London-based producer and DJ, REYUS, has been receiving widespread support from renowned artists in the music industry. Tale Of Us, Adam Beyer, Korolova, Eli Brown, Gorgon City, Maxim Lany, and Ida Engberg have all expressed their admiration for REYUS’ work.
Photo credit: REYUS – Official
In this exclusive interview with EG, REYUS shares his excitement about his current projects and endeavors. He reveals his passion for creating new music that spans across various genres, from underground records to more mainstream songs.
The overwhelming support from these industry leaders validates the exceptional quality of REYUS’ music and affirms that he is on the right path in his artistic journey. Moving forward, REYUS aims to release his music through his preferred labels, most notably Afterlife.
As a DJ, REYUS skillfully blends underground techno records with mainstream dance songs, delivering a captivating and unique experience for his audience. He believes in maintaining a cool vibe while exploring different genres, creating an atmosphere that keeps listeners immersed in his performances.
Stay tuned for further insight into REYUS‘ ongoing projects and endeavors.
EG: Hi, Lucas! Welcome to EG. It’s a pleasure to have you here with us. How have you been? How did you kickstart your year?
REYUS: Hi guys, pleasure. I’ve been well, thank you. I kickstarted my year by choosing to work on some new music actually. I started gathering together a few fantastic singers at the end of last year, so that I could work on some songs! I’ve always wanted to write some more commercial songs as well as the more underground records, but I wanted to make sure that they didn’t feel cheesy to me in a way that would ruin my more underground records. So, that’s what I’ve been doing to start my year – working on music so that I can hopefully release them this year! I wouldn’t have started this year any differently; I am so happy with how these songs are turning out!
EG: So, we know you’ve been making waves recently with some of your releases and the support of industry titans like Tale Of Us, Adam Beyer, Korolova, Eli Brown, Gorgon City, Maxim Lany, and Ida Engberg, to name a few. Were you expecting to make such an impact?
REYUS: It means the world to me to have support from names like this in the industry. Some of them are inspirations of mine, so to hear the music being received positively by them is fantastic. That being said, these records are currently unreleased and without a label, so I owe a lot of this support to the lovely people in the industry who believe in the music and have been helping me get it into their hands, like the team at Listen Up!
EG: What does this mean for your REYUS project? Does this validate what you have been doing up to this point?
REYUS: It validates for me that the music is good, good enough for some of the biggest names in the industry to support, which is great to know I haven’t been going in the wrong direction there. However, to me, it’s only half the battle; I want to release this music publicly with the backing of some of my favorite labels, like Afterlife, so hopefully they agree! It can be difficult to get people in the industry to take it more seriously, even with the support I have.
EG: What can we expect from REYUS in terms of releases for 2024? Is there anything you can anticipate on that front?
REYUS: I’ve got a lot of white-label underground music that (thanks to help from people in the industry) has gained some global radio and club support, so hopefully with the right label, 2024 will be their year haha! On the other side of the coin, I mentioned the more commercial songs that I’ve been working on, these are special and I can’t wait to release them.
“I’ve been experimenting with the gaps between the underground techno records of mine and the more commercial dance songs”
EG: You also have some serious noise with your remix of The Human League’s ‘Don’t You Want Me’, which some might say is quite a unique track to take into techno territory. What do you look for when thinking of which track to revamp? Do you tend to go for original material that usually sits far away from techno as a genre?
REYUS: When I’m looking to write an edit of something (typically with club or festival play in mind), I definitely try to look for more original material to rework first, older stuff like The Human League, rather than newer stuff, as you get more of the nostalgia element from a classic that’s been reworked rather than a modern remix. If you can find something far away from the genre you’re writing, but that works as the new genre, it can work really nicely, the juxtaposition. For example, I have a techno rework of Kiss which I love, a rock classic like Kiss’ ‘I Was Made For Loving You’ but techno. That’s not to say I don’t also look at reworking more recent music, but of course, it has to be right whatever era or genre you choose.
EG: Now, as a DJ, where would you say you are at the moment? What’s the unique spice to your sets?
