It´s NEW SYNTHMUSIC FRIDAY today/tonight.
One of today’s new releases comes from Paul Quin, who is putting out music via the Danish label Town And Towers.
Muzik Mag Sweden spoke with him about his upcoming album, the creative process behind it, and more.
Part 1: The Gear and the Analog Sound
1. Your sound has been described as a blend of "old-school" synths and modern club production. Which specific hardware synths (analog or digital) served as the cornerstones in the creation of *Hivemind*? Is there any particular machine that shaped the album’s identity?
- The Fairlight Synthesiser owned and played by Mark Saunders is where the album originated, so I must say that. It's such an iconic sounding thing, the strings have a sense of electricity and brightness to them that no other analogue synth can match. It features heavily on the third single BRAY (CANDYFLOSS AND LUCOZADE) which will be released a week ahead of the album. That sound also shines heavily on LITTLE BROTHER which is a classic old skool synth pop song and I PROMISE which is another banger with a bit of Elton John inspiration.
2. You frequently combine electronic elements with live instruments—such as acoustic piano, strings (violin/cello), and saxophone. In terms of production technique, how do you go about integrating these organic, dynamic instruments with rigid, sequenced synths within your DAW, ensuring they don’t clash in the frequency spectrum?
- So on this album their are guitars, even a guitar solo from my vocal producer Greg Malocca, lots of live percussion and also guitars and bass from Eamonn Jabbawookie Barrett on the tracks he produced and co-wrote with me. An incredible producer and songwriter who had a huge number one hit with his band Royseven.
My job, when I receive a piece of music from a producer and co-writer is to create a finished song. That means writing the melody, the lyric, arranging the song and writing and creating all the vocal harmonies. Then when I mix with Greg we will have a digital stem for every sound and can change those sounds or omit them if the
are not serving the melody I have created.
3. Many producers have a "favorite toy" in the studio—a specific drum machine, an analog compressor, or a distortion pedal that adds that little something extra. Did you have a "secret ingredient" or a particular piece of hardware or plug-in that you relied on during the *Hivemind* sessions?
- Tube Tech CL I B analogue compressor for vocals that sit right with synth pop and electro production is a must but needs to be used properly.
The Art Pro MPA preamp works well with all studio mics for vocals.
Part 2: Producer Contributions and Workflow
4. You collaborated with Eamonn "J-Wookie" Barrett (formerly of Royseven) on the album’s more dance-oriented tracks, such as the single "Dancing With The Devil." What was your technical workflow like? Did you build the songs starting from a drum beat or a bassline, or did everything begin at a traditional piano?
- With J-wookie he will normally send me a semi completed track. Since he is a DJ, songwriter and producer and he carefully assembles all the parts starting with drum
and bass. His knowledge of disco, house and dance music means all those elements are shining. I will discuss the key though he knows my voice inside out. I will listen to the track until it speaks to me.
Literally! A story starts to suggest itself. Words, melody. So I write the topline melody then go to Greg's studio where we will arrange it, add bits or take bits out and
over two morning sessions record all the vocal parts then mix it. I prefer to record vocals in the morning when I am at my most vulnerable.
5. The legendary Mark Saunders (Depeche Mode, Erasure, David Bowie) came out of semi-retirement to co-produce three tracks. Saunders is renowned for his pioneering sampling techniques and synth programming from the golden age of electronic music. What was the most valuable or surprising thing you learned from him regarding production technique?
- The most interesting thing I learned about Mark Saunders was how modest and almost blasé he is about all the music he has created. It reminds me of when you hear Benny Andersson and Bjorn Ulvaeus discuss ABBA's studio process. Very matter of fact and unassuming. Far from grandiose.
Mark is a genius, in the true sense of the word but he allowed me to change anything I wanted and was more concerned with the running times of the songs than the content. Occasionally he would say something like 'that drum might be a bit lumpy, no?! Like many great producers Mark started as a drummer.
6. Punk icon Pete Holidai produced your cover of MGMT’s "Kids." In terms of sound, how did you approach the production to transform a modern indie/synth classic into something that fits your own sonic aesthetic?
- With Pete Holidai I had written a post on saying that I longed to record a version of KIDS and he went into his studio, recorded something and sent it to me the following night. The genius term applies to Pete too, and in the version he produced for me I can clearly hear his own punk rock musical lineage.
Greg and I added risers and a few crashes and things and a men's choir sample but Pete had all the elements in place from thestart. I call it rock electro punk. The
opening reminds me of The Final Countdown. What I love is that he left all this gorgeous sonic space in the versus for my vocals to play. God bless Pete. He knows my aesthetic well.
Part 3: Sound Layers and Final Mix
7. Your vocal arrangements are known for being very rich, featuring numerous harmonies and layers—a quality that sound engineer Greg Malocca has helped you realize on this album as well. How do you and Greg typically approach the mixing of your vocals to ensure they have space and power, without getting buried by the dense synth textures?
- Greg calls it teamwork. As a vocal producer he wants loads of takes so we have loads to work with in terms of comping. He will know if I am holding something back and push me or he will suggest changing a melody part. I never argue. With studio time precious and expensive I tend to stay open to him knowing that we both have the same standard and aesthetic for what a vocal should sound like by the time it is played on radio. Recording the harmonies (usually three or four harmony parts doubled) and add libs is my favourite part since the main pressure is off and I am free to compose alongside Greg.
The vocals take up a lot of space so using plug in's for compression and limiting and dynamic eq means the vocals can stay prominent without masking the electronic sounds.
8. When creating electronic pop rooted in 1980s New Romantic and New Wave—while aiming for a modern sound suitable for streaming platforms and club sound systems in 2026—what compromises or technical choices are you compelled to make during the final mix and mastering stages?
- Do you know I don't think I have ever felt compelled as far as compromises or technical choices go. Because everything is created in DAW you don't get the same thrill you once got listening to playback on analogue tape through the mixing desk and monitors so you delay gratification and work a bit harder on sub bass, mixing and ensuring vocals pop. I love to use Side Chain liberally. Modern plug it's mean the the dry and sometimes lifeless ambience of Digital can we warmed up as much as necessary. I never think 'is the production sounding like 2026?' For me it's the quality of the writing the is above all else. We are not keen on using auto tune except as an occasional effect. We only use a tiny amount of pitch correction which almost all vocals require. The reason Greg wants so many takes is that my musicianship as a singer needs to shine without interfering with it too much.
Thank you for talking with me Paul och good luck with the release of the new single that is OUT NOW!!!
Supported by Muzik Mag Sweden
DJ Thessla / Tobbe P
