Solberjum & Beowülf talk about their latest track ‘Dubai’

One of Art&Music Recording‘s roster gems, Solberjum and rising newcomer Beowülf have been a refreshing outlet for the same energy that stems from Dr. Shiver‘s revered label. The two artists, one from Paris and the other from Brazil, have blessed us with some stunning music from their solo catalog as well as in the form of collaborations. But now its time for something completely different as the Solberjum and Beowülf join forces for the first time to deliver their very own collaboration in the shape of ‘Dubai‘. Premiered by none other than Dance music superstars Dimitri Vegas & Like Mike, and was also supported by the likes of Oliver Heldens, Dannic & Dada Life to name a few, ‘Dubai’ employs the best of the two adept producers and brings around an exciting release for Art&Music Recording.

Peppy and hard-hitting, Beowülf’s bass-lines are a thing to behold as part of ‘Dubai’ as they entwine seamlessly with the sumptuous melody work put in by Solberjum in this stunning release on Dr. Shiver’s beloved label. Always a source of top notch output, the label showcases a little something different with the release of ‘Dubai’ as the two collaborators employ all tricks under their sleeves – be it the punching House structure or the employment of ethnic vocal snippets – to stun the listeners alike. Enjoying steady support from all quarters of the Dance music world, ‘Dubai’ is yet another track that rubber stamps Solberjum and Beowülf’s credentials in the world of production. Here are the two collaborators in an exclusive interview with us.

Your new collaboration ‘Dubai’ is out now on Art&Music Recording! Tell us how it all came about!

SOLBERJUM: Two years ago I was looking for new music for my next show. As usual I spent hours on that and finally I found one of Beowulf’s track titled “Shout” and it had this heavy bass sound that I liked. After checking out his profile and music, I found out that he definitely had the sound that I was looking for. After that I contacted him to congratulate him and show my support for his music: from there, I sent him a track id that I had, that had some Brazilian vibes, and this is how Dubai was created.

BEOWÜLF: Solberjum and I connected through Soundcloud a while ago, and after getting to know each other’s work, he showed me the early idea of the track and I loved it.  I worked on what he sent me, then sent it back to him, and he finalized it.

Aptly titled ‘Dubai’, the track features many Arabic influences, including Goblet Drums, Zills and of course, the vocal shots scattered throughout the track. What inspired you both to explore in this creative direction?

SOLBERJUM: We’re both into that type of organic and ethnic sound. This direction came naturally and we were both comfortable with developing the track following this theme. I’m french but originally from Algeria, I’ve been wanting to make this type of track for a long time.

BEOWÜLF:  I love ethnic elements, a bunch of my tracks feature some arabic, indian or other type of ethnic sounds.  It’s kind of a signature of mine, and I know that Solberjum also has this type of influence in his sound.  So we were basically speaking the same language during the production of Dubai.

Beowülf’s dark, Bass/G-House vibes are clearly evident in the drop. How did you come to the conclusion that this was the best fit for the track?

SOLBERJUM: It was clear for both of us that the drop should have had the heavy type of bass made by Beowulf. The question was more about how to make these two different worlds co-exist together in one song and in the meantime we also wanted the drop to make people dance.

BEOWÜLF:  I always work my drops thinking about the dancefloor.  The bassline has to be effective live, so that people jump and make the famous “bass face” when the low end hits their chest hahaha.  Also, the contrast of ethnic elements with a heavy drop, is something that really gets me excited, and Dubai is all about that!

The orchestral elements in the second break add an immense atmosphere. How do you think this impacts build-up to; and the size of, the drop?

SOLBERJUM: In my opinion you must make the second breakdown as epic as you can. I, personally, always try to think of myself while playing the tune at one of my next gigs and imagine how the crowd would react during this section. If I’m happy from the breakdown, my next mission is to create a tension during the build up in order to release this frustration with a heavy drop.

BEOWÜLF:  It’s all about the contrast between sections, in my opinion.  A cool ambiance, with a lot of air and melodies, followed by an intense build up to create tension, and suddenly the tension is released with a heavy bass-driven drop.  That’s what a dance floor smasher is all about! I like to make tracks that are very effective in festivals and clubs.

To Solberjum: Your last collaboration with Dr. Shiver ‘Bla Bla Bla’ was a hit! How does your collaboration with Beowülf compare to that?

SOLBERJUM: I’m honestly proud of these two tracks equally. The only difference is how they were produced. For “Bla Bla Bla” Dr Shiver and I were in the same studio, whereas with Beowulf that wasn’t the case. We were working by sending files to each other. The process of creating and the feelings are different. I’m proud of both the results but I would always prefer to be in the same place to collaborate and exchange ideas because this is how you create unforgettable memories. Anyway I have no doubt that Beowulf and I will have the opportunity to collaborate again but next time in the same studio.

Beowülf: Solberjum is arguably one of your biggest collaborations to date. What did you learn from him and what can you take from this experience?

BEOWÜLF: Solberjum focuses very much on details, and that is something that I value a lot.  I always try to add many details in my tracks to make a rich production, so I definitely learnt a lot from him on this subject.  He is very careful with these elements.

You can check out Solberjum and Beowülf’s latest track ‘Dubai’ here on Art&Music Recording’s Spotify.