EXCLUSIVE INTERVIEW
Known for their dynamic live performances, S.A.M. has established themselves as a force in the scene, where they seamlessly blend ambient soundscapes with pul- sating rhythms. Their upcoming live performance in 2025 promises to be a transformative experience, in- viting audiences to not only dance but also reflect on the deeper connections between music and emotion. As a firm believer in the partnership between music and silence, S.A.M. crafts experiences that resonate on a personal level, drawing listeners into a world where every beat carries significance.
At the heart of S.A.M.’s artistry lies a commitment to inclusivity and self-expression, making their music a vehicle for rebellion against societal norms. Recog- nizing the club scene as a historically rich space for marginalized voices, S.A.M. aims to honor this tradi- tion through their work, creating environments where everyone feels welcomed and celebrated. By foste- ring a collective experience that transcends individual identities, they continue to reshape the narrative of what it means to connect through music and more importantly, through silence.
“This is perhaps the most important dynamic of my life from the way I try to live in tune with myself and ensure what I do is honest, to the way I make music by only ad- ding sounds I feel are both worthy and serve a purpose to the silence surrounding it. Groove isn’t maxing out the syncopation effectively shoving sounds into every space.
The space gives strength to the sounds. Without the quiet parts it would just all become noisy and anno- ying. Silence is the source of energy. I have always nee- ded my space. Since I was a kid I would spend a lot of time in solitude, just being outside or in my room. I don’t remember ever feeling bored. I would meditate in the forest in my teens and write poetry here and there as well as play and record music. I think this solitude has always stayed with me as a very important inner sanctuary”.
“I can always visit this inner room wherever I am, but only if I am still – only if I am silent. And I always feel so energized with optimism and peace after checking in with myself. In my music, I find these moments of stillness often by redaction. I often have to delete entire layers, and sometimes even the original idea, to reduce it to the essentials for the track to communicate “that” feeling more confidently and with more dynamic range. I also feel that certain sounds, like pads, can invite the listener to be still. Pads have this duvet effect on me, where I feel comfortable and safe, warm, and enter a deeper emotional tone. I think with the right balance between silence and sound within a single bar, it can become a track in itself. That’s why much of electronic dance music’s loop foundation is so appealing to me I think”.
As we explore S.A.M.’s journey, we find an artist dedi- cated to pushing boundaries, embracing silence, and championing the power of sound to inspire and unite.
They state, “Music is not just about sound; it’s the partner of silence. It’s in the spaces between the beats where true emotion resides. I believe that embracing si- lence allows the audience to connect more deeply with the music. My goal is to create a space where people can not only dance but also reflect and feel.”
This profound understanding of silence as an integral part of music enhances the experience for audiences, allowing them to delve into their own emotions and stories while immersed in sound.
“I think silence can be very present in the way a track is mixed and mastered. Silence can be valued and respec- ted in a track that grooves the right way. Silence can become present when we let ourselves reach new dep- ths of listening. When playing live I think it’s important to do it your way. Let live (performance) reflect your life. You don’t have to be ready to change your show at any whim of the audience if you feel your message is as clear as it is. If the means to communicate your mes- sage is through tweaking 10 synths, three drum machi- nes, and a modular synthesizer then it doesn’t mean it’s any more honest than a person expressing themselves using a laptop. I would also say that live sets are inte- resting from a different angle than pure entertainment or performance”.
The anticipation for S.A.M.’s live performance is palpa- ble, and they are well aware of the power of a shared musical experience.
“When I’m on stage, I’m not just playing tracks; I’m invi- ting people into a conversation,” they explain.
This ethos shapes their performances, where every beat, drop, and pause is meticulously crafted to crea- te a collective journey. Their ability to read the energy of the crowd, to weave in and out of moments of high energy and introspection, exemplifies their skill as a performer. As they put it,
“The energy from the crowd fuels my creativity. It’s a shared experience that transcends individual identi- ties; when we gather on the dance floor, we become a collective force. I want to amplify that connection in my set, making sure everyone feels included and cele- brated.”
S.A.M. recognizes the historical significance of the club scene as a space for rebellion and self-expression. Clubs have long been a refuge for those seeking free- dom from societal norms, and S.A.M. embraces this tradition wholeheartedly. They reflect on the role of clubs, stating,
“The club scene and both house and techno are indeed rebellious in their origin but it’s also a force for libe- ration. I think most people associate rebellion with an immature teenage attitude and miss the point that rebellion ensures one’s autonomy. The ‘no’ precedes any authentic ‘yes’. That’s also why I don’t agree that the club scene primarily is escapist, as so many have described it. I think most people go out to listen to House and Techno because it feels liberating and not primarily to escape their nine-to-five. It has to be said that house and techno are all Black music. I think the scene currently to a large degree has forgotten that fact and heritage if not completely unaware of it”.
“Like so many other musical diamonds originating in the Black community (blues, jazz, rock ‘n’ roll, disco, house, electro, and techno), house and techno have been capitalized on by a white industry that doesn’t care about its origins. I am of course white which brings
mixmagit.com 111
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140
