Today, we take a trip inside the dynamic and clever memory of DJ, producer and multi-instrumentalist GRiZ as he poses his seventh studio book Rainbow Brain in its full, prestigious form.

From start to finish, GRiZ’s Rainbow Brain is laced with beautiful intent as a project designed feels the most radically authentic to his own direction as an craftsman. More than just songs, or collectively, an recording — these are audible know-hows that have defined GRiZ as a trailblazer in electronic dance music, as well as a positive army of good.

Recent singles” Astro Funk ,”” Vibe Check ,”” Tie-Dye Sky” and entitlement line” Rainbow Brain” are joining the party, but there’s so much more to explore. For optimum decisions, play out the continuous mixture and let your imagination run wild. May the album’s fluorescent soundscapes that dare infinite and hour be your merely guide.

In the exclusive interview below, Grant Kwiecinski aka GRiZ get real with us on every level, discussing all things Rainbow Brain, including melodic influences, psychedelic events, upcoming presents and more. It’s not all butterflies and rainbows, nonetheless, as he also touches on the fight of lockdown, missing human linkage, the lesson of telling go and allowing things to be perfectly imperfect.

Listen here and scroll down to read what GRiZ has to say!

GRiZ- Rainbow Brain

Stream/ download: https :// griz.lnk.to/ rainbowbrain

First and foremost … Coming out of over a year in lockdown, how does it feel to be back?

It’s so sweet! It’s a little bit nerve-wracking coming up on playing some of our marquee affairs and things that we have scheduled. Like, this is the shit we’re getting back into — these are the GRiZ happenings we want to tell you about, advertise, and have you come see…

Because, in my leader I’m such a perfectionist and one thing I’m going to keep telling myself that is a lesson … Readings for me, they’re never perfectly learned. It’s merely pattern. And these best practices for me is: It is going to be what it is and it’s going to be perfectly imperfect. Then my administrative ability is like, “Ok, cool! Let’s make sure that we get everything so good and the music is so perfect and on point.” All that kind of stuff.

So, it’s actually been an amazing process. Amazing in a sense of not always good, but it has caught me in marvel. Is that a word? Whatever. Let’s go with it! The exercise of causing repair has been the deepest and most route providing reading for the pandemic.

Then, going back into playing presents, it’s like — let’s preserve learning and just let go into the experience of the world. Which is, we’re going to play our music and it’s going to be a lovely affair because it was built from love and wanting to have a lovely evening of music for everyone. The observance of light-colored, getting back into it. Then, my stomach gets in align with the intentionality behind it and then things get really, really sweet. So, that is where I’m at currently.

How has your artistic process changed over the course of quarantine and has the intention of the GRiZ project altered at all?

Definitely. I think it deters twirling and I’m realizing more and more that I’m a chameleon of my own artistic passion, because it’s so dynamic. To employ myself inside of these rules that I various kinds of made myself in over my part career — and ever try to break outside of those rules — but, “What does this thing need to be for myself? For other parties? ”

The innovative process has really taken me on a expedition outside of those things. Cracking outside of this terrible box that I powerfully and emotionally kept myself in when I’m sitting down and creating — like, “What does this need to be? ” It doesn’t certainly need to be anything other than the show of the passage.

So, during periods of the pandemic … Wow, it started off feeling like this beautiful, enjoyable sleepover thing. We’re all sucking wine every night and having fun, pillow strongholds, watching movies and memes and shit. You know? Then, it’s like “Damn, I’m losing the sense of my life’s purpose, ” which at the time was to function in the infinite of live performance and shedding gatherings basically with people and these festivities of life-time. And coursing away from that was so depressing. Losing that centre of being with beings. We’re literally being isolated and losing that connection to each other.

