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Adam Pits

"Having a creative outlet in this dark time will prove crucial to the happiness of so many people"

Hailing from Leeds, Adam Pits has established a sound both soothingly solar and propulsive; engineering elements of organic house, acid and full-on esoteric nu age to shape and define her own unique blends, all at once club-friendly and well suited for home listening. Read our interview below to find out more about Adam’s wide-spanning influences, creative environment and studio methods.

What initially lead you into the path of electronic music? Do you recall hearing a life-changing record, meeting someone or attending a party in particular?

I got into electronic music through listening to beatmakers such as Bonobo and Emancipator. I always gravitate towards music without words or lyrics as it really distracts me from hearing the source of the harmony/melody/rhythm. In this case there was a record that really took control - Fluke - Zion. This track cut deep straight away.

How did you first start experimenting with electronic music?

My French tutor was a part time musician in a prog-rock band and when he found out I was really into music he proceeded to focus more on chatting about music rather than getting me to pass my exams – of course I was fine with this! He offered to set up Logic 9 on our family computer and that turned out to be the initial spark. It wasn’t until University that I really started getting obsessed, and up until then, I would use it as a means of jotting down simple melodies that I was hearing in my head.

Do you recall a particular record or a gig that changed your life forever?

The entire Skee Mask – Shred Album was one of the first records I purchased and still to this day do I wonder how the F**K he came up with some of those beats?!

A gig that really changed my life was seeing Roman Flügel b2b Ben UFO at Gottwood Festival in, I think, 2016.

How did you first come to music production? What was the trigger?

I studied Classical performance at University with Cello being my principle practice. I spent the three years pondering what I would do with the skills I had attained over the many years, but for some reason the spark for this genre wasn’t there. I think deep down I knew I was a creator of music rather than an interpreter and it wasn’t until I felt comfortable with music software that I realised this. Writing music on manuscript paper is NOT A VIBE!

How did you get to that unique sound?

I’m flattered that people think I have ‘a sound’. In reality I'm still very much exploring everything. I think what people are really alluding to is my ability to creative emotive harmonies and melodies, which almost certainly came from my classical background. Whilst I was studying Cello, I would always gravitate towards the romantic or impressionist period which, in my opinion, are the two most melancholic styles of music.

What’s your studio comprised of at the minute? And is there a special piece of gear you’d never get rid of?

You’d be surprised at how much I do in the box. Only since I moved in with my friend SKINS have I been able to combine my gear with his through the decent mixing desk in our studio. I like to layer samples I've recorded from my ‘Arturia Drumbrute’ with samples in the box. This way you get a nice mixture of digital and analogue, and I do exactly the same with soft synths and my ‘Berhinger Deepmind 12’.

What makes a good mix to you?

The most satisfying part of djing for me is not noticing when two tracks are in together. When a whole mix is like this, Im super happy! I like there to be a clear, but gradual progression. I’m not really one for ‘curveballs’ but I can appreciate the effect that has on people.

In and out of the electronic music circle, who’s an inspiration to you?

Alex T aka Gary Deep. He really nurtured me into the dance music world, as well as being a gentle loving friend. He’s had a massive influence on my music taste through the many exchanges at ‘Tribe Records’ in Leeds. My parents have forever supported me in what I do, even though I decided to move away from Classical music which has been their professional practice for nearly 40 years. I feel very lucky to have had such great people guide me at every corner.

What’s the last record shop you visited and what did you bag there?

The record shop that’s located above the club ‘Closer’ in Kyiv is unreal! I implore anyone to go there if your in the city. The record that I purchased is COLD, Strobe Light Network - It’s a pretty 90’s record.

What can you tell us about your last song: Spooka Troopa, how did it come about? What inspired you?

I was really trying to emulate the drum processing of Desert Sound Colony and Bushwacka!. I love the rawness that they achieve, not to mention the incredible movement/feel that everyone is so familiar with these two artists. The title reflects the mood of the melody I wrote for this track. It’s reminiscent of soundtrack to a real Scoobie-Doo clubbing experience.

What kind of impact does the city’s atmosphere have on your craft? Do you feel it effects the way you produce/approach music?

I think some of my more techy numbers have been inspired by the scene in Leeds, although I would say that the city hasn’t had too much impact on my productions.

Sound-wise, what have been your main influences when you first started mixing and working?

So many influences! Marlon Morris aka Lisene has certainly had lots of influence when it comes to sound. We used to sit together in the early hours of the morning flicking through old discogs records saying ‘yes’ or ‘no’ until one of us would remind the other that “ maybe this isn’t the best way for us to have fun on a sesh?”. In reality, that’s what made us happy.

Having been around for well over two decades, it’s safe to say you’re in a position of authority to comment on the evolution of “raving”. Don’t you sometimes feel that ‘rave’ has become some sort of generic, catch-all term for parties that are in reality not ravey at all?

Im only 24, and started I raving about 5 years ago, so I'd say I'm not particularly qualified to answer this question :)

What makes you happy?

A good coffee and banging sound-systems

What pisses you off?

Bad coffee and shit sound-systems.

How do you deal with C19 confinement with your work?

At this point I’m making sure that I have a balance of studio time and exercise. This works hand in hand, and should be in the mind of every producer right now. Make sure your communicating with your fellow musicians and peers. That’s where you will find your inspiration!

Has this situation influenced your creative perspective? What social and musical implications do you think this situation can lead to?

I’d say that one of the only positives from this chaos has been the amount of DJ’s starting to produce. It’s so nice to see my friends getting stuck in. Having a creative outlet in this dark time will prove crucial to the happiness of so many people. For me personally it’s never too difficult to get myself inspired so it’s hard for me to pinpoint specifics.

Can you tell us something about your current or future projects? Where can we continue to see and hear Adam Pits?

There are many many projects on the horizon covering different genres. Im not going to give much away at this point but be sure to keep your eyes peeled.

Adam Pits

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