In March 2020, Tim Green found himself facing a new horizon. With touring effectively on pause due to COVID, he had to pivot his creative energy. He turned his focus back to his early love of guitar, bridging together his past and present through a unique outlet as a session consultant.



This, he says, transformed his songwriting capabilities, and made him a more skilled producer. “When I’m doing sound consultation, anyone can come to me and ask for help or feedback on their track,” he explained during his Gray Area Spotlight interview. “I would even write melodies with them or teach them how I write melodies—anything they wanted to do."





The unique situation allowed musicians to interface with Green in a way he hadn’t experienced before. By connecting with other artists and problem solving together, Green found himself making new connections and bringing that shared knowledge back into his own work.



“It makes me a better producer because I have to be challenged by other people's problems,” he said. “It's so much easier to do that with someone else when you're not the one to give critical feedback on your own music. It’s helped me learn to criticize and evaluate other people's music. It’s been easier now to sort of feed that back into my music, evolve my music, and constructively try and make it better in some way.”



Applying these tools to his own craft required practice; he refers to this as “building the muscle of making music” pointing out that “electronic music is mostly problem solving.” Green explained: “You start to play around with sounds and ideas and you put them together. You're always faced with problems and how to do the next step.”



“It’s those kinds of creative processes that are the most important thing, and really hard for people to do,” he continued. “They’re tools. It becomes easier when you've been working on other people's music for a long time and trying to help them with their problems. You can quite easily then be a bit more objective about your own music.”

Tim Green Says Helping Solve Other Artists’ Problems Made Him a Better Producer

Tim Green has crafted his rich, complex style of progressive house through his unique setup, which combines both hardware and software for a variation of organic and synthetic sounds. His home studio includes a number of different instruments and synthesizers.



Tim utilizes Logic and Ableton as his DAWs of choice. On the analog hardware side, his collection includes a Moog Voyager, Arturia Microbrute, an old tape deck, DBX compressor, Alesis compressor, and a Crumar DS2.





Determining which piece goes where in his songs is more intuitive. “There are tracks which I fully write on a laptop on a plane, tracks which I fully write with analog gear in my studio, and then there's everything in between,” he said during his Gray Area Spotlight interview. “I don't think there's a right or wrong.”



His setup has largely stayed the same in recent years, which speaks to its functionality and versatility. “I'm quite surprised about that,” he admitted. “It’s such a true testament to how good these [analog pieces] are. You can use them in anything—rock music, pop music, jazz, or any subgenre of electronic music—and they sound great.”



His ultimate goal as an artist is to continue evolving by using the tools he has available to him. “I like being challenged to use something that's a little bit out of my comfort zone,” he explained.





Tim Green keeps his setup fresh with new plugins, switching out different textures to continually build upon his unique sound signature. “I try them out and fall in love with them. I try to veer towards the stuff that isn't so obvious,” he said.



What’s his latest plugin of choice? It’s Spire, as hard as some might find that to believe. 



“It’s definitely developed more towards trance and EDM type sounds,” Tim says. “I love it for that reason, because it's fun trying to use very different types of sounds, and fusing them into the kind of music that I do. Otherwise, you just end up sounding like everyone else.”


A Look at the Hardware and Software that Makes the Tim Green Sound

British producer Tim Green is known for his atmospheric, fluid style of progressive house, which draws from a variety of inspirations throughout his musical career. His lush compositions are full of depth, which comes from his lifelong background as an instrumentalist.



Tim Green found his love of music at an early age. His father had a “huge music collection,” along with a “huge studio; a collection of synths, tape machines, and mixers; and great HiFi systems and like a Hammond Organ as well,” he told Gray Area during his Spotlight interview.



“I was just surrounded by all of it,” he said. “I was able to play around with the equipment and was subconsciously fed all of this great music my dad was listening to.”





As a child, Tim started following in his father’s footsteps as a musician early on, initially taking to the guitar. He says he “dove headfirst” into playing the instrument. “I think I didn't have any choice but to do music. I grew up with it—it made sense to me,” he explains.



A young Tim Green would find himself playing in a variety of bands. He started with “Van Halen, ‘80s stadium rock stuff, which is ridiculous considering I was a kid living in the South of England, but that's just what I grew up loving.” This progressed to an appreciation of darker, heavier styles from grunge bands like “Nirvana, Rage Against the Machine, and Deftones; that grungy sort of side of metal as well.”