So writing music during that time really came in a beautiful opening of — Alright, let me let go, into this feeling with vacate and develop music that is giving me the energy that I actually need. Which is, I need to throw my own personal dance parties in the studio on the daily to keep my stability! So, that is the motivation right now for development projects, is to utilize this cavity as a way of spiritual enjoyment. It’s not that it hasn’t always been so in line with that, but it has definitely been a life saver. I’m so excited to be within the condition of wanting to bring parties together. That is the big thing — nurturing culture and letting beings set up and live their culture through the GRiZ space the direction they would like to do that. Giving it 100%. Let’s do this right and placed this opening up so people can express themselves and start culture all going together!

You’ve certainly stayed busy compile tons of new music … Can you describe how Rainbow Brain came together with its claim and thought? That instant when you know it’s happening…

I made a pandemic expedition to Chicago. Pandemic trip … Shit! And that’s where we wrote the name road with ProbCause and Chrishira[ Perrier] and I was like — “Damn, this thing is really about us as friends, ” being the creators.

I hold my friends so affectionately in my artistic opening because I just really fuck with inventive beings. And I can definitely include you on this, Karlie — the writers, the people that are manifesting and making and creating. Creation to me is not so one dimensional, like it’s a musician or whatever. It’s somebody spawning something. That’s an idea. Those are names. I cherish the words and spelling — and spelling is like casting spells in the way that you organize words and dialogue really is like magic. Manifestors, pioneers, I gotta include and roars out to that!

Also, as us as novelists within a song and being wizards in that room … The meaning of magic and what is magic and that dust of psychedelia intertwined. That was when it actually started feeling like things were coming together. I was kind of creating into this void of — “Let’s shape some dance music that’s fucking awesome, because I’m feeling like shit and I exactly want to feel dope about myself! So I’m gonna write a bunch of dance music that feels really good to me and is causing me to fucking not lose my mind! ” There was a point where that occult was starting to coalesce into this list of a story, of a book of trances within my computer. Like, “Damn, alright cool! We have a body of work here.” Now, how does this coalesce further, certify, into a narrative or a storey or a collecting of bangs, sorceries, that we want to share with parties. That was the descriptions of it, going to Chicago and being with ProbCause and Chrishira. Just connecting with beings again was — “That’s it! That’s the one! ”

Since you mentioned psychedelics … Have you had a super prolific trip while on psychedelics that has guided you in your music?

Yeah, one of the most profound ordeals that I’ve had … Now I’m connecting the dots … Was in Chicago on my friend’s rooftop with my other buddy Freddy Todd. We started building music in the exact same day and residence — that’s a long story for a different era! He’s one of my closest music friends and also precisely friends in general … We are available on a band together in high school and shit … Middle school even. And he had just finished his album announced Neon Spectacle Operator — which, I don’t know how he comes up with these names but I’m so fucking jazzed and inspired by his imaginative intelligence. There are very few on this planet like his!

And there was an experience where I actually felt super at peace with the concept of separating my forceful soul from my physical body and astral projected out of my form, watched myself leave, and was projected into some sort of extraplanar space plane where I was standing at the edge of this grid into a sunset of infinity watching the cosmos drift by. And this green alien wrap me up — I would say alien, but not in the traditional ability of it was like Alien vs. Predator alien — but a non-human form, swaddled me virtually and let me know that everything was ok. I had never felt more in tune with my spiritual forceful self. Understanding that this separation between flavor and human body — the inevitable separation which I recollect manifests itself in the form of what we call death, or the road that I personally understand it, a section beyond human physical structure … I’ve never felt more ok with that.

My psychedelic jaunt has continued to blossom since then. A pile of this record was created throughout the pandemic while enjoying and going on travels with psychedelics and experiencing. Too, times of depth calmnes, because I needed a disintegrate from all the drinking that I ruined my brain with at the start of the pandemic, which clearly led to a penetrating hollow. Spend experience also being sober and continuing my musing practices and getting really deep into that connection.

A lot of this music was inspired and continues to be inspired by those infinites. The action that the album artwork was created was a direction of some of the imagery that came to me from that experience in Chicago. So, Chicago seems to be a little bit of an force vortex for this album and for me in general.

