Thomas Datt, a native of Kolberg (Kolobrzeg) Poland, relocated to the United States in 1992. As early as 15 years old he knew he wanted to entertain and express himself through various forms of electronic music. After the massive success of two of Datt’s early tracks, “2v2? and “Alone”, which appeared on “Tiesto In Concert 2?, and Paul van Dyk’s “Politics of Dancing 2? respectively, Datt quickly found himself behind the decks, fortunate enough to secure DJ gigs all throughout the United States. In 2009 Thomas was asked to compile and mix a brand new annual compilation for the Recoverworld Label Group called “Underground Anthems”. Later that year, Datt’s new single “Mass Effect” was released on Discover, and received massive support from Paul Van Dyk and Ferry Corsten, as well as becoming Tune Of The Month in Mixmag.
After winning yet another remix competition, this time for Ferry Corsten (System F), with his remix of “Soul On Soul”, Ferry was so impressed that he asked Thomas to produce a track exclusively for Ferry’s own “Once Upon A Night 2?. The end result was “D.A.T.T. – Eden’s Light” which Ferry was quick to take on the road with him, completely mesmerizing club goers with this euphoric 2010 trance anthem. 2010 also saw Datt’s release of “Phoenix Burn” on Discover which picked up heavy support from many of the top Dj’s, while also making it on the “Anjunabeats Worldwide 02? compilation. Shortly after, his release of “Seven Years”, under the alias Asedo, was picked up by none other than Above & Beyond and included in their “Anjunabeats Volume 8? compilation. His uncanny success didn’t stop here, and the momentum of Datt’s unequaled production prowess even scored him a spot on Armin van Buuren’s A State of Trance 2011, and Max Graham’s “Cycles 2? with a track he co-produced with Robert Nickson called “Godless”. Having teamed up again with Recoverworld, Datt released several ambient and down-tempo tracks for their chill-out compilation “Chilled Trance” in 2010.
In 2012 Thomas releases his first artist album Picking up the Pieces on Discover /Recoverworld with great reaction from the trance lovers across the globe and positive reviews on the most important EDM portals. I always wanted to have an interview with Thomas Datt because I admire his talent and ability to compose tracks with real soul in them with main ingredient the unforgettable melodies that stay in your mind for long. I’m glad that despite the tremendous problems that he faced because of the latest Hurricane that hit his hometown in USA, he found the time to reply in this interview with so much detail and wealth of information. Thomas with his music expresses his heart and with his words in this interview speaks with his heart too so definitely worth it to read it and get to know better Thomas and his fantastic album that is highly recommended. Enjoy the real Thomas Datt.
Interview is written and conducted by Dimitri Kechagias, Radio/Dj & Music Journalist
Dimitri: It would be great to go back in time and let us know when did you catch the mighty “virus of EDM” in your blood? When you felt that what you want to do is to produce music and entertain the crowds as DJ? It was a particular track or dj set that you may have attended?
Thomas Datt: In the early and mid 90s I would listen to a lot of Euro-dance music, especially through watching the music videos on VIVA. Even the classic Children by Robert Miles was new then, and I got to see it on the music channel. I knew from then on that I wanted to make that kind of music, or something similar.
I didn’t know much about DJing or trance until 97 and 98 when I would listen to a local radio station, 88.9 fm from the college of Staten Island. Each Friday had a new 2 hour show with some of the best trance music from that time. Stuff by Paul Van Dyk, Matt Darey, Sasha, BT, Deepsky, Three Drives On A Vinyl, Paul Oakenfold. Ya know, the classics, which were new then. Shortly after my introduction I would try to get my hands on a lot of Paul van Dyk sets. PVD ended up becoming my favorite DJ at that time.
Dimitri: Have you attended any music production courses or you are totally self taught? What is your opinion about You Tube video tutorials that teach the people who to produce music?
Thomas Datt: All self taught, no classes here. This is something I am extremely proud of, and sometimes I get annoyed when some newbies are trying to take shortcuts. I didn’t have any shortcuts, and I didn’t have anyone to ask for help or advice, it was years of hard work and learning.
