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Wiley Webb: “If something is still fun at that ‘too serious to be fun’ point, you’ve found something you love.”

August 13, 2013 By Ben Hebert

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After growing up in Los Angeles with just a piano, computer and a small ocean view, Wiley Webb continues to create music that’ll satisfy your dancin’ shoes as well as your ears. He creates original music, remixes and mashups. He likes to make music that’s “subtle, clever, complex-smart and sexy”. At just 19, Wiley Webb seems to know what people want to dance to.

When did you realize producing was the path you wanted to take? Was it a gradual process in getting here, or did you decide rather quickly?

You fiddle around making bad music for a while, but it’s fun, then you start learning more about how music works, it’s still fun, then you end up knowing far too much, you become hypercritical of yourself, sometimes frustrated, intimidated by high standards – but you realise it’s still fun. If something is still fun at that “too serious to be fun” point, you’ve found something you love.

Who are your biggest influences in music and why are they so special to you?

I’ve learned the most from Daft Punk, Deadmau5, and Justice – their music was in my life at the right time. They were also big before dance music was big, why? Because they made good music, regardless of whatever genre it was – I love that. These days I mostly draw influence from the artsy side – James Blake, Flying Lotus, Bonobo, Massive Attack.

You make it a point to thank fans individually for their support. Is this something you wish other artists did more of?

Of course; most people drastically underestimate how much someone appreciates a small gesture like a ‘thanks’ tweet back, maybe with some exclamation marks if you’re feeling generous, haha. Plus, I can’t pretend like I’m so famous and busy I don’t have time for expressing the genuine thankfulness I feel.

Your soundcloud has pretty much everything from mashups, to remixes and originals. What would you say is the most fun to create? And what is the most challenging?

Originals are definitely the most challenging because you have absolutely no limits. In a remix at least, you have the original vocal to fall back on. I think fun is correlated with challenge. Well, at least retrospectively. Ambrosia was frustrating as hell to finish.

Do you find it hard to balance your first year of college with also making music? Is there any advice that you can give any aspiring artists who are in similar situations; whether it is holding a job, or remaining a student and also being a producer?

It’s hard, but then people use that word ‘double life’ in articles about you and it makes you feel like a superhero without the costume changes. You have enjoy a healthy amount of pressure and stress. The single biggest tip I have is to offload all the not-music stuff you need to remember onto a to-do list and calendar (I use Clear and Fantastical). After some adjustment, worries of ‘when should I start that paper’ won’t intrude on your sacred music time. Also, if you start a paper four hours before the deadline, it only takes four hours to write!

Growing up with a piano around, were you constantly playing? Was it something forced onto you like a lot of young kids, or was it something you chose to take part in? Do you think it gives you a leg up on other artists who don’t play an instrument?

It wasn’t forced, I had a great teacher who let me focus on theory and composition more than practice and performance. I don’t call myself a musician; I’m just good enough so that I can jam, experimenting, without the keys getting in the way between my ideas and the sound that comes out. It’s crucial to start a track from a musical place, from chords and melodies, because it’s really hard to add real musical value to your aimless beats and sounds later on.

What music did you grow up listening to? Is it anything you would choose to listen to today?

The classic rock and alt rock radio stations. It’s always hilarious to look back at my old library, horrible taste, but there’s the occasional diamond in there – Led Zeppelin, Jimi Hendrix – whose work I still find beautiful today.

What can we expect for the future of Wiley Webb?

Producing for some pop artists and an EP in 2014 of about five vocal tracks, which are already sounding huge. I aspire towards a Justice/Daft Punk type of release that stands on its own – great, innovative music that happens to be very, very danceable.