The Robot Dentist
Origin: None
The Robot Dentist is an exciting up and coming producer and DJ from Chicago, IL. Drawing inspiration from an extensive and diverse musical background that includes hip hop, jazz, and classical, he is always trying to push musical boundaries and never happy with mediocrity. After releasing his debut EP in early 2012, The Robot Dentist (real name Ian Squires) knew it was time to take his music to the next level. By that summer he had gone from bedroom producer to performer on the main stage at Soldier Field for the first ever Spring Awakening Music Festival, sharing the stage with the likes of Skrillex, Afrojack, Benny Benassi, Moby, and countless other amazing artists. The future is bright for this talented young musician as he continues to impress with both his production and performance.
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I have a deep love and passion for music, starting from the time I was born. My father is an accomplished conductor, musician and professor of music. I’ve been going to his concerts my whole life, and it was here that I really developed my love for music. I believe in the power of art with every atom in my body, and to me, the expression of the human experience through music is the avenue that I connect with the most. That being said, I love art, literature and all avenues. Lots of people connect with these forms better than with music. But something about musical expression just gets me down in my core. It’s something I’m going to feel for the rest of my life, and I couldn’t imagine life if I didn’t express myself through this medium.
Interview
Home Town: Chicago, IL
Currently Living: Chicago, IL
Origin Of Name: I played one of the first tracks I made for some friends of mine, when I was just starting to produce and hadn’t yet thought of a name. One of them said, “It sounds like Robots.” Another said, “It sounds like a dentist is drilling my teeth.” I didn’t think of it right away, but because of those comments I decided to become the Robot Dentist.
Weapon of Choice: Love. Love is the most powerful and most dangerous weapon. Besides vagina of course, but I don’t have one of those.
Source of Power: I’m rather easily influenced, so I could draw up a huge list here. But I’ll name some of the big ones. Enoptix, who was, and is, my biggest mentor on producing. Eric Prydz, who in my eyes is the most versatile and talented DJ/producer combo in the game. deadmau5, whose music, skill, and unbelievable live shows continually outdo the massive pool of people that make up EDM artists. Noisia, for being so beautifully unique and talented. Tom DeLonge, because I love everything he does musically and have since I was a young punk, and I get inspired every time I hear his shit.
Was there one particular moment in the recording or mixing process for your Discovery Project entry that made you feel like you were creating something pretty damn special?
Absolutely. The track I submitted to Discovery Project was the title track of my most recent EP, and it was the last track I did for that release. I had a funkier track, and a really dark track already. But I wanted to make something that was straight from my heart, and not cookie cutter in any way. After the first session I did on the tune, I was so giddy because I knew I had started something that was very special to me. I didn’t know if my fans would react well, and I definitely didn’t ever think the track would give me an opportunity to do anything as big as perform at EDC. But I could feel deep down that that it was something that reflected raw emotion, and that I at least would feel that again every time I listened to it.
Are there any dots to connect with where/how you grew up to your musical output?
It’s kind of a blur. I grew up around musical performances my whole life, and I’ve been playing and writing music for as long as I knew how. But I think the diversity of my background really plays a big role in what I do today. I’ve been involved in classical, jazz, hip-hop, punk rock, and am a fan of countless other genres for so long that I never feel bogged down or like I can’t do something completely out of the box.
What do your parents think of what you are doing?
On some levels, they don’t understand it. They’ve never seen me perform, or really any electronic musician for that matter. But both of my parents were professional musicians for a large part of their lives, my father still is. So they definitely can respect and understand my passion. I think they are proud of me.
What’s the biggest misconception about being a DJ?
That anyone can do it. Sure, anyone can learn to use music making programs, and anyone can buy turntables and learn to mix. Just like anyone can buy a guitar and learn. But to truly add something to this world via musical expression is a really difficult task. Not to mention, creating something from scratch that sounds professional and people can connect with is also an extremely hard task. I think a lot of the EDM market is watered down with “producers” who just want to make a song that’s catchy. Yes it’s good when songs are catchy. But to me that isn’t what any type of music is. If music doesn’t come straight from the heart and enter another person’s heart, then it’s not really worthwhile as far as art is concerned. And there is no debate that real music is real art.
What is your ultimate career dream?
I think my goal for right now would be to play on a main stage at Electric Forest Music Festival. It’s not the biggest festival in the world, but I think it is the perfect combination of big but focused on music and love. The vibe there is different than any other festival or show I’ve ever been to. It would be my ideal crowd.
Are you impulsive with your work or do you have a sketch in mind before you start?
