense of place than in trying to force a giant club reaction.
Richard’s upcoming album, landing July 24, also gives this moment a wider arc.
He has been working through revised mixes, new tracks, and beatless versions, with pieces like “As The Night Falls” and “Éire” pointing toward the same pull between local history, natural surroundings, and personal reflection. In the interview below, McMaster talks less about career momentum in the usual industry sense and more about how family, walking fields and forests, science, space, ancient Irish history, and a quiet cottage setting have become part of the same creative ecosystem that feeds his music.
Interview With Richard McMaster
What keeps you grounded outside of music?
Outside the studio, I have learned to appreciate and draw inspiration from my immediate surroundings, living on the edge of town in a quiet cottage setting.
I enjoy spending time walking the fields and forests with my daughter and our rather adventurous cats. Some interesting sounds can be captured in these environments, with birdsong, forest ambience, and even a meow helping paint the background to some of my productions releasing through the year.
Other grounding influences include my fascination with everything scientific and space, along with a growing interest in ancient Irish history. These themes also inspire my productions, with more inspiration coming from studying Ireland in the distant past. This little island has a fascinating life story.
Spending time in the nature around me is a powerful balancing tool that keeps me connected to the little nuances in life, and it is something I do not take for granted, having always lived in towns or cities. It is a stark contrast to the fast pace of living in Liverpool for over a decade. Life is a little slower these days.
Family and a close group of friends play an important role too. My mum has always encouraged my love of music, my brother Michael very kindly bought me a Roland SP-808EX when I was around 20, and my daughter Jocelyn kindly puts up with the noise.
In our house, it is the other way around: the teenager telling the adult to turn his music down.
Have you ever felt your self-worth too wrapped up in gigs or visibility?
Yes. Early on, I think most people will associate a sense of value with whether tracks are getting plays or what position their music reaches on Beatport.
These things are important, of course, but like in many disciplines, it really is about finding joy in the process.
Getting to spend my time making music, meeting excellent new people who also make music, and continually being challenged to improve technically and as a person are what it is all about.
How do you build friendships that exist beyond the production world?
One of the best ways I do this is through shared interests like science, nature, and history, along with actively engaging with the unique little community where I live.
I have also built many new friendships through meeting people involved in production who share similar interests outside of that environment. These friendships have enriched my life, and building them outside of the strictly production world helps shift the focus away from my artist identity.
I have also learned to make a habit of asking questions and listening more, as reciprocity helps turn acquaintances into deeper friendships that can exist outside of my musical career.
By creating connections through these themes and everyday shared experiences, I have built a positive support network that keeps me authentic as a person and a producer.
Has life outside the studio ever taught you something that improved your work inside it?
Physical activity and how your physiology can contribute to your psychology is a very important concept I have learned in recent years.
Breaking from screens to spend 20 minutes walking, hitting some golf balls, or cutting the communal grass around the cottages contributes positively to the creative process. Sometimes you do not even know it, but you need to clear your head and your system.
It may not be immediately obvious, but next time you are a little stuck in the mud, do something to interrupt that thought process. Get up, go out, and get creative in life, even if it is only for 20 minutes.
Interrupt your situation positively, and you create more potential to be rewarded in a creative sense.
For me, a focused and active morning doing everything that needs to be done outside of music sets me up very positively to focus on my music later in the day. Move things out of the way that need moved out of the way. It is the only way, or you will carry that baggage as you attempt to be inspired creatively.
This balance between life and creation is what continues to drive me forward.
What does a healthy relationship with producing look like for you now?
A healthy relationship with producing now means treating the process as something I feel lucky to get to do, as opposed to an almost all-consuming pressure.
It is a privilege to sit down and explore musical ideas each day. I have learned to approach studio work with clear boundaries, so the environment is no longer about working endless hours with no clear goals. It is about showing up consistently, being prepared, working efficiently, and protecting my creativity and energy.
This is largely achieved through developing intentional routines over the last 18 months and focused production sessions where I understand I will be most naturally creative.
I try to measure my success internally, not obsessing over streams or sales, and constantly ask myself whether I am proud of my work and whether it reflects growth in my endeavours.
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.
