When two-time DJ MAG World No. 1 Hardwell unveiled his magnum-opus ‘United We Are‘, he immediately came under the intense scanner of critics, fellow-DJs and fans. An artist, who has built his empire largely based on his larger-than-life Festival dominion, the dance community begged the question: ‘But can he deliver from inside the studio as well’? Days after the release of the massive album, the Dutch Superstar sat down with Billboard to discuss various topics; primarily focusing on his album, the interview touched his album, the process behind it, its controversial nature and the future of EDM and DJing.
On being quizzed about his album and the concept behind it, Hardwell shared his views and how he wished to show diversity through his album instead of simply making radio-friendly airplays for commercial interests.
I think my album represents what I’ve been working on for the last 10 years, working hard on my own identity as a DJ and producer, and I think this album represents my sound. I didn’t jump on any bandwagon deep house trends or whatever. I just tried to put out an album that is as diverse as possible for an artist album.
…A lot of big labels approached me to come to L.A. with a big studio and singer/songwriter list. Most of those dance acts are completely aiming for radio and want to make an album as commercial as possible and make a lot of money with that album. All of my album’s tracks are made for the dance floor and not for the radio. They still have that punchy kick drum and it still feels like a festival album…I didn’t feel that connection to actually go to L.A. and work there. Everything that made Hardwell popular came from my studio here in Breda, and I didn’t want to take myself out of this environment and change things up. I felt safe here and still feel safe here. I knew exactly what I wanted to hear
The discussion moved towards the controversial nature of the album, specifically the track ‘Sally‘. The track known for its loud-mouthed, abrasive Rock-infused-feel has drawn mixed reactions. While the track is a firm step away from his usually distinctive sound-style, Hardwell clears the air on his intent, and how he wanted to break the shackles.
I came up with the idea for “Sally” since I’m always playing my bootleg of Nirvana’s “Smells Like Teen Spirit,” and my fans love it when I drop that. I wanted to do a crossover track with rock and more EDM elements. I think I don’t have to explain — but progressive house music is not going to work with rock music. So I wanted to do a really easy, hard-hitting EDM track; the drop reminds me a bit of “Spaceman.” Harrison came up with the lyric, and that’s the shocking part for most people. The thing is, he explains this to me: Sally is not a fictive person. Sally is a term in the rock industry that’s been used by the Beatles and Eric Clapton, and if he says “I’ve been f—ing Sally,” he’s saying he doesn’t give a f— about what’s going on. That’s the definition of the song. When he explained this to me, I said maybe it’s cool for Hardwell, who’s always been seen as that nice and normal guy from Holland, to make something more shocking. I really like the lyric. It’s something different. And of course you don’t listen to this track in your living room. Picture yourself getting drunk with your friends at 2 or 3 am, and you play that “Sally” track.
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