The music began to shape a path for the budding artist. “When I was younger, I wanted to make a living out of being a guitar player and as a session player or as an artist,” he says. “That was my early dream. I never thought it was possible.” Tim Green diverted from his course as a guitarist, however, as he shares he “never tried to pursue it because dance music eventually got into my life and kind of took over.”



Green’s path changed when he heard legendary French duo Daft Punk for the first time while studying at university. “They were sampling records that I knew, because I knew the originals,” he says. “I was hearing this music that I grew up with in a new light; it wasn't something that was necessarily used to. It was all about technology, which is very forward thinking; almost the opposite of guitars and instruments. It was quite futuristic [and] it just felt really fresh to me.”





This led him to begin making singles like “Little Flies” and “Rhythm Acupuncture,” two early experiments that helped the producer “learn about sequencers and how to program drums, and everything else.” He recalls that he was “at the beginning of my journey of learning how to fuse the music that I grew up with into this new sound that I'm trying to explore.”



Regardless of what kind of music he is making, whether it’s rock, techno, or progressive house, Tim Green is always looking to try new techniques in his creative output. Keeping things interesting is “fun, it's exciting,” he says. “It just creates a different path.”

How Tim Green’s Origins in Rock Shaped His Style of House Music

Producer and DJ Tim Green is not one to shy away from experimentation. From creating luscious deep house under his given name to churning out blistering minimal techno with his APIR alias to generating pop music through his Invisible Minds moniker, Tim is always pushing musical boundaries.



When he first hit the scene, Tim was more interested in the minimal vibes emerging out of Germany, so that heavily influenced his sound. Surrounded by music while growing up, it was inevitable that Tim would eventually make it himself. But it took hearing Daft Punk’s album Discovery for him to truly become invested in making electronic music.



“They were sampling records that I knew, so I was hearing this music that I grew up with in a new light,” he told Gray Area during our Spotlight interview. “I was thinking, ‘How do you even do this? Why would you even do this?’”



Tim’s production prowess hasn’t gone unnoticed and even earned him the "Best Breakthrough Producer" award at DJ Mag’s Best of British Ceremony in 2010. But like many artists, so much has changed in Tim’s musical journey and he’s come a long way from his humble beginnings.



“I experimented a lot. I was still really learning,” he says of his origins. “I was at the beginning of my journey of learning how to fuse the music that I grew up with and loved into this new sound.”



If you’re only familiar with Tim Green’s recent musical offerings, take a listen to these eight songs we’ve chosen highlighting Tim’s former sound to get a sense of who he was way back when.



1. Little Flies





Let’s take it back to where it all began. Tim released “Little Flies” all the way back in 2006 on Four:Twenty Recordings. This minimal track is full of electro and tech house vibes, but still pretty simple, which was the perfect way for Tim to introduce himself to the world.



2. Rene





This next song starts out a bit slow and otherworldly, with lots of spacey effects. Then it segues into a glitchy yet melodic house track. It goes on to introduce danceable elements while still including some of the bleeps and boops that feature heavily in the beginning.

 

3. Test It





Continuing on his minimal theme, Tim returned with “Test It.” As he was still experimenting and learning the ropes with production, “Test It” ventures more into the house arena. It still features synths and drum machines, plus a methodically placed vocal interspersed throughout.



4. Iotan





In this next track, you can really hear Tim start to evolve as he takes a walk on the funky side. “Iotan” is a deep and melodic house track that’s got one driving bassline. It’s guaranteed to get any crowd piling onto the dancefloor.



5. Dodjo





“Dodjo” is a song off of Tim’s 2011 EP, Lemon. It includes three songs and “Dodjo” rounds it out with a decidedly more tropical sound than anything he’d put out up to that point. Walking the line between Caribbean infusion and formulaic, by-the-book production, Tim delivers a fun track that’s sure to be a fan favorite for years to come.



6. Swamp Girl





“Swamp Girl” is a deep house track filled with old school vocals. Grimier than Tim’s usual songs, it has a rolling bassline and syncopated drums, which add to the distinctive feel of the track.



