Curses “Ocean Eyes”

When Brooklyn-bred producer Curses made the decision to move to Berlin earlier this year, things were bound to get a bit deeper. His newest offering, “Ocean Eyes,” is a late-night burner complete with metallic bells and subterranean drums. He’ll be touring extensively throughout Europe this summer and has more music forthcoming on OFF!, as well as his own Safer at Night imprint.

You can pick up “Ocean Eyes” when it drops May 11 via Attaché Records.

Did you discuss or exchange ideas with other producers while creating this track?
I have learned over the years that getting feedback from your peers is the most effective tool to finishing a track. Total Fitness and Cranks helped give some great feedback on this when it was in its early demo stages.

Were you impulsive on this track, or did you have a sketch in mind before you started?
I always let my instinct take over with intuition as the instrument. Then, I build a foundation around the early bones.

Was there one particular moment in the recording or mixing process of this track that made you feel as though you were creating something pretty damn special?
I tested an early version out at this super small and always vibing club called Sneaky Pete’s in Edinburgh. The response on one particular bells element was massive, so I revisited it and made them the main focus of the track. I had a feeling then.

Do you think advances in computer technology and gear have affected your creativity?
Absolutely. Since I am traveling a lot, I produce majorly on the road, and then mix down when I have access to studios. The environment I’m surrounded by in each country influences my sound palette. Being able to record vocals, synths and drums are all thanks to the advancement of technology.

How does this production reflect your personality/ethos?
I always play with the power of tension and release. Suspense and mystery are crucial to staying enchanted and never bored.

How do you measure the success of a track?
Techno whistles on the dancefloor during breakdowns.

Creatively, how did the work on this track stack up to previous studio sessions? Was this more challenging to complete than others?
I had moved to Berlin, so I didn’t have our Safer at Night studio to work from back in Brooklyn. I had to pull a lot of favors, and luckily I have great, supportive friends who let me use their spaces to finish the track.

What’s your favorite sound/synth/effect/etc. used here?
A lot of the squelchy and bleepy sounds on this are tweaked in a MaxMSP granular patch I built. MAX for Live is my favorite go-to tool lately. The end results sound oddly organic, like the machines are breathing and trying to communicate.

If this song were a color, what color would it be?
Faded powder blue.

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