Pat Foosheen Interview & Guest Mix
Pat Foosheen hails from Chicago, so you know the quality is going to be there. His career kicked off back in 97 with his early production work collaborating with Chicago's DJ Yoshi and the house/techno pioneers Alvin Carr, Lester Fitzpatrick, and Robert Armani. His style is varied, from ambient, progressive to breaks and of course some deeper house, which he brings to UM Records with his brand new American Dream EP. So we caught up to find out a little bit more…
Good to catch up ahead of your new release on UM Records Pat - I always kick off with this one - how did you first get into deeper house, I mean it was probably mandatory given you were born in Chicago?
First off, I want to say it’s an honor to now be a part of the UM Records family. I consider it in the upper echelon of contemporary Deeper House music. Second, I should clarify, I was born in Pittsburgh, PA, and moved to Chicago in 1996 for graduate school. While I was involved in the early U.S. rave scene since 1991, it wasn’t until I moved to Chicago that I became inspired to become a DJ and Producer.
Regarding Deep House, I didn’t really transition to Deep House until about 2004. My early work was mostly Progressive and Tech House. Full disclosure, I found it very difficult as a young producer to capture the soul, funk, and jazziness of Deep House. But after years of developing my skills, I finally fell into the “Zone” of Deep House.
Who would you class as your biggest house influences so far - DJs or labels?
Really too many to name. Obviously, many of the original pioneers of Chicago House like Frankie Knuckles, Marshall Jefferson, Larry Heard, etc. Then when I was in Chicago in the late 90s, it was the second generation of House producers such as Derrick Carter, Mark Grant, DJ Sneak, and others. In fact, I used to bump elbows with these guys when buying records at Chicago’s famous Gramaphone Records. That was such an exciting time to be in the scene, especially as a young DJ and Producer. I should also mention some important influences from across the pond, most notably Terry Lee Brown Jr. and The Timewriter.
Tell us a little about your journey so far with production - how did you begin trying out ideas?
Before I was a producer, I was purely a DJ. My first DJ work began with my radio show on WNUR, 89.3 FM Chicago. My show was part of a series of shows that highlighted various genres of electronic music called Streetbeat. This series continues to this day, and each year, new generations of DJs/Producers emerge from that collective.
My first production work began via collaborations with my first mentors, Chicago's DJ Yoshi and the house/techno pioneers Alvin Carr, Lester Fitzpatrick, and Robert Armani. Using their studios, in 1998 we put together an EP released on the now defunct Belgian Label Modular Recordings that included four tracks ranging from Techno, Chicago House, and Tech House. After that, I put together a modest home studio, and began producing my own works. In those early days, I would attempt to emulate producers that inspired me, and then add my own twist on things. Over time, I eventually developed my own unique sound, which I would say included elements of Deep House, Tech House, and even Ambient.
What’s your production set up consist of?
My setup has grown quite substantially over the years. I definitely take an old school approach, using mostly hardware. While I sequence and master with Cubase and a number of software synths/plugins, I have a decent collection of hardware synths that use various types of synthesis including digital (PCM), digital analog modeling, true analog, and wavetable. My hardware consists of the Yamaha EX7, Yamaha An1x, Korg ER-1, Korg EA-1, Waldorf Microwave, Dave Smith Instruments Prophet 08, and Nord Electro 2. Many of these synths are now classics, which I cherish and will never part with. The Nord Electro 2 is especially worth mentioning regarding Deep House. It uses digital sound modeling and PCM Sampling to truly emulate the classic electric pianos and organs of the 60s and 70s. It really allows you to capture those jazzy/funky sounds and minor 7th chords that work so well in Deep House. Lastly, the newest addition to my set up is the Behringer Poly D, which is a retro engineered full analog emulation of the original Minimoog (but with four oscillators and paraphonic sound). It can really produce truly unique chords and leads, which can cut through any mix.
Do you plan time to work on tracks or wait for inspiration to strike?
For my own tracks, I definitely wait for inspiration to strike. However, with remixes I plan time, which is ok, because the remixes I choose have already inspired me!
As a producer - how do you find inspiration for new music?
Mostly I just pay attention and LISTEN to everything in the world around me. This includes tracks and DJ mixes from producers I follow, sounds from nature, movie sound tracks, and spoken word from various sources.
What’s your favourite part of the process?