I don’t have much of an opinion on tutorial videos as I’ve never used them before. There are many things I am still learning, and do not know... maybe I should take a look and learn something new once in a while. Overall though, I suppose it’s a great service for everyone.
Dimitri: When did you start actually to produce music? What equipment did you use for those first productions?
Thomas Datt: This was probably late 90s, maybe 98 or 99? I am not completely sure. The first thing I ever used was Propellerheads Rebirth, the 303 and 909 emulator. It took some time to learn how to use the program, and I made some terrible music on there as well. Learning how to use a 303 is no easy thing. If I was to try and play around with it right now I would get frustrated. Everything I knew I have forgotten.
Dimitri: When and in which label was your first release? How did you felt when you saw your name on vinyl??
Thomas Datt: First release was the Solid Globe – North Pole remix competition, released on Fundamental Recordings. It was a competition held through Trance.nu, a great website and community. I really wanted to be one of the winners, but there were so many entries that I didn’t have much hope. Add to that that I was under the impression there could be only 1 winner. Lucky me however they couldn’t decide on just 1 and picked 6.
I was working at a sporting goods store in Manhattan, I remember this very well. My girlfriend at the time called me up and told me I was one of the winners, which at first I didn’t believe. Once it sunk in I was very excited. A month or two later I got a few copies of the vinyl which was just an amazing feeling.
Dimitri: You got the support of Dj Tiesto & Paul van Dyk at the very beginning of your career. How did you react when you found out that those big names support your music?
Thomas Datt: It was very cool! When two of your most favorite producers that you’ve loved for years, are suddenly fans of your work, there’s no other feeling like it. The trick was being able to have their support for years to come, not just in the beginning.
Sadly though, with such news and support, being young can make you a little stupid. I thought I was the coolest shit in the world, and was very cocky. With age comes maturity, and I think I could have used maturity from the very beginning of my career. But that is something you learn on your own, and over time.
Dimitri: Would you like to mention the 5 most important EDM producers/djs/ or other artists that may have influence your sound/ production & djing techniques.
Thomas Datt: That’s pretty much asking who my favorite producers were when I was starting out. It’s easy to answer as I still remember to this day.
Paul van Dyk, Tiesto, Ferry Corsten, Matt Darey and Deepsky. Most of the music I owned whether store bought vinyls, cds, or mp3s, were from these men. They were all a great influence and helped shape my sound to what it is today.
Dimitri: Before moving on your great album it would be excellent if you can pin point to us the 5 most important tracks in your career so far that are not included in the album.
Thomas Datt: That’s a little tricky to answer because some of the tracks on the album are reworks of some of my most important tracks in my career.
Solid Globe – North Pole (Thomas Datt Remix) – As I said earlier, this was my first release, so yes it is very important.
Marco V – I Feel You (Thomas Datt Remix) – When Paul van Dyk made a rework of the original, but wasn’t planning on sharing it or releasing it in any way, I got a little upset. It was one of those tracks that I really wanted to play or listen to over and over without being a crappy set rip. So I sat down and made my own version. Shortly after Marco got his hands on it and loved it so much that he released it.
2v2 – First single is always important, luckily it was a big success. Not many know this but before the track was signed by John Askew to Discover, it was almost on Lost Language when Ben Lost was still running it back then, and also almost on Euphonic. I even remember Ralph calling me saying that Kyau and Albert would do the remix.
Alone – All of my emotions after a relationship ended went into making this track. I had many doubts about it actually being good, but it was another huge success. Paul van Dyk using it on The Politics Of Dancing 2 was, to me, the biggest success. The first TPOD was one of my favorite albums of all time.
Above & Beyond – Good For Me (Thomas Datt Remix) – When I first heard the original on the Tri-State album, I immediately fell in love and told myself I would make a club version. It only took a few days to make, but it was perfect to me. It didn’t exactly get the proper support from Anjuna that maybe it should have. Yes I know they released it but that’s because a lot of the fans were upset that it wasn’t going to be put out. Many fans considered this to be the best version of the track, beating out the other remixes. That always meant a lot to me.