REYUS: So I’ve been doing a lot fewer shows lately in favor of writing music, but my sets lately have been weird haha, in a good way. I’ve been experimenting with the gaps between the underground techno records of mine and the more commercial dance songs that I mentioned. Honestly, it’s worked really well, I think because it’s a bit different, mostly because I love techno, so when I wrote these more commercial songs, I really went out of my way to make sure that (in my opinion) they weren’t cheesy and I could work them with my underground side. It’s working really well, all of your Gorgon City’s, Duke Dumont’s, Fred again’s, etc. have a mixture of more underground (techno, etc.) and commercial (dance), but they keep it cool so that it works, so I thought why not?
EG: Now, stepping outside of the studio for a bit…the use of AI in music has become quite common after its initial introduction, which raised many eyebrows. What’s your stance on this? Have you contemplated its possibilities?
REYUS: So, I chose not to use any form of AI for personal reasons, from an artist’s perspective, I want the music/product I write to have meaning to me. I don’t want to write something and feel on some level that I’m lying to myself about my ability by having AI do something for me, but that is just me trying to prove my own capability to myself.
I think there are a lot of different topics under AI, for example, the writer’s guild strikes in LA I think are valid. If someone in the music industry wants to use AI to write something as an individual, that’s their prerogative, however, I think it could become an issue if larger entities like labels start getting involved in the creative process regarding AI.
Personally, I would have to say that I think the use of AI in something creative (although I’m sure it can be productive) is a bit sad for the industry as it removes the human element of creation, relation, and connection (depending on how much it’s used). I’m aware that it can be used as a tool as well and the individual user will argue the difference between AI being used as a tool and a different tool, so I suppose I would say it’s about what you use AI for, if it sounds good, it sounds good. I think that most of the non-creators (management and A&R’s, etc.) in the industry would probably tell me that my insecurities are getting in the way of me using something to be productive, but principles are important, as is the connection between a musician and the music. I’d consider using AI for an underground techno record if it could make it sound cool, but I would go out of my way not to use it if I was writing a song with real meaning to me. The danger is the realm of mass-produced AI-created content.
“The danger is the realm of mass-produced AI-created content.”
EG: We have also witnessed a rise in acts that rely on the use of huge LED screens and breathtaking visuals, especially in melodic techno. Does this make some of the music too dependent on the visuals, or does it enhance the experience in your opinion? Should these acts be seen as more of a performance, rather than a live or DJ set?
REYUS: First off, I love Afterlife, Mathame, Adriatique, etc., so to me, all of these shows are great. That being said, I understand the question. I think it’s less about the music being reliant on visuals, so much as that being the goal of the show. Ultimately, all performances in music, from classical to techno to rap, are shows; they just have different brands and stories. Mathame’s show is an audiovisual one, the music doesn’t rely on the visuals so much as they were written for each other. It’s all part of the show. Motley Crue did the drums floating in the air and the pyro, but the music didn’t rely on it, it just enhanced the experience. Although the melodic techno shows with the big screens are very different music from Motley Crue (laughter), it’s the same thing. All the entertainment industry. I personally think if someone believes an Afterlife show is “reliant” on the visuals, it’s just because they personally don’t like the music.
EG: Finally, can you provide some insights into what’s next for REYUS? What’s in store for 2024? Where can your fans catch you next? Can we expect to see you on tour?
REYUS: Well, 2024 for me is hopefully going to be the year everything starts moving forward properly. I know every up-and-coming artist needs to believe that every year haha, I’ve been telling myself that for many years. That being said, I took out a loan to write some of these latest songs of mine that I mentioned, with the amazing singers, and I have faith in them. I just need to get them out there. Hopefully touring next year once the music is out!
EG: Thank you so much for your time, Lucas! We wish you all the best for the future. Take care!
REYUS: Thank you, guys, all the best!
REYUS’ ‘Don’t You Want Me’ (The Human League) is out now. Listen here.
Follow REYUS: Soundcloud | Instagram