You know, many people don’t realize how difficult the process of producing can be. At least for me, I make most of my sounds and drum loops from scratch. So some times, there are hours devoted to listening and modifying small sections of one track. It can be a very monotonous and repetitive process. It’s not for everyone, as you don’t get the immediate gratification of DJing for a crowd. But my favourite part is definitely when everything suddenly comes together; when I listen to my finished track in my car and I think, “I can’t believe I made that.” The feeling of creating something that has never existed before is truly exhilarating.
You’re a DJ too right? How does your style vary behind the decks as opposed to on them?
As I mentioned above, DJing is truly a different animal than producing. You have to read the crowd and adapt as necessary. I will say that my DJ sets (at least the live ones) are more high energy and danceable than my productions, which tend to be more mellow and atmospheric at times.
Tell us about your show on Proton Radio?
This started way back in 2001 with my former production partner Naveen G (Yoshitoshi Recordings). Proton was really the first internet radio format devoted to electronic music. Proton Radio continues to this day, and the Proton founders have branched out substantially in recent years into music distribution. My show features two hours of my own mixes and occasional guest mixes, and is one of the longest running and popular on the site. It airs every second Tuesday of the month from noon – 2 PM U.S. Eastern Time.
Best gig you’ve played ever?
Several different DJ sets come to mind: opening for The Crystal Method, Lee Burridge, Dave Ralph, and Jimmy Van Malleghem. Each of those gigs had crowds of at least 2000. Seeing waves of humanity dancing in rhythm to your sounds is an experience most will never have. On the flip side (no pun intended), I once played in the original DJ booth at the Warehouse in Chicago (obviously, House got its name from the Warehouse). At the time (late 90s), a crew of promoters were trying to reinvent the space (to no avail). There were only a few dozen people on the dancefloor that night, but to play in that booth where the masters started it all is something I’ll never forget.
What’s the biggest learning you’ve had over the last few years building your sound?
I think patience, and not forcing things when the inspiration isn’t there. More importantly, in my early years I think I would over produce tracks, continually adding elements and striving for some vague idea of the perfect track. I’ve finally learned that sometimes, “less is more.” Allowing tracks to “breathe” is a good thing, especially when they’re played on big sound systems in a club.
Tell us about the process/story behind your EP on UM?
A very interesting and sensitive question actually. This is my first release that was politically inspired. While this has always been an issue in the United States, systemic racism against African Americans in this country has really come to the forefront over the last few years. It saddens me, because some of my oldest childhood friends are African American, as are most of my heroes (musical and otherwise). Anyway, the EP is ironically called the American Dream EP because for many, the American Dream doesn’t exist. It is a tribute of sorts, and the track “8 Minutes and 46 Seconds” is specifically a tribute to the memory of George Floyd.
What’s your favourite tune of your own of all time - the one that never grows old?
Funny you should ask. I typically hate listening to my tracks after they’re done, mostly because I’ve worked on them for so long, and I’m my own worst critic. That being said, definitely “Sunshine Every Day” on Deepwit Recordings. To me it’s the closest I’ve gotten to a pure House track, whatever that means. I can always listen to that song and smile…
What other producers are killing it for you right now for you - tracks you’re playing and loving?
Again, too many to name, but I’d say Rory Cochrane, Evren Ulusoy, Woki Toki, Aural Imbalance, and Alvaro Hylander. I’m a bit biased because I have worked with them, but their productions and DJ sets are top notch. In terms of DJs, Mark Mac's sets and excellent guest mixes on his long-running show "The Sounds Collective" have, and continue, to inspire. His shows continually catalyze new ideas for my own music.
What can UM listeners look forward to from your Guest Mix?
This was a fun mix to put together. It starts with the Intro from my track “The Lazarus Test” forthcoming on UM Records, and slowly builds in energy. I included some classic tracks from producers who have inspired me over the years, as well as music by contemporary producers that are killing it right now. The mix ends with one of my favorite tracks of all time (Klugh by David Alvarado on Ovum Recordings). That track is such a journey, and completely genre bending. The mix ended up more bass heavy and dance oriented than is typical for me, but I think after a year of the covid pandemic and the current summer vibe it is just what the Doctor ordered (literally)!
What’s on the cards for the next while?
Just want to keep improving my skills and sound, and hopefully create music that inspires people. I also work in the Yale University School of Medicine as a Neuroscientist. I do a lot of work on the effects of sound on the brain, so I’m hoping some of this research will inspire me as a composer of electronic music.
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