Dimitri: Your album that is out now on Discover is called 'Picking up the Pieces'. Why you choose this particular name and why you choose Discover records to release it.
Thomas Datt: This might sound a little cheesy or lame, but I honestly don’t care who thinks what of me. The answer isn’t very complicated; it’s all due to the circumstances I was in. A very long relationship, with who I believe was the love of my life, came to an end. I was working on the album around the time this happened, and it shaped many of the tracks on there to what they are now. Track names, melodies, overall album title, all because of the hurt I was going through. I channeled all that pain and made music.
The title itself actually came at the very end. Album was almost finished but I had no title. As I sat there wondering what it should be, I thought of the last year and what a mess it was. It came to me very quickly that all I’ve been doing is picking myself and the pieces of my life, back up.
Dimitri: How long it took to produce the album and what are you going to remember the most from the production process of it?
Thomas Datt: It took over a year and a half. The reason it took so long wasn’t exactly because I was lazy, but because I needed to keep making money. The album itself didn’t have a big paycheck attached to it, and working just on it would have left me hungry and without having any bills paid. So in between working on the album I kept making remixes.
The second thing, I guess that’s obvious, is dealing with the heartbreak. It was a terrible year in that sense, but like I said, I got lost in working on the album while I was lost myself.
Dimitri: Did you produce it as full time occupation or at the same time you had and a daytime job and if yes what kind of daytime job?
Thomas Datt: I used to have some nonsense retail job couple of years ago, but since I got fired (funny story for another time), I have been doing this full time. To be honest I didn’t really work hard and full time for a while, something clicked in me early last year and since then I’ve been like a machine. Wake up and make music.
Dimitri: It would be great to take us for a virtual tour through your album and give us a small comment about each track with some hint about the production of it?
Thomas Datt:
01 1983 – Huge fan of Michael Cassette. After his album came out, I wanted to do something like that. This was the first track I finished for the album. Title is just the year of my birth, and also goes with the 80s sound of the track.
01 1983 – Huge fan of Michael Cassette. After his album came out, I wanted to do something like that. This was the first track I finished for the album. Title is just the year of my birth, and also goes with the 80s sound of the track.
02 Across the Edge – Had the buildup and synths for a long time, but never the melody. The title was actually the first thing I fully knew I wanted to use. The melody came during the breakup and the rest was easy to finish.
03 Long Distance – Distance was a track I wrote because of the same girl the whole album is revolved around. In 2007 our relationship was a long distance one. The sound/style I have developed since Andy Tau – Falling remix, as well as Oakenfold – Full Moon Party remix, was one I really wanted to use on my own track, which was a perfect choice. I’ve wanted to make a new version of this for many years.
04 Here and Now (Feat. Ben Heyworth) – Wanted to do more than one 80s sounding track, so this was the other. Ben was a perfect choice for the vocal, fits very well with the vibe, and the lyrics are pretty deep as well.
05 Lost – Was feeling quite terrible when writing this. It’s pure emotion, took me about a day. Name reflects how I felt.
06 Narani – This was supposed to be my Asedo follow-up, but Anjuna didn’t think it was good enough.
07 Evaporate (Part 2) - Was never fully happy with the original track, and for years kept wondering if I can make a good update. To me this is better than the original, and Stoneface & Terminal remix combined.
08 Stay Together – Another track made of pure emotion and feelings I was going through. A very weird stage of the breakup, when it is so fresh, you feel you have a chance of talking it over and changing the outcome.
09 When Hope Fails – Love the vocal here, and always loved doing some Indian sounding music, like Tabla Mizma. The lead is amazing to me and unique as well. It sounds hopeless and hopeful at the same time. The name came from me realizing that the hope I had for the relationship rekindling was pointless.
10 Letting Go – Says it all, was time to attempt to move on, somehow. Love the pads here and melody, takes me to another place. It was supposed to be a vocal track but I couldn’t find anyone that was either willing to work with me, or good enough to my liking. I am glad it has no vocal though.
11 It's in the Past – Something the ex would always say to me was “It doesn’t matter, it’s in the past”. This was in regards to anything we’ve been through or not, which was in the past. I wanted to make a song in style to my remix of Positive Zero. It was the only track that sounded like this and I didn’t want to waste it on just a remix.
