Flume's Studio-Mate Naderi Remixes 'Lose It,' Talks Sydney Music Scene: Exclusive

Courtesy Photo
Cover art for Naderi's remix of Flume's "Lose It" featuring Vic Mensa.

Everything comes full circle as Naderi turns the trap up on Flume's “Lose It.”

The Iranian-born producer took Flume under his wing when the superstar future bass producer was just Harley Streten, a wide-eyed 14-year-old. The two have worked together closely ever since, Naderi always lending a helping hand or ear, the two trading production techniques and competitive edges. Naderi's been there as a silent soldier for a while, advising here and there for lots of Australian friends, but he has recently felt the need to step out and make his own original works, to let his voice ring loud and clear.

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Now Naderi is premiering his "Lose It" remix exclusively with Billboard Dance, while taking the time to chat about his relationship with Flume, the Sydney scene and more.

It sounds like you're very close to Flume still, even work alongside each other. How do you describe your relationship these days?

We got a space and built two studios in there for us. We have a room each and do our own separate things on a day-to-day basis. We have a ping-pong table one of his friends donated to the studio and every hour or so one of us will go and bug the other for a game of ping-pong where our competitive side comes out in full force. It gets pretty brutal. Lido saw us playing once and I think we scared him.

If we're stuck on a track, we will ask each other for feedback, and when we come up with a fresh way of doing something, we will get excited and show each other. We don't do each other's work ever, but help each other think outside the box.   

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What led to this particular remix, and why did you choose the track "Lose It"?

Harley was out of the studio for a few days. He came back with “Lose It” and when I heard the breakdown, I lost my shit. The song was magical to me. A while later, I asked him if he minded me having a play with a remix idea. The general idea came pretty quickly, but I hadn't shown anyone. 

My manager was logged in to my SoundCloud and heard a cut of it that I had uploaded to play in my car and he called me and was crazy excited. His excitement got me even more excited and I finished the rest in a few days.  

You've been a part of the Australian dance scene for a long time, obviously. There is so much talent over there. Can you describe the creative atmosphere these days?

We had some new laws come in Sydney which resulted in a lot of nightlife dying down and I have felt a little bit of that affecting the overall scene. I would not be doing what I am now if Sydney didn't have the nightlife it did when I got started. So, I really hope the next generation has a chance to experience music culture without the hand brakes.

That being said there are some amazing artists on the rise, and I think the world will be hearing a lot about them like Tigerilla, Nicole Millar, Oshan, Enschway, LDRU, Kilter, GRMM and Indian Summer. 

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Why did you chose to step out from "behind the scenes" as your bio puts it in the last year or so? 

I feel like I have a lot to say as an artist, and I want to share that with the world. I want songs that tell specific stories and also to evoke certain feelings from listeners. You can't do that when you're working on somebody else's vision. 

Deep down, I knew that this is something I had to do whether or not it was successful. When I put my first remix out, I would have been content if anyone who wasn't my mum or girlfriend listened to it.

What aspects or examples from your work to date are you most proud of, either as a "behind the scenes" influence or as a stand-out original artist?

I'm proud of taking risks. I'm immensely proud of Harley. I was standing on the side of the stage at Coachella when he played, and it all kind of sank in and the world made sense to me. 


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