Despite his relative obscurity, Corporate has been making a splash in the bass-friendly bayous of electronic music for the good part of 5 years now. Recently, I’ve been hearing his tracks permeate mixes of the likes of Excision, Figure, Zomboy and other bass-heavyweights. His music can be described as having bass-heavy melodies filled with glitched out beats and hip hop drops. One of his more popular tracks “Ice”, I’ve heard played from NYC down to ATL.
Corporate – Ice
Corporate – Blisters
He is currently on vacation in Thailand, but before he departed, he answered some questions I had for him. Expect to hear him more and more in the coming year
Only The Beat: How long have you been producing and what inspired you?
Corporate: Producing’s been a hobby of mine for the last 10 years or so.Back when I was 15 I got interested in creating instrument loops and producing hiphop tracks. I listened to a lot of the typical Y2K stuff then, Linkin Park and such. About 4 years ago I got serious and started developing a specific sound that the Corporate project would build on. Since then I’ve always been interested in sourcing my inspiration from all kinds of influences. Various genres, art, design. It all crosses over for me.
OTB: Who are some of your influences?
C: A few artists that come to mind that I highly respect are:
- Jon Hopkins
- Trent Reznor
- Gerald Clayton (amazing jazz work)
- Also been liking the work of Tsuruda and Kursa lately… Really weird stuff.
Corporate – Scandal
OTB: What album have you been listening to repeatedly lately?
C: Where We Were by Greg Haines. Someone from my background would call him a classical composer, but this album in particular was created using a bunch of analog and digital sound design recorded to tape. It’s got an amazing vibe that raw digital production wouldn’t be able to achieve.
OTB: Have you thought about playing at any festivals?
C: I’ve played at a few small festivals, one here in Eastern Washington, another in Montana. Festivals and shows are really fun but my favorite part is definitely the production. It starts becoming a sort of internal therapy.
OTB: What is your approach when you’re producing a track?
C: I love switching up the act of production, and challenging myself to look at it a different way each time.
While I was in design school, I became interested in bringing the kind of design thinking that we use to the music world. We did a lot of mind mapping and thumbnailing so I tried to do the same in music. If I had an idea that popped into my head I would just record me whistling or beatboxing into my phone and save the idea until I had adequate time to sit down and produce it. I’ve found that method to be pretty useful as it acts as a sort of curation process. Only the best of the embarrassing recordings on my phone would get turned into a track.
When I designed “Forward” I decided to produce the entire track without the drums, and build them in at the very end. It was a fun exercise that kept me from getting tired of the track as I was producing it. Not good for everything but a useful experiment.
Corporate – Speak (feat. Mickey Shiloh)
OTB: Describe the process for creating “speak” and working with Mickey Shiloh?
C: “Speak” started out as an experiment to create a complex sound that would evolve and change in the space it’s played in, using mostly a single note. I quickly realized it would benefit from some pop vocals, and became interested in creating a single verse that could be repeated throughout the track, similar to My Eyes by Nero.
Mickey had the kind of voice I was looking for and had been part of some sweet productions so I worked with her to develop a lick that would be able to loop nicely.
I sent some embarrassing test takes with her to give her an idea of what I was looking for. When I got her recording back I knew it was gonna fit great!
Only the Beat is looking forward to hearing more from Corporate in the coming months and year and we’ll be following him along his musical journey of glitched out dub and dark hooks.
Connect with Corporate
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