7. Curious Smile





“Curious Smile” takes us back to Tim’s usual MO: synths and hypnotic vocals laid over a melodic techno beat. Released as part of Cocoon Recordings’ Cocoon Compilation L series, this song is a club-ready banger laced with scintillating keyboards.



8. Just People





Closing out this list is “Just People,” which was released as part of a two-track EP on Tim’s first label, Disc Over Music. This track is bold tech house, and it comes in hard with a banging bassline. Its breakdown is almost subdued until a piano crescendo breathes more life into the classic Tim Green tune.

8 Early Tim Green Tracks that are a Far Cry from his Recent Music

Whether you love or hate to see it, there’s no denying that 2022 marked a period of significant commercial interest in house music.



The genre has had its fair share of moments in the mainstream spotlight since it coalesced in the gay, Black, and Latino nightlife communities of Chicago in the ‘80s, to be sure. Crystal Waters’ 1994 classic “100% Pure Love” hit #11 on the “Billboard Hot 100,” and #1 on the publication's “Dance Club Songs” chart. More recently, FISHER’s 2018 tech house track “Losing It” topped the latter.



2022 saw notable pop superstars join the party. Within weeks of one another, Drake and Beyoncé each dropped albums that included numerous house-inspired songs. The former artist tapped producers like Black Coffee, &ME, and Klahr for his effort. The latter enlisted dance music acts like Honey Dijon and Nile Rodgers for hers.



Some argue that these influences will only dilute house, which has already arguably suffered from recurring identity crises as each new generation of talent offers its own interpretation of the genre. Others are more optimistic, projecting that the increased attention will trickle down into opportunities for artists at every level.



We here at Gray Area decided to gather the opinions of house artists themselves. Some are elder statesmen who helped guide the course of the style early on. Others are up-and-coming acts who represent the future of the genre. Read on what they have to say about the matter and arrive at your own conclusions.



1. Todd Terry







Todd Terry’s career extends back to house music’s genesis in the 1980s. He’s in favor of mainstream house music hits as long as artists bring original ideas to the table.



“We need a Robin S. We need a Crystal Waters. We need a Snap! - ‘I Got The Power,'” he told Gray Area during our Spotlight interview. “We need something that helps us a little bit here, makes us come to the dance floor. We need to get something out there to mix it up a little bit.”



"Break some new records,” he went on. “Stop catering to the same piano sound all the time. We got enough piano records. Okay, you guys found the piano in the last three years. Good job. There's other shit.”



2. East End Dubs





East End Dubs is a name that has grown more and more ubiquitous among London house fans over the past decade. In his Gray Area Spotlight interview, the “bRave” producer expressed optimism that house-inspired tracks in the mainstream could offer new fans a point of entry leading to the underground.



“Recently, people have said, ‘Oh, this is going to bring uneducated people into the scene.’ For me, I think people can start with Beyoncé or Drake and then fall in love with house music,” speculates East End Dubs, who also praised the tracks by the aforementioned artists. “It's a beautiful thing. Why not? House is something that we share together, so I don't mind people getting to know our music that way and then going a little more underground to discover us.”



3. SYREETA





SYREETA stands out as a more recent house music artist who still represents the queer, Black, underground roots of the genre well. She nonetheless believes that her world can coexist with the mainstream.



“There's no judgment on this,” she said during Gray Area’s Spotlight interview. “House music started underground, and it will always be to me. It hits everybody’s souls differently and is inspired in different ways, so each artist will have their own stamp on what they have taken away from it, whether it be more on the commercial side or more underground. Not everybody has to like it. People will move with what they prefer.”



4. Iglesias





Fast-rising UK house DJ and producer Iglesias also posits that commercial interest in house has little bearing on what he does. In his Gray Area Spotlight interview, he pointed out that most consumers of those releases likely don’t even associate it with house music.



“I don't really care, to be fair," he said. "What they're doing is not what we're doing, let's put it that way. They're making commercial stuff. Who they're appealing to, I don't even think that person would even know that that's a house beat or whatever. They would just be like, 'Oh, it's another Drake track.' Do you see what I mean? So it never really fascinates me that much because I don't feel like they're stepping on our toes. What we're doing is way cooler than what they're doing."



