From fighting fires across Manhattan to lighting up dance floors, Tone Troy has rapidly risen as one of NYC’s top DJ/producers. With releases previously on the likes of Toolroom, REALM, Nervous, Snatch!, he has proved his ability in the studio to produce some of the most enduring dance tracks there are. We caught up with him to discuss his new single ‘Come Through,’ making music that feels right, and more!
WWD: Hey Tone Troy, great to meet you! How is everything for you right now leading into summer?
Solid thanks for asking.
WWD: Your sound balances underground grit with big-room energy really well. What was the vision behind this new single ‘Come Through?’
Honestly it just felt right in that moment. I enjoyed making it from start to finish.
WWD: You’ve released on labels like Toolroom, REALM, Nervous, and Snatch! In the past, where does this new release fit into your evolution as an artist?
I haven’t really thought about that. I don’t think of where the music I make fits into my overall career. It feels probably the most “current” of what I am making right now.
WWD: There’s a strong NYC energy in a lot of your music. How much does New York nightlife still influence your productions today?
Surprisingly not a lot anymore. I find more appeal and inspiration from people in Australia at the moment. My preference of 909 hats might still give it some New York sound, but that’s probably the most of it.
WWD: Was there a specific crowd or dance floor moment you imagined while making it?
No. I can’t say I really try to make music for a specific crowd. At the end of the day it has to start with you. If you don’t make it for yourself how do you expect others to love a project inauthentic to yourself?
WWD: You’ve worked across house, tech house, and darker underground sounds. Are you consciously trying to avoid being boxed into one lane?
I just like to do whatever feels right at that moment. I feel like that is the best way to truly represent yourself as an artist.
WWD: What’s something in your production process now that’s completely different from when you first started releasing music?
I use a lot more pads than I did in the past. Typically as samples, and usually multi-layered.
WWD: You’ve shared stages or lineups with artists like MK, Solardo, Roger Sanchez, and Eli Brown, what have you learned from being around those kinds of acts?
I learned how to open a room based on the crowd I expected to come in. Being able to open for such heavyweight and respected artists like that is of course a blessing and a great feeling.
WWD: As someone balancing firefighting and music for years, how has that shaped your mindset as an artist?
It made me optimistic. Life is what you make it so have a positive thought process on it, and hopefully good things shall follow in my career I would hope.
WWD: What’s harder today: making great music or cutting through the noise online?
I think both have their challenges. I think it is comparing apples to oranges though so it’s hard to really say which is more difficult.
WWD: What makes a track “release ready” for you personally?
Just when it feels right. When I think it’s something that I would want to personally play, I think that makes it feel like a good moment to share it.
WWD: If someone hears Tone Troy for the first time through this release, what do you hope they take away from it?
The only thing I think about when releasing a record to the public is that I hope someone gets enjoyment out of it. No more, no less.
WWD: Is this release part of a bigger direction or project you’re building toward this year?
Each release builds on something from the last. I don’t think many artists try to make individual stand alone projects. I took a few months off to try and organize my thoughts and hopefully you can connect the next few releases to each other moving forward.
WWD: Finally, where do you see the Tone Troy sound heading over the next 12 months?
Hopefully taking the steps towards more euphoric driven music and emotional sets.
WWD: Thanks for the chat 🙂
‘Come Through’ is available here