Pammi Pasqual, the Greek-born DJ and Producer, is making waves in the Electronic Music scene with a distinctive, genre-blending approach. His latest release, ‘Riders On The Storm,’ exemplifies his talent for combining narrative depth with innovative production, presenting a track that is both meaningful and sonically powerful.
In this interview, he shares insights into the song’s creation, discussing the challenges, inspirations, and collaborations that contributed to its development.
Hi Pammi Pasqual, how are you?
Hi, I am doing very well! Thanks for having me.
To begin, what was the initial inspiration behind ‘Riders On The Storm,’ and how did the concept evolve during the production process?
In 2017, I created a remix for my friend Martin Levon, who had released a track named ‘Riders On The Storm,’ a Deep House tune that incorporated a sample from the original Doors song. For that remix, I retained only the vocal sample and crafted an entirely new production. I approached that remix with a more melodic and nostalgic style, utilizing bold instruments and acoustic pianos, while repeating the vocal sample throughout the track. After that release, I felt inspired to create something original based on that production, aiming for a proper structure and arrangement without using any vocal samples, and infusing it with a stronger meaning.
The primary trumpet melody, with its melancholic tone, inspired me to write about serious themes. This led me to conceptualize an anti-war song. At the time, I was deeply troubled by the global tensions between superpowers and the conflict in Syria. My concerns have only intensified, prompting me to finalize and release this track in 2024, years after its initial recording.
When I began writing the lyrics, I envisioned a Utopia where soldiers would bring peace instead of violence, carrying flowers instead of weapons while providing sustenance to the needy. In this context, ‘Riders On The Storm’ took on a new meaning, reflecting the struggles of immigrants who are forced to leave their homes and families in search of safety. As I sang the lyrics and hummed the melodies, I felt the power of the message, which compelled me to record it properly with a vocalist whose voice could convey its depth.
How did your collaboration with Luke Trundell come about, and what was it like working with him on this track?
I met Luke in 2013-14 during my first year at the Academy of Music and Sound in Southampton, where I was studying music production and he was focusing on music and bass guitar. We connected well and recorded several demos for university projects. When I created this song, he was the first person who came to mind. I believed that the warmth and rock character of his voice would suit the song perfectly—and it truly did! We booked a session at the studio of one of our former tutors, producer and audio engineer Tom Gibson. The session was smooth; we were familiar with each other, which made it easier to translate our ideas into the record.
The track features a unique combination of spoken phrases and melodic vocals. How did you decide on this vocal arrangement to complement the instrumental?
There are spoken phrases such as ‘Brother be strong’ at the beginning and ‘..there are children without a home, so much fear around the globe..’ in the pre-chorus, used to emphasize strong statements at specific points in the song. I believe I was subconsciously influenced by artists like Faithless when crafting these parts. The seriousness of these spoken lines accentuates the tragedy of the situation, contrasting with the lighter, more positive singing that follows in the chorus, which touches on themes of illusion and utopia with lines like ‘If only weapons were made of flowers and the armies had no powers…’ These lyrics align beautifully with the bittersweet sound of the trumpet in those sections of the song.
The song blends powerful beats and synth lines with bright electric guitars and piano motifs. How did you approach layering the different elements in the track to create a full-bodied soundscape while ensuring a crisp mix?
It was certainly a challenge to balance all these elements and achieve a clean, cohesive result. I primarily relied on arrangement techniques before entering the mixing stage. I aimed to give each instrument its own space in the song, avoiding clashes. For instance, when the electric guitars play after the first drop, I kept synths and other dominant sounds minimal, allowing for vocalizations, bass, and drums. Similarly, during the trumpet solo, I maintained a sparse arrangement featuring bass, vocals, and subtle piano arpeggios. These decisions helped create a balanced production and facilitated the mixing process later on. I finished the mixing with the assistance of Moises Zetina at Westway Records Studio, where we refined the mix and spaced out the instruments for a cleaner result.
How do you manage to incorporate your signature sound into a track like this while still allowing room for experimentation?
Incorporating my signature sound happens naturally, particularly when I don’t have a reference track in front of me or when I work independently. When I follow my instincts and feelings, I often arrive at a sound that reflects my artistic identity, which stems from my internal experiences. I value spontaneity, curiosity, and creativity—key traits for any artist—so I remain open to experimentation. This track is a perfect example of that. I had no intention of including electric guitars until I saw Tom’s impressive collection of Gibsons in the studio. The temptation was there, and during a tea break, Tom picked up a guitar and began jamming over the track. I immediately recognized the vibe and insisted we record it. Within minutes, we had fantastic melodic riffs to incorporate into the production.
Was there a specific moment in the studio where everything clicked, or did the track come together gradually?
The moment with the electric guitar was definitely one of those instances that made me feel the track was complete! It blended so well with various parts of the song, enhancing the message and emotional impact. Another pivotal moment was when Luke first sang the chorus following the trumpet solo melody. That bittersweet trumpet melody is my favorite aspect of the song, and when Luke started singing the chorus in harmony with it, I sensed everything falling into place. I remember feeling euphoric listening to his warm voice delivering such a positive message through a metaphor about peace. We had moments where things clicked, yet the track also came together step by step.
What were the biggest production challenges you faced while working on this track, and how did you overcome them?
The electric guitars posed a significant challenge! While they initially felt great during the recording session, technically, they clashed with other sounds. The track has a smooth, chilled vibe, while the electric guitars are dynamic and somewhat aggressive. Balancing them in the mix without overpowering the other elements was difficult. Since recording them wasn’t part of my initial plan, I had to rearrange the production after capturing the guitars and vocals to find the right space for them in the song. It was a time-consuming process, but I am pleased with the final outcome.
Given that this track was released on your own label, Playdance Records, how does having control over both the creative and release processes affect your approach to production?
Having control over the creative process gives me immense freedom to release what I want, how I want it. This allows me to approach production with an open mindset. I often start with a production plan based on a previously written song, typically within the Electronic Dance and House genres, which I love as a DJ. However, I don’t confine myself to specific genres or the limitations of a record label. I used to restrict myself more, but I find I do less of that now.
As I mature as an artist, I define my sound more clearly, reducing the risk of becoming a copycat. One of the reasons I established Playdance was to facilitate self-releases and present my sound authentically! I recently revived Playdance after a long hiatus, and ‘Riders On The Storm’ marks this new beginning. I have many upcoming tracks that explore various music styles and blur boundaries within Electronic Dance Music genres. Without this platform, I wouldn’t have the freedom to experiment and release my music.
Can you tell us what you have coming up next? Should fans expect more collaborations or releases soon?
I can confirm that I have numerous collaborations lined up for 2025! Additionally, I have a new release scheduled for mid or late December, which will be a surprise, as it differs from my previous original songs! That’s all I can reveal for now, but I will keep everyone updated in the coming days.
As we conclude our interview, we thank Pammi Pasqual for sharing his insights into his creative process, technical approach, and the ideas behind his single, ‘Riders On The Storm.’ As he looks forward to 2025, fans can expect fresh releases and collaborations that will continue to push the boundaries of his creativity and sound. Be sure to follow this talented Producer and DJ on social media to stay informed about his upcoming projects and releases.
Listen and Buy ‘Riders On The Storm’ Now:
https://open.spotify.com/album/2xrucHpqf4swO36bi0DtEt?si=kREGmx5aSN6AzeJzwpfUfw
Pammi Pasqual Online:
