Mysterious creative artist HD-4884 discusses his backstory, recent achievements in the electronic music scene, and future plans for his project.
In the electronic music realm, DJing and producing are essential skills, but some artists venture beyond the norm, providing captivating visual elements and more from their creative depths. This is precisely what HD-4884 has demonstrated over the years as he has explored his passions and let his creativity flourish.
HD-4884’s early releases on labels like Dim Mak and Bassrush Records helped establish his presence, with standout tracks like “Portals” featuring HVDES and “Death Awaits” featuring Torii Wolf under his 4884 Records label. However, his ascent faced a setback due to a health crisis in 2022, necessitating a pause in his project for healing.
Since his return, he has continued to support others through CTRL: Database Research. Recently, he launched his new era with a remix of Deathpact’s “HOLD ON.” HD-4884 also made a triumphant return to the stage this year, performing at The Circle OC and embarking on a UK tour alongside Mimi Barks and Raven Gray, mesmerizing audiences across the pond.
As we approach the end of the year and HD-4884 prepares for 2025, we had the opportunity to connect with this enigmatic artist to discuss his past, present, and aspirations for the future. Tune into his exclusive guest mix and read on for insights into his project’s direction.
Stream EDMID Guest Mix 442 || HD-4884 on SoundCloud:
Hi HD-4884, thank you for joining us today! Before discussing your recent accomplishments, let’s rewind. Who or what were some of your early influences that ignited your passion for electronic music?
My earliest influences in electronic music come from the mix of indie rock and electro from the early 2000s, with bands like MGMT, DFA, The Mars Volta, Blonde Redhead, LCD Soundsystem, Metric, Björk, NIN, Incubus, Red Hot Chili Peppers, The Apex Theory, Enter Shikari, and The Strokes. It was a unique era, and I appreciated its edginess, with many electronic elements being performed live on a MicroKorg and Kaoss Pad, alongside scratching on vinyl. These were my formative years in discovering electronic music.
Was there something specific about midtempo, drum and bass, and other genres you’ve explored that drew you to them?
Absolutely, the freedom to design sounds without boundaries captivated me. I wanted a way to express myself without facing judgment for a ‘non-traditional approach to songwriting,’ allowing the full, unapologetic sounds of insanity to shine. For a long time, these aggressive sounds weren’t widely accepted, but now they are embraced in the industry, even in films. These creative spaces are where I thrive, and I see no reason to turn back.
You revitalized your project this spring after a release hiatus. Can you share your journey over the past few years?
The hiatus stemmed from a health crisis I experienced on October 2, 2022. I tore the main artery in my esophagus due to a birth defect and lost a significant amount of blood, leading to a brief loss of life for about four minutes.
This incident occurred shortly after I released my remix of Reaper’s “Coach.” Before this setback, I was gearing up for my first EP release in 2023, several official remixes with major artists, and a release with Sony Music. Everything came to a standstill as my recovery journey took nearly a year, and the blood loss severely impacted my eyesight and hearing.
I refused to give up and redirected my motivation to avoid falling into depression during a pivotal moment in my career in 2022 when success seemed imminent. I created a digital twin of myself (HD avatar) and developed a community for unheard producers and artists on Discord, hoping to share my knowledge since I believed my producing days were over. This decision proved beneficial, resulting in over 200 members and some of the most talented producers in the industry. I believe this was all by design, not chance.
What characterizes this new era of the HD-4884 project?
This new era represents a fresh chapter, an opportunity to be unapologetic and to embrace creativity at its highest level. It’s about being a source of inspiration, helping others navigate negativity that can weigh down the soul. I’ve faced significant challenges, and from now on, my direction is based on my choices, not what society expects. It’s poetic but absolutely sincere. I’m ready to usher in a new phase for the project.
Your remix of DEATHPACT’s “HOLD ON” was outstanding. What was the production process like? How did you blend their elements with your style?
Interestingly, I completed that remix in under 18 hours, submitting it just 30 minutes before the deadline. I had no expectation of winning the remix competition; the song resonated with me so deeply that the production and emotional intuition flowed effortlessly. I approached it as a collaboration with Deathpact, as collaborating with them has always been a dream of mine, and I poured my heart and soul into it. That’s the outcome!
And to Deathpact and their team: if you’re reading this, can we please get it officially released as a remix? Let me know what I need to do, and I’ll make it happen!
In addition to your incredible remix, you’ve been performing across the UK. What has your experience been like on the Mimi Barks Doom Trap Tour?
Timing and synchronicity were crucial for the tour. The opportunity arose about six weeks prior when Raven Gray’s team brought me on board to collaborate with her. We are currently crafting some amazing music together for a 2025 launch that will showcase her artistry.
During our studio sessions, she recognized my passion for the project and my ability to work with her in an unconventional manner while capturing an authentic side she has been searching for. That’s when she felt compelled to have me on this tour. Additionally, after witnessing my performance at The Circle OC, I believe she was impressed with my stage presence.
Fast forward to now: the experience was incredible, especially since it was my first time in the UK. The diverse energies, environments, and fans were truly inspiring, leaving me eager to return and present the complete HD experience, both visually and within the CTRL community.
I highly recommend this to anyone feeling undervalued in their hometown; venturing into new places can lead to fresh experiences and sounds that your fans are waiting for. Your audience is excited for your arrival.
Oh, and Mimi Barks is an extraordinary artist and performer. I hope to work with her on a studio project someday and share it with the world. Her conceptual art and boundary-breaking taste are truly remarkable. Keep an eye on her.
Aside from your DJ and producer roles, you create stunning visuals and manage CTRL: Database Research Agency. How do you balance these two creative avenues, and what goals do you have for your agency?
Thank you for your kind words! Balancing the two requires patience and knowing when to pick your battles.
I constantly explore new concepts and ideas for CTRL, aiming to expand into various fields within the industry, including creative, tech, and community aspects, as well as establishing it as a boutique label. This diversity is its beauty; it serves as a home and sanctuary for growth and development, allowing individuals to take control, research themselves, and execute their ideas effectively.
Initially, CTRL was a creative sanctuary (a private Discord channel) for the HD project to manage asset deliverables, releases, and visuals. Once I began onboarding clients and commissions, I realized that my approach could help others seeking a similar refuge, leading to the public launch of the channel.
For over a year, we hosted demo feedback live streams, assisted artists in development, packaging, and pitching to labels, and cultivated a community of over 200 members. We now have a dedicated internal team of four managing the Discord, brand partnerships, and project management for commissions. A big shout out to DENIS, Lugobi, Tayken, and SE3R for their hard work and commitment to CTRL; I wouldn’t be here without my team.
Our goal is to open doors for like-minded individuals who want to invest in themselves and express their art unapologetically. If you relate and wish to join CTRL, feel free to DM us, and we’ll gladly extend an invitation. The door is always open.
AI has become a significant topic in the music scene, with varying opinions from artists. What are your thoughts on using AI in artistry?
As someone who creates AI models for artists and major companies, I encourage learning, utilizing, and growing from it. It’s simply another tool in your creative arsenal. However, it’s essential to use it in innovative ways to avoid falling into the trap of generic content. Leverage it to tell unique stories from your perspective and bring them to life.
Imagine being able to perform back-to-back with an AI version of yourself or collaborating with a younger version of yourself. If Reiner Zonneveld can do it, why can’t you? The possibilities are limitless!
As 2024 draws to a close, what do you have planned for the remaining months and into 2025?
There will be music, collaborations, remixes, flips, edits, festivals, tours, and the CTRL Label.
I am currently consolidating a substantial catalog of unreleased music from 2022 to 2024, aiming for a launch in February 2025. I feel for my dedicated fans who have been waiting, but I assure you it will be worth it.
I infuse great emotional depth into my music, ensuring it reflects my experiences and struggles over the past five years, so expect a lot of chaos and intensity! [Laughs] I hope my music resonates with many and finds its way into major festivals. If not, I’ll make sure to incorporate it into all my sets.
We are diligently working behind the scenes with the CTRL Team for our label releases, bookings, and tours for the HD project. Once we activate the launch, expect a significant shift in the project, with no turning back.
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