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Futuristic Polar Bears Talk 1001tracklists And Their Productions

Jul 26, 2016
Futuristic Polar Bears Talk 1001tracklists And Their Productions

Last week we had the chance to catch up with Luke from Futuristic Polar Bears. In addition to discussing some of Futuristic Polar Bears' recent productions, we discussed Luke's daily use of 1001tracklists, what the site means to him, and his amazement at our community of users.
Are you familiar with our Stories section?
Yes, very familiar. 1001tracklists is one of my favorite websites. It’s like my bible. I must go on the website probably about 20-30 times per day.
Do you use the site to figure out who’s playing your tracks and also to see what everyone else is playing?
Yeah - it’s the best thing to see who’s playing our music. When we are working on a remix for someone, we go on the site and check what the artist has been playing at the last few festivals to gauge the style and kind of things they like. It’s honestly just good for everything.
I really love tech house and deep house as well. Especially with Ibiza a two hour flight away, I can go and get my fill of that over there. I always like to see what Carl Cox has been playing. What Detlef, Steve Lawler, and Hot Since 82 have been playing. It’s just incredible. People make so many cool re-edits and give away so many free tracks. If it wasn’t for the site, people probably wouldn’t get to find out about it. And then Beatport, SoundCloud, YouTube, etc. links in. It’s incredible. As I said, it’s my bible.
Speaking of tracks that have a lot of support, let’s talk about “Cafe Del Mar.” How did this come about? What was the inspiration for the track?
We’ve always wanted to do something with Smash The House. They’ve asked our management before for something from the Polar Bears. We made the track, but it had a completely different breakdown. Dimitri really liked the drop, so he wanted to work on making it a bit more anthemic and came up with “Cafe Del Mar.” Funny enough, it was actually the same weekend that we were playing at a festival and had just gotten all of the parts for it. He suggested the track, and we were thinking about the “Cafe Del Mar” element to it anyway. He and MATTN jumped on board and were throwing out ideas. Dimitri is such a good producer. He goes into so much detail. Literally, we transformed the track from what was a pretty good one into what turned out to be a massive festival weapon. It was great to work with them. He’s so talented and has so many great ideas. Hopefully it will be one of many over the coming years.
Do you guys think you will have any of your music played at Tomorrowland?
Yeah I hope so! It’s one of the most important festivals to have your music ready for. As soon as someone’s played their set, everyone goes straight onto 1001 to see what they’ve been playing.
We were actually in Miami working this year, while we relied on the community of users to upload tracklists for Ultra.
We didn’t go to Ultra this year, but we were there last year and Hardwell played one of our tracks, “Velocity” with Henry Fong. I remember on 1001, everyone thought it was a Thomas Newson ID until it came out. We were wondering who people would think made the track, and apparently people decided it was Thomas Newson’s. I remember “Back To Earth” when that was premiered at TomorrowWorld, everyone thought that was Blasterjaxx. I love the guessing game, when everyone starts throwing out these conspiracy theories for who’s made it. The Internet warriors who are out there, they are so switched on. They probably know more about music than all of us put together. They’ll literally listen in detail and pick up on things. We’ll have posted something on Instagram like six months ago, and someone will go, “Oh, that’s that track.” And I’m like, “How the fuck do you remember?!?” The people out there are brilliant.
Let’s talk about “Kali.” How did you come to work with Qulinez on this track?
We’d been chatting over Twitter. We find that a lot of DJs and producers message each other over Twitter, especially if you’re following one another since it’s easy to get a hold of someone. We’d been sending them promos and they had been sending us stuff. They loved what we were making and vice versa. I was speaking to them and proposed doing a track together, and they were down to work on something with us. We sent them a rough idea of the breakdown originally, and then they worked on the drop and sent that to us. We went back forth until it was finished and sent it to Armada, who we love releasing with. The track has some really great support. They were really cool guys to work with, down to Earth, nice, and really talented as well. It was a joy to work with them.
How does your approach change when you’re working on an original compared to working on a remix?
For an original, we’ll usually start thinking about some chords. We’ll be in the studio, on a flight, or watching TV and something will come into your head. You write them down, and then when we’re looking to do an original, we’ll go through the ideas that we’ve been working on, pick one that stands out and then build upon it. We’ll try to work out a drop first, or maybe a breakdown with some nice chords. It’s completely, originally your ideas.
When you're taking on a remix, you have to keep an element of the original in there so that people will recognize it. You have that in the back of your mind where you can maybe use the main melody line because everyone knows that part, but let’s put our own spin on it, chop it up, and put a different rhythm on it. People will know it’s a remix, but at the same time, we want them to know that it’s a Polar Bear record and that we remixed it.
If you want to hear more from Futuristic Polar Bears be sure to check out their Back To Earth Radio Show on iTunes. We've got the latest tracklist here.
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