12 Dead Machines (Feat. Ben Lost) – Originally titled “Cyberpunk” before I got Ben to sing. Ben joining the album was something lucky as we thought he wouldn’t be allowed due to his Federation obligation. Been a fan of Ben’s for many, many years, and always wanted to do something with him. His lyrics are very dark and moody.
13 Still Alone – Another track I always wanted to update. 2005 I was Alone, but right now given the circumstances of the long term relationship ending, I am STILL Alone.
14 Mass Effect 2.5 – When I first made the original it was after playing the first game, so yes it’s titled after that. The original was Tune of The Month in Mixmag, but I was never fully happy with it. The mixdown wasn’t right, so I wanted to make a new bigger version that I would gladly play at gigs.
Notice that for all 4 reworks of my classic tracks, the names are slightly changed instead of saying something like “2012 Remix”. Putting a year after something is dumb to me. It doesn’t look good, and it makes it seem like it is only important that 1 particular year. That’s why I chose to put a new spin on those track names.
Dimitri: Now that the album is finished and is out , do you feel more confident and complete as an artist? In other words the album makes the artist and not only the various singles?
Thomas Datt: Yes I do. It was a huge relief finishing it. I was also pretty nervous up until the actual release of the album, wondering if people would like it or not. So far the reception has been amazing. Everyone seems to love it, some saying it’s album of the year for them. The reviews have also been amazing and very positive. There’s a huge review coming soon which I am very proud of, you will see.
This is something I’ve been saying for a while. Some artists are not meant to do albums, but they do them anyway. If you’re just going to make 10 or so tracks that sound completely alike, then stick to singles and don’t do an album for the sake of being cool. This album is a reflection of my life, and is told like a story, it’s not a collection of singles. It’s a real artist album.
Dimitri: It would be great to tell us the kind of equipment and your favorite piece of hardware and software that you mainly use to produce this album.
Thomas Datt: My equipment is nothing to talk about. It’s very simple. A midi keyboard, Rokit 8s speakers, 2 monitors, a powerful computer, FL studio, vsts, sample cds.
I don’t really have a favorite of anything; I end up using a lot of different things for different purposes.
Dimitri: Do you compose your own samples or you apply mainly pre-existing samples from sound Libraries? If yes which sound library is your favorite?
Thomas Datt: No I am not a very good sound engineer. I do not have the skills to make sounds from scratch. I will however tweak existing presets so much, that they sound completely different from what they started as. I am good at that. Again, I don’t really have a favorite.
Dimitri: Are you going to support the release of the album with some kind of tour too in various clubs all over the world?
Thomas Datt: No, there is no tour, not that I know of. I do not have a manager or booking agent, and I don’t go bothering anyone for gigs. Promoters don’t seem too interested in Datt right now, but maybe slowly changing. It’s not really a secret I don’t play anywhere much, but this won’t stop me from making amazing music.
Dimitri: Are you active user of Facebook & Twitter? Do you see those social networks as vital for the artists to spread the word about what they are doing? What is your opinion about artists who give too much about their life in those social media?
Thomas Datt: Yes I use both, as well as my website, though obviously more people check FB and Twitter than the actual website. They are important, considering that’s where everyone goes nowadays.
I am probably one of those people that spend too much time on those sites. It’s such a stupid time waster, and an addiction I suppose. Do I have a new comment or like? F5, F5, F5, F5 haha.
Dimitri: From the various clubs and events that you have performed so far which one is your favorite and most unforgettable gig and why?
Thomas Datt: Skills present Popsicle 2006 in San Francisco. Not only did I meet my now ex-girlfriend at this party, but I ended up playing with many big producers and DJs to a crowd of 10,000 I think. I wasn’t a very presentable DJ however, as I scared easily by the crowd and didn’t know how to interact with everyone. Also I got really drunk and spent the night throwing up after my set. Missed the whole party haha. Great memories!
Dimitri: One of my favorite questions to all the djs is that one about self-reflection and self-criticism. Out of 10 with what score do you rate the various elements of your dj performances and why?
