We recently caught up with UK producer Naylor to discuss his newest single and gain insights into his journey in the music industry. We dive into the inspiration behind “Okay” and learn more about the man behind the beats.
We met with Naylor to unpack the energy and emotion behind his freshly released track, “Okay.” This song masterfully bridges eras, weaving sounds reminiscent of classic rave scenes with contemporary emotions and longing, creating an emotionally charged piece that deeply connects with its listeners.
Before you get into our in-depth discussion with Naylor, give his latest track a listen below. Join us as we explore topics ranging from the evolving music industry landscape to his musical influencers, and much more.
HOW ARE YOU ADAPTING TO THE ROLE OF AN ELECTRONIC MUSICIAN IN TODAY’S CLIMATE?
Transitioning into the industry has presented its challenges, especially as a newer artist. I officially embarked on the NAYLOR journey at the close of 2019. The pandemic made me reconsider how I allocate my time and what truly matters. But as the world shifts around me, by remaining diligent and managing my time wisely, I sense I’m steadily making headway.
BEING A NATIVE OF LEEDS, HAS THAT SHAPED YOUR MUSICAL JOURNEY? HOW?
Without a doubt. My foundational musical experiences trace back to my years in the North. From playing the piano at age 5 and drums at 7, the Northern landscape is interwoven with my earliest memories. My parents, both musically inclined, always supported my passion. My father, a dedicated keyboardist, owned a significant collection of synths during my youth. I even managed to keep a TR-707, which you can hear in many of my tracks. Although I moved to Cornwall at 16, which influenced my music in its own right, the North always feels like home when I return.
WHAT WAS IT LIKE TOURING WITH GEORGE FITZGERALD AND WHAT INSIGHTS DID YOU GAIN?
Interacting with George was a transformative experience. If not for our meeting, I might not be where I am today. George’s encouragement and faith in my abilities boosted my confidence to release my own sound. Our collaboration started when I was predominantly playing others’ compositions. After George discovered some tracks I’d been working on, my music featured on his Radio 1 show, motivating me to continue my journey. Live performances with George were enlightening, showing me the raw impact of music on audiences. This exposure introduced me to incredible talents and artists who now inspire my work.
WE’VE NOTICED AN ABUNDANCE OF LIVE CONTENT ON YOUR PLATFORMS. CAN YOU GIVE US A GLIMPSE INTO YOUR LIVE SETUP?
At the heart of my live setup are the Prophet 08, Moog Sub Phatty, and various effects gear. If I’m performing solo without Luke Tomlinson, our live drummer, I incorporate drum pads to enhance percussion. There’s an ongoing debate in the electronic community about the pros and cons of live play. To me, the essence of music is live interaction; it’s the spontaneous dynamism between artists that keeps each performance unique.
IF YOU COULD CHOOSE THREE ARTISTS TO COLLABORATE WITH, WHO WOULD THEY BE?
Thom Yorke, Mark Pritchard, and Brian Eno.
DESCRIBE “OKAY” IN ONE SENTENCE FOR US.
A soulful anthem brimming with hope.
WHERE DO YOU SOURCE YOUR CREATIVE INSPIRATION, ESPECIALLY FOR THE YOUNGER AUDIENCE?
Inspiration is all around me. While music remains a primary source, other artistic mediums like visual arts, cinema, and literature also mold my musical concepts. Exploring the processes and perspectives of artists across disciplines, like Stanley Kubrick, Francis Bacon, and George Orwell, can be surprisingly refreshing when integrated into my music. Moreover, collaborating with fellow artists and producers like Joe Brown of XL Recordings has ignited fresh avenues of creativity.
FOR THOSE TECH ENTHUSIASTS OUT THERE, CAN YOU DELVE INTO THE PRODUCTION ASPECTS, YOUR CHOICE OF EQUIPMENT, AND SOFTWARE PREFERENCES?
I work with Ableton as my primary DAW, but feel I’ve only scratched its potential. The core synthesizers for my tracks include the Prophet 08, Moog Sub Phatty, Roland SH101, and DX7. Keeping a limited yet familiar set of tools helps me stay focused. I always integrate a live drum element into my tracks, either complementing the digital sounds or as a standalone feature. My drum sounds predominantly come from the Dave Smith Tempest or MFB Tanzbar. In terms of plugins, Soundtoys is my go-to, supplemented with more classic approaches like Pultec eq’s and compressors like LA2A, 3A, and 1176. For mastering, I’ve consistently partnered with Oli Morgan at Abbey Road, valuing his stem mastering approach as it seamlessly bridges my mixes with the final output.
LOOKING AHEAD, WHAT WOULD YOU LIKE TO SEE CHANGED IN THE MUSIC INDUSTRY?
From my dual perspective as a musician and educator, early access to opportunities is vital. High-quality opportunities shouldn’t be exclusive but accessible to all budding artists. While I’m still navigating many industry intricacies, maybe in a few years, I’ll have a clearer vision of what changes to advocate for.