That’s awesome! Shifting into musical affects for the book … It sounds like a lot of old school dubstep …

One of the lines on the book is called “5 48 Mac Ave, ” and I didn’t truly well known I wanted to tell this part of the fib. It seemed like a kind of tongue in cheek way to do it, but that’s the address of this locate called the Monty House. That’s a co-op at Michigan State University where I went to college for three years. Then, eventually, I graduated in the most Kanye way … Uhhh … I decided I was finished.[ titters] And I went out to Boulder, Colorado to alone prosecute my dream and do music. But that residence supports a lot of the inception of the narrative of me fallen in love with DJism and live music carry-on. At that time, all the music I was playing was Flux Pavilion, Doctor P, Rusko — and Skream, Benga, Coki.

That early dubstep sound — it did this supernatural thing for me, where in high school I was listening to Crime Mob, Lil Jon& the Eastside Boyz, Paul Wall, and then the West Coast hip hop, so a knot of Jurassic 5 and A Tribe Called Quest. But there was this really deep connection to Dirty South bass, sub music. I was really connected to that because we would rock around in our friends’ vehicles and they would have subwoofers that would bump and detonation in 808 s. I’d be able to hear in first period when my friend were late to class because I could hear them roll up with the subs in their gondolas merely shaking the fucking — Ya know? My first hour was right next to the parking lot so you could hear it. I’d be like, “Oh, that’s my buddy Trent or my sidekick Bo pulling up to school — Hey! ”[ giggles] It was such a visceral, I don’t know … It fucked me up!

The cool connection here was that I lastly, at that time of hearing this dubstep phone, this bass music announce — I was like, “Damn, this sound is a trippy version maybe, or a dance explanation rooted within reggae dub seeds, ” and I felt so connected to that! Like, this really feels like it’s for me! This feels so brand-new and undiscovered. I remember showing some of my friends what dubstep was at the start, and they were like, “Damn, this is awful.” I was like, “I enjoy it! ” And there was this connection of spirituality between the shapes and the bass and the tempi of the synth feelings in the bass and the path the sub would interact that feel a good deal like knock, instrumentally over this beat. I was like, “Damn! That is so fucking sick! ” And I’m perfectly just melting into this sound. The report contains slight homages to that within the creation of this record. This sound is so fucking badass to me and that was giving me a good vibe!

Can you share some of the differences, creatively, between Rainbow Brain and your other albums? For instance, “youve had” the continuous mingle … I’m a sucker for those! It’s the detailed information that make it really special!

Yeah, there are some really cool details. There is this interlude called the “R O Y G B i V interlude” and the buzzers in it, there’s this arp — and that’s a sample of Reading Rainbow.

Stop!

Yeahhhhh! And then, within that, all the vocals are also sampled from an incident of Bill Nye the Science Guy. Likewise, in my vocal “Tie-Dye Sky” is Bill Nye being like, “Alright, give me all you got! ” There are these tiny little fun things … There’s likewise a remembrance of a melody from “R O Y G B i V interlude” into the last song which is called the “The Echo Tree.” And “The Echo Tree” is something that we’re going to see in the movie that is created for Rainbow Brain.( Watch here !)

There are all these tie-ins and creating from that sense that the part mas of music was all speaking and compounding upon itself was so fucking fun to do! I adore procreating stuff that has such a deeper context. I think in the past I’ve kind of soiled it by speaking too much on what it’s supposed to mean, instead of letting beings feel their own interpretation from the thing. I’m gonna kinda just let this one happen a little bit more.

The major differences … The continuous combination was inspired by a mix series called Late Night Tales. There’s a bunch of various types of DJs who’ve done their patron assortments on it. And likewise from BBC Radio 1 essential assortments that I fuuucking love. So, that comes inspired by those openings and specifically the Bonobo Late Night Tales continuous assortment. You exactly press play on this shit and gotta vibe throughout it!

