UK based producer Joseph Thomas Price, AKA Third Son is a person Decoded Magazine have been keen to speak to for some time now. With a string of superb productions on labels like Noir Music, Sincopat, microCastle, Traum, Global Underground, and his own label Polymath he is surely on the path for great things.
We caught up with Third Son in late February to chat about his sound, what he has planned for 2017, and the start of his new live shows…
Hi Joseph, and thank you for taking the time to speak to Decoded Magazine. Let’s get to it… Third Son is not your first musical project, you have had several different monikers over the years. Can you tell us a little about your past projects and how Third Son came about?
I began writing electronic under a pseudonym that was mainly progressive and some ambient based stuff. It was really the second project that turned a hobby into a potential career. I was part of a duo called Origins Sound. We toured a little, and my partner, who was a talented party starter, ran events under a sub-label. Over time I wanted to move away from that and that’s when Third Son was born. Sometimes I still regret the move as I had some of the best times of my life during that phase.
When did you first start paying serious attention to electronic music, and can you remember what track first sticks in your mind as being pivotal to you wanting to know more?
I became totally obsessed with Amon Tobin as a teenager. He started life as a drum & bass producer, but it was really the leftfield more soundtrack stuff he moved towards that I was hooked by. It was like nothing I’d heard before, but I think it was also his process of making music that was so compelling.
I believe you used to write electro music for Tiesto’s label back in the day? Can you tell us a little about this?
Well I wouldn’t go that far. I made one remix for his label as part of my original project. I used to go out to Sweden to help a guy produce music and he introduced me to him. I felt like I had no idea what I was doing in the studio at that time.
How would you best describe the Third Son sound?
You recently performed your first live show. Can you tell us a little about this and what we can expect from you in the future in terms of live performances?
My first foray into live was in Demarktkantine, Amsterdam. The sound system there is unbelievable and luckily, everything went smoothly – my laptop had crashed earlier in the day so naturally I was quietly freaking out. But all was good.
Is playing live something you prefer to DJing?
I think so, yes. After that first live set, I realised that was what I wanted to focus on in the long term. Making music is really what interests me, so as a band would, it makes perfect sense for me to play mostly my own music.
How do you feel your music productions have grown over the years and what are some of the most valuable lessons you have learned?
I think I’ve learned not to compromise on quality. When starting out, this scene can be overwhelming, and there’s an inclination to release as much music as possible. Patience and quality control is essential for longevity, though.
Your latest release with Darlyn Vlys, ‘Follow The Machines’ is due out in early March, and this is not the first time you have worked with him. What do you find works so well when working with Darlyn?
I’m usually apprehensive to do collaborations, but with Darlyn we sort of click. I think we have a mutual respect for each others music, but we also appreciate a lot of the same things in other producers music.
How did the name ‘Follow The Machines’ come about? is there some meaning behind the name?
In this case, the name came from the artwork and not the music. Upon. You are doing an interesting series of artworks with Frank Grafe. The music inspired his artwork, which then inspired the name later on.
With releases on labels like Global Underground, Traum, microCastle, Natura Sonoris, and Parquet Recordings you are certainly getting the right attention. What can we expect from you in 2017? Maybe an album?
More live work and I would certainly like to release an album on my own Polymath label, but we’ll see.
New artists often struggle to get their music heard by the people that matter in a very crowded market. How did you ensure your music was heard by the right people and how do you continue to grow your audience?
I’m a firm believer in the idea that if the music is good enough, the right people will find you. I’ve been lucky enough to have my manager, Kal Jhugroo, from the very start who built bridges between me and the labels. The only reason we began working together in the first place was because he felt there was something there, musically.
I’m trying not to worry about actively building a fanbase right now, and really just focusing on the music.
With all the “crazy” that appears to be happening in the world and touring, I can imagine it takes its toll on the mind and body. What do you like to do when you get time to unwind?
I like to read, and also meditate. My girlfriend is a mindfulness/meditation teacher, which helps.
What are your current top five tracks at present?
01. Kincaid – Melancholia
02. Johannes Brecht, Christian Prommer – Voix Grave (Johannes Brecht Version)
03. Kiko – Onze
04. Smash TV, Kotelett & Zadak – Keep
05. Third Son – Solemn Circuitry
When you’re DJing, besides your own music, who is your “if all else fails” go to producer?
At the moment, Shall Ocin
Thank you for taking time out to speak to us, lastly is there any news you can share with us for 2017?
Many more tweets on US politics, for sure.
Tracklist for the mix is unavailable