Metronome #142: Lex Luca

Insomniac’s Metronome series features mixes from some of today’s fastest-rising electronic stars, as well as championed legends. It takes listeners deep across a wide range of genres, movements, cultures, producers, artists and sounds that make up the diverse world of electronic music.

Sometimes, there is a long backstory to an artist—either buried deep or resting on the surface—that reveals a great deal about their success. Such is the case with rising UK star Lex Luca. Before his time in the underground house scene as a talented producer and DJ, Luca went by Alex Kenning and spent more than a decade as a producer for high-profile outlets like BBC’s Radio 1, as well as for notable artists such as Roger Sanchez and Pete Tong.

So, it should come as no surprise that once Kenning decided to parlay his talents into becoming an artist himself, all of his previous skills and connections would grant Lex Luca fiery success right out of the gate. After putting out praiseworthy releases on Cr2, Dopewax, Love & Other, Undr the Radr, and more, Luca was given the coveted position of putting together Cr2’s tastemaking Ibiza Underground album for 2017.

That same year also saw the launch of Lex Luca’s own label, In Tune, which he sees as not only a home for his own releases, but also a place to showcase music from upcoming talent and hot tracks from other well-known producers. It all seems to be working out so far, as Luca’s tracks on his label have garnered support from Pete Tong, Danny Howard, and similar artists, as well as on outlets such as Mixmag, iDJ, Insomniac (obviously), and many more. His latest on the label, Push The / Yeah Yeah, is a double-sided single that’s slated to push him to the next level.

It looks like the future can only get brighter for Luca, who has clearly put the work in to get where he is today. Today’s Metronome mix is a prime example of the deep grooves Lex Luca is known for both curating and creating.

Before transitioning into becoming an artist, you spent around a decade being a producer for shows at the professional level at places like Radio1. How did you get your start in that world, and how did it influence where you are today?
After uni, I started doing work experience for a production company, literally making cups of tea, asking to help out with research, sit in on shows, etc. I’d already been DJing from when I was a teenager, so my entry point was always music. I wanted to work in music, and I needed to get a job. I saw a friend of mine, Tom, working his way up as a radio producer, and it just seemed an obvious step for me. As I worked with some of the most well-respected DJs in the world and on some of my dream music shows, I learned loads along the way—not just about broadcasting, but also about DJing, music production, and the music industry. I couldn’t really have asked for a better education to be at the stage I’m at, and it’s influenced me, as it’s my unique journey of getting to this point.

When did you first decide you wanted to move out from under helping support other artists and become one yourself?
I’ve always had the artist in me. I’ve played instruments, performed from a young age, and been DJing since I was a teenager. I’ve enjoyed my journey as a radio producer, and during these years, I also ran parties, DJed around the world, and held residencies in key clubs. I even ran a record label for a short period of time with some friends (and still proud of our one and only release by the talented producer Red Rack’em back in 2010). I’ve spent the last four or five years producing music “seriously,” as it’s something I wanted to invest my time in. It’s where I see my future as an artist and how to fulfill my potential as a DJ.

You’ve mentioned in other interviews that you got your passion in electronic music from your older sister and her friends. You cobbled together a DJ setup as a teenager and learned to beat-match on old acid vinyl. Were you DJing the entire time you were getting into radio production? What parties were you playing?
Yes, I was DJing way before I started working as a radio producer; that was my entry point. We used to put on squat parties for friends, with bin liners to cover the walls, and I’d borrow my mum’s car (sorry, mum) to take my equipment.

My first official club set was at the now-defunct Bagleys. I played on pirate radio, and I also used to run a party called Itchysoul with a few friends. I got involved when it was a monthly party for mates, and we took it to clubs and festivals around the world, booking DJs like Rahaan, John Morales, Felix Dickenson, and playing at festivals from Isle of Wight to Lake of Stars in Malawi. I’ve played all around London, from Ministry to the Egg, and from Ibiza to Berlin. I’ve also DJed further afield in Mexico, Costa Rica, Panama, Dominican Republic, Iceland, France, and Australia.

You also tend to mention Laurent Garnier’s “Man With the Red Face” in interviews as being a favorite track. What about that draws you in, and how do you think that affects the music you’re making today?
It’s got everything, that track! It’s all about the original version. The tension and build. The groove. The drums. The musicality. Love it. It brings back a glorious memory of when I saw Laurent Garnier play it live at Creamfields in 2000. It was a mega moment! It was a goosebumps moment for me. It affects the music I’m making these days, as it sets a new standard. It lives within its own rules. It instantly stands out. There’s a sense of liberty of making something that is unique.

You’ve spent a long time slowly building up your production skills before releasing tracks at a professional-quality level. What is your current process like?
Right now, the music-making process is great. I make music every day, generating new ideas. Then, I’ll go through these ideas, listen through in a different environment, and make some decisions on what to finish. So essentially, I’ve got loads of different projects on the go, and I’ll always be trying new things, new techniques, new plugsins, new samples, etc. I do make an effort to finish tunes as quickly as possible. If it’s not working, I’ll move on to the next one.

What was your first track that you knew would be good enough to release to world, and what did that feel like?
The first track I released was “Hoop” with Dan McKie’s 1980 label. I’m grateful to him—he saw the vision. I don’t remember thinking it was good enough, but I sent it out anyway to get some feedback (which I’d highly recommend doing). Releasing the track was a milestone, and in that respect, it felt like a big achievement.

Are you still doing your show on HouseFM? What are your future plans for it?
I’m still doing my show on HouseFM (weekly Wednesdays 10pm!). My plan is to develop it to reach a more global audience and for it to be a leading, tastemaking show.

You’ve said that In Tune has opened up a new world of possibilities for you. What made you decide to start your own label, and what is your ideal future for In Tune?
I’ve wanted to create a record label for a few years. I actually came up with the name a few years ago with my friend Roxy. I decided to start it, having sent my track “Control Ya” to one of the bigger labels and also to Pete Tong. One week later, on the same day it was turned down by the label, Pete played it on his Radio 1 show. So, I felt it was the right time. My future for In Tune is to grow it to be up there with the best of them, like Dirtybird, Hot Creations, Knee Deep in Sound, Toolroom, etc.

Do you have any releases lined up for In Tune so far that aren’t your own?
I’ve got the next three EPs lined up, which are all my own. And I’ve got some plans for the anniversary release in October that will involve some other artists.

What really gets you excited about the music you’re in, even after all these years?
Emotion. Variation. Groove. Musicality. Fun.

Lex Luca Metronome Track List: Jey Kurmis “Jessycat”
Hannah Wants “Girls & Boys”
Lex Luca “Push The”
Marcellus Wallace “Bump”
Silque “Back to Back”
Shadow Child “Nonsense”
Danny Serrano & Mendo “Grush”
Lex Luca “Yeah Yeah”
Eskcuch & Nu Sky ft. Joyse “Enjoy”
Scott Diaz “WRKME” (Josh Coakley Re WRK)
Rebuke “Burma”
Dqwon & Mike Vale “Different Levels” (Demarzo Remix)