And storytelling moments as well … There is also included within the Late Night Tales this part of narrative. So there’s this spoken word piece at the end of it that I find really endearing and special. Intertwining spoken word into it and these audio journeys…

I also just wanted to make sure each racetrack, you could play it out or reach play on Spotify and it would feel like a complete ballad. Also, it was a brand-new challenge to have every single — the book is 23 carols long, but almost half of those are’ tweener moves. So the recording was built in a way where you can listen to all your favorite songs, but too you could press play at the start of it and there’s all these transition moments that got to get from song to song. It has these kinds of — my friend Lane would call it a “butterfly checkpoint.”

Yeah, his story is going on a psychedelic trip through the jungle in Thailand. This was a year before I became with him there, but we did the same journey on the same head full of quantities … But every single time they would get to these clusters of butterflies they’d be like — “We’ve reached the butterfly checkpoint! ” So there’s all these little checkpoints throughout the album that are getting you to the next end.

I love that! You mentioned this album is the most authentically genuine to yourself — What does that definitely sounds like, putting something so personal out there for the world to hear?

It sucks, but it’s liberating. The slippery character about sharing stuff is that it becomes not yours anymore. Like if you interpose an object into a opening where there’s exclusively one witnes, the part sensing of what that thing is is only from that viewer’s perspective, and therefore is only defined by that one person and therefore the reality of that thing is that one person’s description of it. It’s only in our reality through that one person’s perception of it, and so therefore it’s that one person’s thing.

As the builder , now it’s currently exclusively mine. As soon as you grant that to parties, the catch 22 of it is there there’s so much beauty … I find so much attractivenes in accordance with the rules that people examine a body of work — whether that’s a piece of writing, a draw, a piece of design, a dope gardening undertaking — the direction different parties start these various sensings about it and write these various tales about it in their sentiments and share that narrative … I find it so beautiful that that ruling can be different, because being able to have these different deviations of storytelling is really such a spice of life.

You could introduce two different people into a situation of “it sprinkled at the water park.” One person is like, “That was so cool because this, ” and one person is like, “That ruined my day because of this.” Neither person is right or wrong, it’s only two different things. The negative part of it for me is that this thing that was personal then becomes be calculated by other parties and that’s not something I can insure.

So, going back to that narrative of countenance go. Literally, if you love something, let it go. I’m letting become of all this shit that I love so much better, and have delivery and conceptualized and organized — and now I’m entrusting it to other people to share in that narrative and to tell the story of what this thing is. As a builder, for me the very best way to always go about it is just letting it proceed. Letting those narrations be told by everybody. Then that becomes what that thing is — it’s no longer what you just made it. It’s what everybody thinks it is. It is as beautiful as it is difficult to let go. Herein lies these best practices. We maintain doing it.

Generic, but important question — What does the book “ve been meaning to” you?

Shit … What does it make? It means we’re continuing to tell the story. It makes there was never a stage on what happened in the past — “its just” another opening, it was another comma, “its not” an ellipsis , not a punctuation mark that there is a dot-dot-dot. I am continuing to find myself in the opening that I’m creating and we have more sheets in the book to write.

Having time celebrated Pride Month, I want to talk about its importance and the safe gap your assignment has created for the LGBTIQA+ community … Can you share what you’ve known from coming out until now?

I think from then to now I’ve obtained how important it is to have queer friends. That’s something that was so missing in “peoples lives”. To bolster myself by sharing in that community instead of simply being a part of the community but having zero relationship to it, besides maybe having a boyfriend or something … Ah, shit! It’s so important to feel patronized and to feel like I’m not such an friendless. Because I’m not — and neither is anybody in the alphabet mafia. Y’all go beings out there!