5. Harry Romero





During his Gray Area Spotlight interview, longtime NYC DJ and producer Harry Romero expressed optimism about house music’s popularity in the past few years. He did, however, have choice words about how the EDM movement impacted the culture over a decade ago.



“I hate to say it, but that EDM thing really threw us all through a curveball. We were like, ‘What the hell is this?’ he said. “The mechanisms changed. The way of doing business changed. The EDM thing really commercialized the industry, and for them to claim that they were house music was just strange."


"The reality is that it became a business," Harry went on. "It was pop music all of a sudden. A lot of people steered away from what they loved, which was the roots of house music. I understand evolution. I’m not mad at technology or the times. What I at least try to do is scratch my head and figure out how to put my own twist on it.”



6. ACRAZE





ACRAZE is enjoying an enviable breakthrough as an artist thanks to recent covers like “Do It To It” and “Believe.” With his recent good fortune, it perhaps comes as little surprise that he sees the genre’s recent popularity as a good thing.



“I think it's cool, man. I think seeing new faces in the industry is just special,” he said during Gray Area’s Spotlight interview. “Massive artists like Beyoncé and Drake getting into house music only helps the genre explode even more. I guess it becomes more commercialized, but now there’s also a bigger goal for artists. Drake’s in house music—it's my dream to even collab with him. Now I know, there's a chance. I didn't even know he was into that shit. Beyoncé too, like, that's so sick.”



“Some people will think differently and say, ‘They don't know anything about the music, the culture,’ he went on. “I think people read way too deeply into those kinds of things. If people are putting out good music and pushing the genre, I think that's what matters, you know?”



7. Shermanology





Dutch-Caribbean outfit Shermanology are also enticed by the prospect of working with more commercially successful acts. In their Gray Area Spotlight interview, the brother-sister duo named one hip-hop artist in particular.



“What we wanna do in the near future is collaborate with artists you wouldn’t expect us to collaborate with,” said Dorothy. “For example, if I could dream big I’d say Anderson .Paak. That would be someone who would excite me.”



Andy added, “I wanna work with people who may have said, ‘I will never do a house record,’ and get them to do a house record. Just mix and blend different genres.”



8. Tim Green:





Count longtime DJ and producer Tim Green among the artists who feel Beyoncé and Drake’s interest in house music has no bearing on the underground. Why? Because he doesn’t consider it house.



“I literally couldn't care,” he said in his Gray Area Spotlight interview. “You can call a car a tree if you want, and that's your prerogative, but each to their own opinion. When you start to get down to the finer details of what something is, who knows—and really, who cares? It doesn't matter.”



“I understand, of course, the negative connotations that it kind of has, and it's not right,” Tim continued. "But for the people that know the kind of music that they're into and want to listen to, I think that's enough.”



9. Kyle Walker





Breakthrough tech house artist Kyle Walker, on the other hand, does think mainstream artists dabbling in house will affect the underground—but in a good way.



“[House music is] definitely headed to the top 40 chart, I would say, like Billboard and such,” he said during Gray Area’s Spotlight interview. “I could see more dance records being in the top 10, even. It's definitely a good thing for everyone—even the underground. It's a good thing that more ears and eyes are gonna be on the scene. I just think everyone's gonna start with this wave of just having house music producers come onto their albums, which in turn is just going to create more house music fans.”



10. LOVRA





Rounding out this list is the perspective of LOVRA. The German DJ and producer agrees that the increase in attention to house music has created new opportunities for artists.



“It's super interesting, but it also shows that the people understand this music right now,” she said during Gray Area’s Spotlight interview. “They're more open to it. Back in the day, sometimes you couldn’t play in a club because it was too commercial or you were too underground. But now, I feel like the people and the club promoters are way more open to trying it out a little bit more, and this is a good thing.”





10 House Artists Weigh in on the Genre's Recent Mainstream Popularity

United Kingdom

Tim Green

A young Tim Green first fell in love with electronic music as it promised exciting possibilities previously out of his reach as a musician. Ironically enough, it is his very background as an instrumentalist that now differentiates his rich and emotive style of house.

It wasn’t always so. The more brutalist sonics of early Tim Green tracks like “Little Flies” and “Rhythm Acupuncture” embraced the synthetic nature of their components. By comparison, his more recent singles like “Moss” and “Sequoia” exhibit a more traditional musicality. Warm instrumentals and piquant vocals blend seamlessly into what abstract futurism remains, resulting in soundscapes that feel familiar yet subtly alien.

Tim Green at Sunday is 4 Lovers in San Diego

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Tim Green Live at Sunday is 4 Lovers [Firehouse, San Diego] [MI4L.com]

Tim speculates that he “didn’t have any choice but to do music” on account of his home environment. “My dad was a keyboard player and had a huge music collection, also a huge studio, with a collection of synths, tape machines, mixers, great HiFi systems, and a Hammond organ as well,” he says. “So I was just surrounded by all of it, basically. I was just quite in touch with it, literally.”

After briefly learning how to play the piano, Tim’s first love in music came when he picked up the guitar. He took lessons on the instrument from age 8-16 and played in a number of local bands. 

“In the beginning, it was probably more Van Halen ‘80s hair stadium rock stuff, which is ridiculous considering I was like 10 or 12 and living in the South of England which had zero connection to stadium rock music—but that's just what I grew up loving,” he says. “When it progressed on it was the heavier but more modern stuff, everything from Nirvana and Rage Against the Machine to Deftones.”

When Tim Green went to university to study music, he was shown Daft Punk’s 2001 sophomore album 

. It changed his entire outlook. “They were sampling records that I knew, so I was hearing this music that I grew up with in a new light,” he says. “I was thinking, ‘How do you even do this? 

Curiosity led him to try his hand at music production, initially diving headfirst into sterile sonics to deliver his debut 2006 EP via Four:Twenty Recordings, 

. “I really fell in love with a lot of early minimal sounds that were coming out of Germany at the time, so I was quite influenced by that,” Tim recalls. “I guess also thinking back to it now, I also wanted to be quite distant from live music. I probably wasn't wanting to fuse it into dance music at the time.”

The years that followed saw Tim Green refine his creative process to the point that his music landed on labels like Phobic Records, Dirtybird, Nervous Records, Circus Recordings, Get Physical Music, and Cocoon Recordings. 12 years after his inaugural release, the latter label tapped him to write his first studio-length album.

 arrived by way of Cocoon in 2018, and it was evident that Tim had put tremendous thought into the task at hand. The album was meant to score a film that didn’t exist and lived only in his mind. Each track conveyed a deliberate theme in the plotline of a cohesive story.

“I just didn't have what I felt like was a strong enough idea up until that point to make what I feel an artist album should be,” Tim says. “I think I came up with the idea around it, I don't know, a week before Cocoon coincidentally asked if I wanted to do an album for them.”

And what was the story? “That's something for me,” he says firmly. “I've never told anyone.”

, Tim also wrote music that was then performed by a band under the moniker Invisible Minds. From time to time, he also produces one of the tougher sort of tracks that defined his early discography. His APIR side project allows him to release more techno-inspired cuts without betraying the expectations of his continuously growing fanbase.

Not only do Tim Green’s childhood experiences as an instrumentalist color his recent output—his records also prominently feature many of the analog synthesizers that belonged to his father. While he splits his workflow fairly evenly between in-the-box and out-of-the-box methods, devices like his father’s Minimoog have given some of his music a classic touch.

“I mean, initially, it was borrowing,” Tim laughs. “And then my dad was nice enough to either give it to me or sell it to me at a very, very nice rate. It's great for him because he knows that it's going to someone who's who uses it, and it’s kept in the family as well.”

At the same time, Tim’s openness to new ideas is what keeps him interested while writing music. “I try to veer towards the stuff that isn't so obvious, like I got a plugin recently called Spire—I don't know if it's a new plugin or not, but it's new to me,” he says. “I think it's definitely developed more towards trance and EDM, but I absolutely love it. It's fun trying to use very different types of sounds and fusing them into the kind of music that I do, because otherwise you just end up sounding like everyone else.”

At first glance, it might appear as though Tim Green has arrived at his destination in dance music—a full-circle point that connects the wide range of influences from throughout his career. Just as when he dove headfirst into this world, however, he finds the future to be the most exciting prospect of all.

A young Tim Green first fell in love with electronic music as it promised exciting possibilities previously out of his reach as a musician. Ironically enough, it is his very background as an instrumentalist that now differentiates his rich and emotive style of house.