Thomas Datt:
a) your mixing skills: 8 not perfect but close enough
b) your ability to choose the right track for the right occasion: 7 if the crowd is there to see me then it’s easy as they will like almost everythingc) your friendly attitude towards the fans that are coming to shake your hand when you perform and after that? 9 I love my fans and take the time to talk, shake hands, and drink even
a) your mixing skills: 8 not perfect but close enough
b) your ability to choose the right track for the right occasion: 7 if the crowd is there to see me then it’s easy as they will like almost everythingc) your friendly attitude towards the fans that are coming to shake your hand when you perform and after that? 9 I love my fans and take the time to talk, shake hands, and drink even
Dimitri: Can you recall the best feedback that you got through social media about your album and make you even cry?
Thomas Datt: Well maybe not cry, but many consider it to be “album of the year”. I’m not sure if that’s the case, but it’s amazing to hear such feedback. It makes me feel really good about all the hard work put into it.
If anything made me emotional, it would have to be some of the album reviews. Some of those reviewers understood completely what my album was saying. In some cases as I was reading, I ended up reliving the past which got me a little choked up.
Dimitri: You produce great remixes for other artists as well. Can you choose for us your favorite remixes that you produce for other artists and explain us why you pick those?
Thomas Datt: There’s so many remixes that I’ve done over the years, and more specifically this year, that it might be a little hard to choose.
Andrew Candid & John Dopping – Polarise
The melody here is awesome. To me it’s different and unique, not something you hear all the time.
The melody here is awesome. To me it’s different and unique, not something you hear all the time.
Solarstone – Seven Cities
A track I grew up listening to that was a huge influence in the trance I loved. Remixing this was just something special to me, and I love what I did.
A track I grew up listening to that was a huge influence in the trance I loved. Remixing this was just something special to me, and I love what I did.
Paul Oakenfold – Southern Sun
This is another classic that I got to remix. Doing this was an honor and I really like the outcome.
This is another classic that I got to remix. Doing this was an honor and I really like the outcome.
Paul Oakenfold – Full Moon Party
Such a huge and banging track! I was pushing myself to do something cool with the acidline. There is no one that doesn’t go crazy when this track is played live. It was also an honor that Paul wanted me to remix this.
Such a huge and banging track! I was pushing myself to do something cool with the acidline. There is no one that doesn’t go crazy when this track is played live. It was also an honor that Paul wanted me to remix this.
Federation – Black Tide
I’m a huge fan of Ben Lost, Solarstone and their Federation project. I pushed myself to make something extra special when remixing this.
I’m a huge fan of Ben Lost, Solarstone and their Federation project. I pushed myself to make something extra special when remixing this.
School Of Seven Bells – Reappear
This is a band from NY that I really love. The first time I saw them play at a concert I knew I wanted to do something with their music. I can listen to this remix over and over and not get bored.
This is a band from NY that I really love. The first time I saw them play at a concert I knew I wanted to do something with their music. I can listen to this remix over and over and not get bored.
Natious – Amber
This was yet another classic track that I grew up listening to. I was very stoked when Ben Lost wanted me to remix this. It was something different and deeper than I usually do, as well as psy-fi.
This was yet another classic track that I grew up listening to. I was very stoked when Ben Lost wanted me to remix this. It was something different and deeper than I usually do, as well as psy-fi.
There are many more, but I don’t want to list everything.
Dimitri: Lets finish off with your piece of advice to the young producers out there who aspire to get into production and produce an album like yours?
Thomas Datt: You’re probably going to suck for a long time. Everyone does, well unless you pay someone to make music for you. For me for instance, it took many years before I started sounding decent, it was not an overnight type of thing. If you’re serious, then put in the time, it will take a while.
Big Thanks to Thomas for taking time to reply in this very detailed interview. Its 8 pages long, so big thanks to him.
Big Thanks to Chris Hampshire at Recoverworld Label Group for his support to organize this interview
Many thanks to Paul at 1mix radio for proofing the final version of this interview
You can read it on 1mix web site as well, click here
You can read it on 1mix web site as well, click here