For me, the nature I see it today and in particular through the genesis of the more socially awareness surface of TikTok … There’s amazing beings on there talking about it and all these perspectives. From the subservience of Gen Z culture feeling very vacated in how sincere Pride Month feels due the commercialization of the capitalistic machine put rainbows on everything and spreading that out into the world in such mass that it loses its inclusivity. To realise people in the older gay culture — crying on a TikTok — talking about, “If I met that as a 7-year-old faggot person marching into a WalMart and seeing Pride shit in a urban city, that might have just saved my life.” To come that kind of at least offering of normalcy and revelation in the world is really important.

Right now, the road that I feel about the LGBTIQA+ gap is wanting to continue to keep my head open and just listening. I don’t remember I’m going to be the person that has answers for anybody — other than it’s important to listen and to talk and share even if it’s a “stupid idea, ” there’s no bad doctrines now. We need to be able to share the way we’re feeling and hopefully those infinites we’re sharing in can be safe rooms. And hopefully those are conversations with beings that are willing to listen to what you have to say , not admonish you for having a different idea. I remember the most beautiful conversations will always happen between people who are genuinely interested in, “Why would somebody feel something that’s different than myself? And let me get into that! ” That’s a relationship, that’s being relational! That shit is hella beautiful!

And , no, it’s not easy, because I see I was always provisioned in my life to have an opinion and are quite right about it. I’m debating and too needing to constantly validate my live. I have become a unusually defensive party. I need to be self-assured. People are challenging me all the time. Every single time I get challenged, the perception that I’ve made about myself — my life’s truth is being shook! And every single time that happens I feel susceptible. If I’m not having a conversation into a infinite where my vulnerability can be respected and taken care of, then I feel warned — and that’s scary.

I’m hoping Pride Month can continue to be a locate of differing dialogues between parties where we’re being relational instead of confrontational and hopefully that will create growth instead of stagnation.

Thank you for that ask … I feel like you’ve raised that kind of community with your fanbase…

Trying. Really doing what we can with it. These people are so dope, and sometimes we just don’t realize how smoke we are because people are trying to fuck with us. And that suctions! That’s hard to deal with. Not everybody has safe infinites where they can exist, share ideas and express themselves. I to be expected that the GRiZ community is always a home where people can feel safe with one another, to be able to grow together. It doesn’t always have to be about the music — and it sure as shit does not always need to be about me. Hopefully it can be about each other first.

Exactly! So, changing into some safe seats and fetes … You have so many presents coming up including three makes in one night at Red Rocks! What’s it been like spouting your feeling into all these different recitals?

I feel like I told a bunch of parties what various kinds of mountains we’re gonna climb — and we haven’t done it yet. So, I gotta get to training. I gotta get some brand-new fucking hiking boots and end that shit in! We’re like, “Ok cool , now we’re gonna do fucking Everest! ” And everyone’s like, “Yeahhh! ” And it’s like, “Alright, are “weve been” ready to take on this challenge? ” We’ll get there! Warming back up to it. Getting my recollection and my intent right into those spaces…

Just been doing a cluster of free demonstrates. I precisely want to be in front of people dallying music and generating people together. What is that fucking like anymore ?! And it’s enormous! I’ve been doing it with vacate and that’s been a lot of entertaining. I’m here for it.

It’s a pity that any of this nonsense costs money in the first place, so really be able to offset the heavines of everything there is — and is just like, “Yo, we’re gonna do this! Have fun! Show up! Bring the gang! Don’t bring the crew! Meet the Crew! Cool! ” Meet some new people. That shit is so fun. We’re warming up to it. I’m feeling ready!

Which date will be the first time you’re throwing down the brand-new book?

We will hear it live for the first time together …[ interrupts]

I’ve low key dallied it once at a free prove for the people. Because I’m fucking … I don’t know.[ chortles] I foresee equanimity is something in my life that I’m not the best at practising. But, in its genuine way — in its most thoughtful structure — is likely to be the first night of GRiZmas in July in Wilmington, North Carolina at the end of this month.

This article was first published on Your EDM. Source: GRiZ Drops Vibrant 7th Album& Talks All Things’ Rainbow Brain'[ LISTEN+ INTERVIEW ]

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