It wasn’t always so. The more brutalist sonics of early Tim Green tracks like “Little Flies” and “Rhythm Acupuncture” embraced the synthetic nature of their components. By comparison, his more recent singles like “Moss” and “Sequoia” exhibit a more traditional musicality. Warm instrumentals and piquant vocals blend seamlessly into what abstract futurism remains, resulting in soundscapes that feel familiar yet subtly alien.





Tim speculates that he “didn’t have any choice but to do music” on account of his home environment. “My dad was a keyboard player and had a huge music collection, also a huge studio, with a collection of synths, tape machines, mixers, great HiFi systems, and a Hammond organ as well,” he says. “So I was just surrounded by all of it, basically. I was just quite in touch with it, literally.”



After briefly learning how to play the piano, Tim’s first love in music came when he picked up the guitar. He took lessons on the instrument from age 8-16 and played in a number of local bands. 





“In the beginning, it was probably more Van Halen ‘80s hair stadium rock stuff, which is ridiculous considering I was like 10 or 12 and living in the South of England which had zero connection to stadium rock music—but that's just what I grew up loving,” he says. “When it progressed on it was the heavier but more modern stuff, everything from Nirvana and Rage Against the Machine to Deftones.”



When Tim Green went to university to study music, he was shown Daft Punk’s 2001 sophomore album Discovery. It changed his entire outlook. “They were sampling records that I knew, so I was hearing this music that I grew up with in a new light,” he says. “I was thinking, ‘How do you even do this? Why would you even do this?’”





Curiosity led him to try his hand at music production, initially diving headfirst into sterile sonics to deliver his debut 2006 EP via Four:Twenty Recordings, Little Flies / Rhythm Acupuncture. “I really fell in love with a lot of early minimal sounds that were coming out of Germany at the time, so I was quite influenced by that,” Tim recalls. “I guess also thinking back to it now, I also wanted to be quite distant from live music. I probably wasn't wanting to fuse it into dance music at the time.”



The years that followed saw Tim Green refine his creative process to the point that his music landed on labels like Phobic Records, Dirtybird, Nervous Records, Circus Recordings, Get Physical Music, and Cocoon Recordings. 12 years after his inaugural release, the latter label tapped him to write his first studio-length album.





Her Future Ghost arrived by way of Cocoon in 2018, and it was evident that Tim had put tremendous thought into the task at hand. The album was meant to score a film that didn’t exist and lived only in his mind. Each track conveyed a deliberate theme in the plotline of a cohesive story.





“I just didn't have what I felt like was a strong enough idea up until that point to make what I feel an artist album should be,” Tim says. “I think I came up with the idea around it, I don't know, a week before Cocoon coincidentally asked if I wanted to do an album for them.”



And what was the story? “That's something for me,” he says firmly. “I've never told anyone.”



Around the same time he released Her Future Ghost, Tim also wrote music that was then performed by a band under the moniker Invisible Minds. From time to time, he also produces one of the tougher sort of tracks that defined his early discography. His APIR side project allows him to release more techno-inspired cuts without betraying the expectations of his continuously growing fanbase.





Not only do Tim Green’s childhood experiences as an instrumentalist color his recent output—his records also prominently feature many of the analog synthesizers that belonged to his father. While he splits his workflow fairly evenly between in-the-box and out-of-the-box methods, devices like his father’s Minimoog have given some of his music a classic touch.



“I mean, initially, it was borrowing,” Tim laughs. “And then my dad was nice enough to either give it to me or sell it to me at a very, very nice rate. It's great for him because he knows that it's going to someone who's who uses it, and it’s kept in the family as well.”







At the same time, Tim’s openness to new ideas is what keeps him interested while writing music. “I try to veer towards the stuff that isn't so obvious, like I got a plugin recently called Spire—I don't know if it's a new plugin or not, but it's new to me,” he says. “I think it's definitely developed more towards trance and EDM, but I absolutely love it. It's fun trying to use very different types of sounds and fusing them into the kind of music that I do, because otherwise you just end up sounding like everyone else.”



At first glance, it might appear as though Tim Green has arrived at his destination in dance music—a full-circle point that connects the wide range of influences from throughout his career. Just as when he dove headfirst into this world, however, he finds the future to be the most exciting prospect of all.



Tim Green

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