Elliott Creed is a core member of Australia’s electronic music community.
His years of industry experience and classical piano training have aided in the development of his own melodic-ambient driven sound that has lead to sets at the Major Sound Stage at Burning Man, as well as high-profile sets at Sundancer (Thailand) and Coastal Jam (Australia). He has also proven himself a talented producer who has worked with labels including Upon Access, Duenia and UGENIUS Music.
Flow Music recently launched its record label and we are delighted to have Elliott Creed provide us with the original music for the debut release a majestic, melodic house track that fuses poignant emotion with club-friendly percussion, alongside an immersive reimagining from Germany’s Madmotormiquel.
In celebration of the release, we invited Elliott Creed to do a mix for Flow Sessions 069 and have a bit of a chat about, the release, his background in music and some other projects he is working on.
Hi Elliott, great to be talking with you today, we are very excited to have you for Flow Musics first release ‘Silence Of A Full Room’! It’s been a challenging period for the music industry, hows 2021 been for you?
It has been a pretty tough year all round for everyone. It is definitely starting to show as a lot of frustrations and bottled up thoughts are coming to the surface. For me, I’ve been incredibly lucky to be completing my Masters of Architecture through this period, so not having the distractions of much of the world has been beneficial (as boring as that may sound).
Tell us a bit more about ‘Silence Of A Full Room’?
The track was written at the start of 2020, just as lockdowns were being introduced. There was a lot of tension in the air and it felt pretty heavy. The track draws on an observation of emotions. It revolves around the forced isolation of people, and how the unexpected journey of self-discovery can lead to an awareness that did not previously exist. Its delicate intricacies reflect the fragile nature of the human mind and how important it is to remember that one is never alone.
How did you first find your love for electronic music?
My interest and love for electronic music stems from a pretty young age. There are a couple of key items that strike me most when reflecting on where things started. Firstly, I remember our family car rides consisting of a lot of Fat Boy Slim. My dad loved his music, and I think we broke the CD a couple of times from playing it so much. The second moment comes from my time spent competitive swimming. During early mornings and gym sessions I was responsible for bringing my iPod to training to play music for the squads. I remember staying up pretty late organising playlists even though I had to be up before sunrise to get to training on time. For me, that was probably the beginning of DJing and curating music for others.
What do you usually start with when preparing for a set?
When preparing for a set I really like to visualise the atmosphere of the venue and crowd. Creating a scene in my head helps direct me with my curation and try to really capture the individual moment of where I want a set to go. I’m a big believer in playing a different set for each venue, so picking the right tracks and sounds for what I am imagining is really important. The visualisation really helps with trying to connect with the experience before it happens – what people to feel, when they feel it and why they feel it.
Geelong counts as regional Victoria? What have the lockdowns been like there? Have you found it difficult to stay creative during this period?
Yes, it sure does! We have been super lucky throughout the pandemic to have been under a less strict regime than Melbourne. However, we have still experienced the industry being basically stripped of itself. It’s been hard, but in terms of how it has affected the creative process, it has proven to be a great chance to explore new sounds and push the boundaries of what people are doing. The live streams allow for artists to perform and play music that doesn’t revolve around a dance floor. Similarly, I believe that a lot of production has followed that wavelength, and has lended itself towards taking listening beyond the dancefloor.
We have seen you announce a few new projects recently tell us a bit more about Menikmati?
Menikmati is a venture from my friend Aaron Cashion and myself. We are striving to create a brand that will allow people to learn, develop, grow and excel in the music industry. We are taking 1 on 1 sessions with people to help take the edge off what can be a pretty daunting industry. The brand will strive to provide DJ lessons (on a world class sound system and industry standard equipment), artist consultancy, progression planning and basic production tutorials to help the growing community of underground electronic music in Geelong.
Speaking of your other interests, I know you are studying to be an architect, are there any crossovers between music and architecture?
I think about this all the time. In terms of process and concept development, I draw a lot of similarities between where I pull my inspiration from and how I use it in the design/writing process. The ideals and artistic themes that revolve around ‘feeling’ often cross over and can be directly related through a lot of mediums. There are items in architecture that directly reflect music and sound through their sensory detail. The warmth of a space, the sharpness of an object, the brightness of a light source – these can all be transposed into the world of sound.
You will be participating in Quick As Thieves, a charity orientated long-distance run in November what distance will you be running and how was training for this?
Yeah, I sure am! I was feeling pretty unfit and haven’t been exercising as much as I should have. My partner played a huge role in motivating me to get off my ass and get running. I’ll be doing the half-marathon for this year, but I am really enjoying getting active and would love to push for the full marathon next year. For anyone that wants to donate, I’ll put the link below:
Who is your personal favourite DJ, and how have they influenced your own style?
My favourite performer/DJ is between two artists at the moment. Ben Bohmer and Monolink, as both of them integrate the fully live approach to their performances, and it separates them from the rest of the field, through enabling their own sound and talent. Throughout lockdown, I’ve been listening and watching a lot of their shows. Both their styles have influenced my sound a lot, and I’m working on a full live set, which I hope to be ready in the next 12 months.
We are excited to have you for Flow Sessions 069 in a couple of days to celebrate the release! Tell us a bit about the upcoming mix what sort of vibe were you going for and how did you find the format?
I am super excited to have been invited into the Flow Sessions series. The plethora of sounds that culminate within dance music are always subjective and the restraint of time often apprehends a selectors ability to truly express their own artistic language. The opportunity for a mix like this allows for a range of sounds, tempos and genres to be explored to fully capture an exhibition of expression. The approach to this mix was to take the listener along a crescendo throughout the progression of the set, whilst also allowing the emotions of the track-list to come full circle.
What is one track that never gets old for you no matter how many times you hear/play it?
I will never EVER get tired of listening to “Time” by the Pachanga Boys.
You can pick up a copy of Elliott Creed’s ‘Silence of a Full Room’ from HERE