It depends. Sometimes I get in the studio and start messing around and come up with something that I really feel out of the blue. But other times I’ll see a performance, listen to a track, even watch a movie, and something will go off in my brain and I have to get in the studio and lay down what’s in my head. I can’t tell you how many times I’ve heard a next-level song in my head but didn’t have access to getting it down, and lost it. That is the worst.
How, if at all, does listening to music figure into your creative process?
Listening to music is a huge and integral part of my creative process. I don’t think I’d be able to do it if I didn’t listen to so much music. I think the act of borrowing ideas or getting ideas from another artist is truly the engine that drives progress. I don’t advocate stealing or copying someone’s style, but if you can’t catch some inspiration or a good idea from an artist you love or admire, than where the hell are you supposed to pull from? The last track I heard that made me go ape shit and want to get in the studio immediately was “Isle of Capri” by James Egbert. That song is so beautiful to me and the first time I heard it I got pretty Becky Buckwild.
What’s the most important piece of gear in your studio?
Lennar Digital’s Sylenth, hands down—no question. It is such a basic and user-friendly synth, but it is so versatile. I use it for everything. Some of my tracks are strictly Sylenth. You can make leads, basses, ambience and even synthesized drums. Sylenth is my shit, no doubt.
How important is it for you to experiment and take on the risk of failure?
Huge. Sometimes I fail at experimenting enough because I get comfortable, or I like the last track I made so much that I want to make another just like it. But without experimentation growth is severely stunted. Failure is a part of life. Not every tune I make is going to work for people. But even if it doesn’t, if I did something different and learned from it, then I just grew as an artist and as a person.
If we pressed Shuffle on your iPod while you went to the bathroom, what would you be embarrassed to come back to us listening to?
Cinematic Sunrise. They are my biggest guilty pleasure by far. But Goddamn they are so good.
What should everyone just shut the fuck up about?
Molly. It’s really not that cool. And nobody gives a shit how much of it you took at the last festival you went to. You sound like a fucking idiot.
What gets you excited when you think about the future of electronic music and club culture?
Definitely just the explosion of the scene. A lot of people think it’s a bubble that’s going to burst. But the true fans are going to be fans for life, and I think in 50-years people are going to point to this era as a musical breakthrough, that started something bigger and more creative than any of us can even imagine right now.
When you look at electronic music and the surrounding culture, what worries you about the future?
Definitely the culture of drugs that is so often associated with this type of music. I’m not going to judge someone if they want to take drugs and go to an EDM show. But it’s a reality that there is a huge crowd that cares more about getting messed up then they do about the music. And first off they are short-changing themselves from the wonder that is this music. But also they are giving the scene a bad rap. Drugs are everywhere, but I think EDM is especially looked at as a culture surrounded by drugs. It’s not fair to the artists who put their soul into this shit to be thrown under the umbrella of “music you have to be on drugs to enjoy.”
Do you have a secret passion?
Poker. It’s not really a secret. But I think poker is the pinnacle of all games, including sports. I love playing and am going to continue playing as long as I have money to lose.
Is success physical or internal?
Definitely internal. Success to me is dependent in a person’s goals. So if your goal is a physical one, then it can be physical. But really you’ve succeeded when you have met a goal that you set yourself, internally.
What’s the hardest professional lesson you’ve learned thus far?
Not to rush the creative process but also that it’s ok to settle or set a deadline for yourself. It’s so hard determining when a tune is “finished.” Looking back, there is at least one thing that I would change about every single track I’ve ever made. I’ve made the mistake of releasing something well before it was ready and finished. But I’ve made the mistake even more of holding on to a track way too long and never finishing it. It’s super tough to find that balance, but it has to be done. You’re not going to get anywhere by holding on to all of your best songs and nit picking at them for months. But you’re also not going to get anywhere by releasing something that you’re not happy with.
Tell me about your most memorable night out.
I think my most memorable time as an artist was playing the main stage at Spring Awakening Music Festival in Chicago last summer. It was the first festival I had ever played. To be on the main stage was just craziness, and for a long time I never thought I would get there. I played a set with my good friend and label mate, Enoptix. It went really well, we felt like we rocked it. A lot of our hommies came out and supported us, and we gained a lot of new fans in the process. It was an amazing experience. We were the first act all day, so now we can say that we were the first electronic musicians to play at Soldier Field. That is something special to me that I’m going to forever hold on to.
What advice would you offer someone thinking about entering the Discovery Project competition?
My best advice would be to showcase yourself as much as possible, without compromising the quality of your submission. I submitted a mix with four original tracks in it, plus the required original track, which was not in my mix. I think it helped me stand out a little bit.
Last words?
Check out my family, Rage Face Records! All of the music is for free download.
Live from EDC NYC 2013:
Soundcloud:
