Your productions have always had a psychedelic edge. As you move further into techno, what elements of the Evil Oil Man sound do you refuse to lose?
I think it's hard for me to lose my sound because I'm self-taught and developed my own production style long before there were endless YouTube tutorials. Whether I'm making bass music, minimal, techno or something else, my sound always seems to find its way into the music. I guess your style is something that's built over many years of trial and error, and I've never been someone who likes staying in one lane musically. It's nice to have a sound that people recognise and enjoy, and that's something I'll always try to keep no matter what genre I'm working in.
At the moment I like more repetitive arrangements...
If a sound is good, I think it deserves time to breathe and develop. I found that in some of my older music there wasn't always enough for listeners to latch onto because there was so much constantly changing. When you let great loops run for longer, your brain has something familiar to connect with — otherwise it can sometimes feel more like a collection of random sounds than a piece of music.
What's one production habit that has made the biggest difference to your music over the years?
Using reference tracks, bouncing MIDI parts to audio and working during the daytime. I also make sure to give my ears proper breaks between sessions. Fresh ears are one of the most valuable tools in music production.
Which artists have had the biggest influence on the evolution of your sound?
I don't actually listen to a huge amount of electronic music outside of gigs and festivals, so it's a difficult question to answer. I tend to keep my ears open when I'm playing shows or attending events, and if I hear something I like, I'll remember the feeling and try to bring that inspiration back into the studio. At the moment I probably get more inspiration from record labels than individual artists. I've been listening to a lot of releases coming from Drumcode recently. I'm also constantly inspired by music made by friends and artists I've worked with over the years, including Luis M, Akari System and more recently Vasco UG.
Do you think the boundaries between techno, psytrance and bass music are becoming less important?
Definitely. I think a lot of electronic music genres are blending together now. Some techno tracks could almost be psytrance, and vice versa. I'm also hearing more bass music and EDM influences appearing in underground music, while psychedelic sounds are becoming more common in commercial music. Everything seems to be cross-pollinating, and I think that's a really positive thing. It keeps electronic music evolving.
If someone heard an Evil Oil Man track from 2013 and one from today, what differences do you think they'd notice first?
Hopefully the newer tracks have better mixes for a start! Beyond that, I think they'd notice more focused arrangements and a stronger sense of restraint. The older music was full of loose, swampy ideas and lots of things happening at once. The newer material feels like a more refined version of those early ideas — the creativity is still there, but it's presented in a more controlled and deliberate way. To me, it sounds like a more mature version of the music I was trying to make back then.
Your sound has always lived somewhere between techno, psytrance and bass music, but lately you've been moving further toward straight-up techno. What's driving that shift?
I've always loved techno and the repetition that comes with it. Even more so now that techno is merging with psychedelic and trance influences, creating a more modern sound that I really connect with. I used to be drawn to the complexity of drum & bass and psychedelic music, but these days I'm appreciating a more minimal approach. Less is often more. Creating space in my music is something I've always struggled with, so this style isn't just a sound I've always loved, it's also a new discipline for me. It feels like a very natural progression and a more mature direction for my productions.
What types of sounds are you currently obsessed with making?
Stabs, deep basslines, swinging layered hi-hats, braams and vocals. I think electronic music instantly feels more human when there's some kind of human voice involved, even if it's only a small vocal texture. You can explore these sounds further in the Evil Oil Man Psy Techno Sample Pack, featuring 806 samples created by Evil Oil Man.
What part of production do you currently enjoy the most?
Creating the first loop is always fun because that's where the excitement of a new idea begins. But I think the most rewarding part is the final project version, when I have all the stems exported and can focus on the last stage of polishing the track. Sometimes that process even turns into a completely new version of the project, which means exporting stems all over again. It can be a lot of work, but that's often where the track really comes together.
