How do different cultures influence the music
DREW: We tour an average of about 180 shows a year all over the world so we’re always on the road, which I think has been really beneficial to us as artists. I find when we have long spurts of time in LA we can get into kind of a hole based on the culture of LA and you’re making stuff based off of that one place. But moving around, even if you’re just listening to stuff that you’re making, being in that different country with that different geography and buildings and people speaking a different language, it gives you a really different perspective on what you’re making.
What is the most exciting thing about artists across the world using your music in their tracks?
ALEX: When we started off we were remixing from other artists, some were from Norway some were from Sweden, some were French, England, US etc. That’s what is so appealing; that we’re appealing to a new fanbase but also these artists are getting to hear their songs completely reimagined in a new way. And that’s the same opportunity we’re going to get with all these amazing artists all around the world injecting their culture, their experience, their tastes into our music.
I can’t wait to hear what a Chinese artist will do with our song, or a Bulgarian artist or Uzbekistan and all these places where I’m sure there’s already artists that have remixed our songs but we’ve never had a chance to hear them.
Have you collaborated with artists in this style before, and if so are there any that really stand out?
ALEX: We always work with international artists. For us it’s always amazing, we’ve worked with a Swedish singer, a French singer recently, I believe a Japanese artist did a Closer remix that was huge in Japan. That was really cool and I think our next album is going to explore that further.
But I think that there’s a lot of opportunities for us there to explore, you know the world’s a huge place. Campaigns like this [the Tuborg OPEN] make the music even bigger but the world even smaller, so hopefully we’ll find the next Justin Bieber out of this or something!
THE MUSIC LANDSCAPE:
What impact has restricted movement had on artists
and the way they are making music?
DREW: It’s been positive and negative for us. This is the first time we’ve had an extended period of time to slow down and reassess what we want to do in our next musical chapter, which has been great, and we’ve had more time to experiment than we ever had in the past, which is great as well. But our music is a product of our environment, and our environment has typically been travelling all over the place and pulling inspiration from people and places and culture and food – everything! And we don’t have that input right now, which is kind of necessary, so we’re trying our best to mix things up for ourselves, so we’re not creatively dry.
THE TUBORG OPEN:
Tell us why the Tuborg OPEN project
appealed to you?
DREW: We’re always looking for new ways to give light to other creative people around the world. Alex mentioned earlier how we started off remixing artists: we’d literally go onto this website Hypemachine every day and find a new artist and if we loved their song it was good enough and we just started remixing them, and that’s how we developed the songwriters and producers. We’re huge collaborators, we’ve done over 30 collaborations with our own songs and that’s just been such a crazy learning process to get inside another artist’s creative process.
What is it about the perfect musical hook that means you can’t get it out of your head?
DREW: I think one thing we’ve always said is the more success we’ve had, the less we understand it. You really can’t set out to try and make a hit, you can’t set out and try to make something that relates to people, you’ve just got to create something that relates to yourself and that you love to listen to.
DREW: Yeah that’s definitely true. Alex is better at that than I am, at just saying yeah that’s special.
ALEX: They’re always obvious when you hear them, you listen to it and just go ‘oh it’s so simple’. But obviously arriving at that is something completely different. It’s like trying to put yourself in a situation where you try to imagine someone singing a song back – you can look at a song like that, but you never really know what moment people are going to grab onto until it’s out there.