Right-O Interview - Embracing The Future

Meet Right-O, one of Melbourne's leading beat makers. With a sound heavily influenced by the late-night antics of UK’s underground, interwoven with an electronic -Right-O, has and will continue to embed himself heavily in the Australian club scene. Right-O pushes the creative boundaries of dance music with each track through embracing a variety of genres, styles and techniques.

Futuremag Music: How did you initially move into the music scene? What's your relationship with music been like over the years?

Right-O: I got into the dance music scene in around year 7 in 2007/2008. The first time I heard the Ministry of Sound 2007 Annual with records on it like ‘Exceeder’, Where the Parties at’ by Tonite Only and ‘Put your hands up for Detroit” I was hooked. I was fairly young at the time and didn’t really have much experience going out, so that was really my only experience with dance music culture until I started going out to nightclubs. I was one of those kids that listened to a bit of everything but that annual got listened to, to and from school every day for like a year. Once I started going out and diving deeper into dance music I started DJ’ing and promoting at a local nightclub with some friends and that was it. My partner and best mate at the time had come from a producing background and I had come from the DJ’ing background and we both wanted to learn more. Rest was history, really organic.

Futuremag Music: What's your production process like? How'd you form your single 'Skyfall'?

Right-O: Initially the instrumental was written in a few hours. It was one of those records that just clicked straight away. It went through a few revisions after but the heart of the track was written really quickly. After that getting the vocal and the rest of it finished was a massive process. Took about 3 years to finally get it out. In those 3 years I learnt so much about the music industry as a whole, and went through a lot of stuff both good and bad. I’m actually really happy it took that long because I wouldn’t have had some of those experiences with my manager and the label and all the external people we had to deal with.

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Futuremag Music: How did you come in contact with the artists for the 'Skyfall' remix pack?

Right-O: Alec Bonnici and TK BBY are actually really good mates of mine. Met them through a show I played in Sydney called Deeper than House. They are AWESOME underrated Australian producers who deserve nothing but good things, and they absolutely nailed their mixes. ACCADAMY is another Sydney artist who I have known about for a while but never really knew. Got the chance with this project to reach out to him and I’m so glad we did.

Futuremag Music: How has the Right-O project developed now you've gone solo?

Right-O: It was a bit weird at first, but every change is a chance for positive change. I’ve been able now to push the project into a new light and make it completely represent my personality, which I think is really refreshing after going through some challenges early in the year as a duo. With the choices in remixes especially I wanted to work with guys that were in a really developmental stage of their career and potentially help them in any way I could. I want to use Right-O as not only a platform for me but for other local guys that deserve a go. Getting that whole rider to myself is a definite plus as well.

Futuremag Music: If 'Right-O' was a cocktail what would be in it to best describe yourself and your music?

Right-O: ORIGINAL! It’s the only thing I want this project to be known for!!

Futuremag Music: What does the future hold?

Right-O: I have a heap of new releases coming out on Be Rich Records, both clubby, and more vocal emotive stuff that I am really excited about. Apart from that my manager and I have started a PR/Digital Marketing and Branding firm, called Cartel Management Australia. I’m really passionate as both an artist and a branding guy about developing hard workers rather than just relying on talent. We are building a culture of ‘Can’t Teach Passion’ that will help nurture younger artists through the industry and not have to fall over like I had to when I was navigating the industry.

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