Even if you don’t know Nut MercerioIts name, you must be familiar with its golden touch – Los Angeles-based multi-instrumentalist, composer and producer has a hand in the record JZ, Lizo, Who is Alessia?, Argument, Hair, Mike Posner, And much more. He is timid Shawn Mendes“Platinum”Lost in Japan, ”And a part coproduced Leon Bridge‘Grammy-nominated Good thing With the hitmaker Ricky Reed. But on Marcerio’s first solo album, Win technique, You can hear him in a completely different context – his own. Release on him How So Records, “A Record Label for Candidates,” this nine-song set provides an experimental combination of jazz wilding, funky groove, ace production, and noisy live performances. From the outside, it may seem like the world without Mercerio’s other works, but he doesn’t see it that way. Working on someone else’s point of view can benefit you – and we’ve met to talk to you about how your emotions can’t be let go.
Spotify for Artists: From the outside, it can be easily assumed that joining the world of pop song writing, and studio sessions for others to record means giving up your dreams.
Nate Mercereau: Even when I talk to some other musicians, if I mention pop stuff, they have this stain on their eyes, like, “So, you’re doing it so you can make money and bring it back to the real thing.” But I am not letting my soul suck. I get a lot out of working with all these different people. I’m wary of coming up like this, “I work for these pop men but I do my own thing.” It’s not like Waiter. Having my own project is an extension of the world of music of which I am a part.
But isn’t spending time for yourself in someone else’s eyes?
That’s true. I do a lot with other people’s perspectives, and my whole goal is to figure out who and what they want to be, and create music that helps them achieve that. But a lot of pop content comes from me that makes music without asking anyone [and pitching whole song ideas]. That variety is my favorite thing about music. Going into the world of pop music and experimenting, and everything in between, where I’m rich.
What about the fear of using your own best ideas in another person’s project?
When you think your ideas are scarce, you refrain from making more ideas yourself because you are so attached to it. And if you hold on to your best ideas in a session, you are making that session worse. You have to believe that you have another best idea. Because you will. Especially if you keep creating new music with new people who take you out of your box. Then you are always moving forward, creating new things and learning.
Are there any cases where the idea of flexing in a session awakens something for your single work?
It happens consistently. Whom I will work with and we will do something that will open a whole new door for me musically or conceptually. It’s not always a concrete thing. It could be a matter of energy, the way someone made something, or a matter. But I always take something into my own world, experiment and see how far I can take it until the next idea comes.
Did it happen specifically? Joy technique?
Working with pop writers and artists inspired me to speak directly to my tunes, making sure they were concise and hook-based. But I wanted to pull off something more familiar to me, which takes on a completely searchable and messy live. I wanted two worlds to exist at the same time – each meant more because of the other being in the same song.
Terrace Martin The title song. Was it the result of working on the LP of Leon Bridge?
Actually, yes. We let him work for a machine. “Bad bad news, “But we also had a jam session – just some keyboards, a drum machine, putting on my guitar synthesizer, and playing for about an hour. I have come up with the notch of “Joy Techniques”.
Many music lovers may not realize that the people in this session are the kind of musicians you want to jam with smart, talented, super creative.
I always come back Teddy Giger. He’s one of the most inspiring musicians I’ve met, and he really works quite exclusively in a really pop context. There are many musicians in the world who are talented multi-instrumentalists and the most exciting people to be in the studio. No dumbing-down is happening. It’s all high-level things, trying to do the best thing possible, and in that context, creating something that relates to most people.
We’re talking about how sessions benefit singles, but does it work differently?
Absolutely. It benefits me mentally and even spiritually, for lack of a good term, because I know I will always find a place for any of my ideas. I don’t have to throw it away because it wasn’t understandable for so-and-so. You don’t feel like you’re going off, so it allows you to do more in the service of that session instead of just trying to get ahead of your cool germs.
– Chris Martins