Get to know: Ramiro Lopez
Returning to the Main Room once again, we caught up with Lopez to talk productions, role models & 2017.
Leaping into the world of electronic music production over a decade ago, Ramiro Lopez has rightfully acquired a plethora of high-quality production projects and next level mixing skills which shine brightly on any given dance floor. From London to Guatemala, Lopez has dutifully covered extensive terrain from London to Guatemala since embarking on his musical journey.
Having built a broad library of RnB, downbeat, disco, funk, jazz, tech and groove on top of an impressive collection of uplifting house and steely techno, the Spaniard’s approach to production has resulted in a body of work which has been shared on respected labels including Cecille, Noir, Terminal M, Diynamic and many more.
Continuously achieving wide recognition within the electronic realm - particularly with powerful tracks which artfully combine swirling vocals like ‘Pretending’ ft. KnowKontrol on Drumcode and Pachamama on Odd Recordings - Lopez’s sound continues to evolve along with his extensive touring schedule, spanning iconic club institutions including Pacha, Fabrik, Family Club and of course Egg LDN. Returning to the Main Room once again, we caught up with Lopez to find out where he’s at after starting such an unpredictable journey all those years ago…
Production has been a huge part of your life since 2006. What’s your approach to spending time in the studio when it comes to creating a track? Do you work with deadlines or do you follow your own agenda and see what happens?
I try to have a concrete idea of the track I want to make. Of course, during the creating process, some unexpected twists might come out but that’s the magic of all this. When I am immersed in the middle of composing work, time flies at the studio. Once I have the first version of a track, I play it and test it over on the dance floor and then I make changes depending on the feedback. I usually have the final version after one month of testing. But sometimes I’m simply not 100% sure about it and prefer just to leave it and maybe work on it again in the future.
Mixmag recently published an article listing out emerging artists who are solely DJ’s, not producers and yet continue to make solid careers for themselves despite not touching production gear. Do you personally think this is a good move for budding artists?
Nowadays I think the production is the key to introduce yourself to the audience, have the chance to play in new places and then show your skills of DJing. However, I find this not totally fair. I love both DJ and producing but not every artist feels the same. This article shows this might change for the future, and I’m happy for it but in my opinion, we aren’t there yet.
You released your second EP ‘Being Alone’ on Drumcode in October, is the title a reflection of life as a DJ at times or something completely different?
It might be! We spend a lot of time alone indeed so it makes sense.
Adam Beyer has been a solid role model to you in the past; he’s shown support for your productions by playing them out to vast crowds like Awakenings earlier this year. Who else has remained a strong mentor and supporter throughout your career?
Carl Cox is also another artist I’ve been admiring and following since the beginning of my career. I’m also grateful for his support and the cheering words he has told me the few time I’ve had the chance to speak with him. I’ll always thank my close friends Coyu and AFFKT as well for being some of the first people to see the potential in me, supporting my work and advising me in the early days.
As the year draws to a close, what’s been the most unexpected moment from 2017?
It might be the success of the track I made with Andres Campo: ‘Pachamama’ released on Odd Recordings. Thanks of the big support from artists like Carl Cox, Adam Beyer and Amelie Lens, the track has been listened and danced to everywhere. We didn’t expect this kind of hype with it but we’re really happy about it.