Louis The Child:现在可不是你挑食的时候

当我们把时间的刻度往回拨三年,Louis The Child 发行了一首《Euphoria》,在LTC众多耳熟能详的作品之外,这首相对冷门的曲子可能已经被遗忘。

When we turn the clock back three years, Louis The Child released a track called ‘Euphoria’ Among the many well-known works of LTC, this relatively obscure track might have already been forgotten.


But now, from today’s perspective, let’s revisit this song. You might experience a completely new feeling or even be moved by it. It not only encapsulates the brilliance of EDM’s peak era but also directly predicts future trends through some of its innovative elements.

是的,由Robby 和 Freddy 组成的 Louis The Child ,自从受十年前EDM风暴的影响启动以来,他们一直都位于“EDM最佳正名者”的行列,从芝加哥到全世界,以极为丰富的音乐做法推动着主流电音的进步。

Yeah, Louis The Child, composed of Robby and Freddy, have been among the ‘best ambassadors of EDM’ since they were influenced by the EDM storm a decade ago. From Chicago to the rest of the world, they have been advancing mainstream electronic dance music with their extremely diverse musical approaches.


Today, the glorious days of EDM may have receded like the tide, but there is no need to worry about the future of electronic music, such a wonderful thing. History tells us that it always finds new ways and forms to resonate with more people. In this process, Louis The Child, constantly evolving and reinventing themselves, will undoubtedly continue to play the role of ‘guardian’ of this scene.

We’ve been wanting to chat with them for a long time!

▎Mixmag China = M

▎Louis The Child (Robby & Freddy) = R / F

PART.1 从未滞后时代的LTC
LTC – Never Behind the Times

Do you guys think LTC is a pretty “American-style” band?

I guess so. We haven’t really tried to be an American style band, but we’re also not purposely writing music in other languages than English. I speak a bit of French and I practice almost every day, but I’d like to be more fluent before trying to write songs in French. Maybe one day! I’m definitely super interested in learning multiple languages, but it takes a long time to become fluent.

What are the differences in roles played by the two members of LTC in the group?

F:我们真的像是天生的完美搭子,我们之间会频繁地传递想法,再将作品从雏形向成熟发展。在构思的过程中,我更多地负责乐器演奏和音乐的微调,而Robby则更多地负责编曲和作词作曲,以及像Rick Rubin那样的经典监制角色。我在学校时学过古典和爵士乐,而Robby专修音乐理论课程,对调性、和弦变化和鼓点节奏拥有出众的理解。
We’re really a good tag team duo, passing ideas back and forth, evolving them together. I do a bit more of the instrument playing and musical fine-tuning during the ideation process, and Robby does a bit more of the arranging, songwriting, and the classic style of producing similar to how Rick Rubin executive produces. I had a bit more classical and jazz education in school, but Robby took music theory courses and has a good understanding of keys, chord changes, and drum rhythms as well.

Yeah by now we have a good idea of each other’s strengths and can play into them very well. Freddy is an idea machine and I’ve always been a good organizer so I’m able to let him run free and then move stuff around later. It’s nice having another person to work with.

△ 左:Freddy,右:Robby

Starting from last May, every new track you’ve released has been accompanied by a cute cloud image. What does that represent?


Those are the cloud monsters. Happy cute cloud monsters. They represent a few things. Sometimes they represent LTC and our collaborators. When we’re in the studio with a singer, writing a song feels like we’re all going on a little adventure. It’s a fun and playful process where we dive into a new world together. We think imagining the cloud monsters going on a fun and playful adventure through a vibrant cloud-world is a good representation of the creative process…

But the personification of the clouds also represents a way of looking at the world as your friend, or as a cute and happy place. Sometimes the world can feel lonely and scary, but if you can imagine the trees, clouds, earth, and other people as your cute little friends ready to go on an adventure with you, maybe it can lighten the heaviness.

M:最新单曲《Falling》中除了歌手NJOMZA,也合作了 Daniel Allan 这位电子音乐制作人,他为这支作品赋予了哪些独特之处?
In the latest single ‘Falling’ besides the singer NJOMZA, you also collaborated with the electronic music producer Daniel Allan. What unique elements did he bring to this track?

F:与Daniel Allan合作对我们来说非常轻松自然,我们有相似的兴趣和风格,可以轻松地把作品的工程文件来回传递,添加想法并促成歌曲。我会说,Daniel Allan为他所在的地方和他制作的音乐注入了友好且有趣的能量。
Working with Daniel Allan feels very easy and natural for us, we have similar interests and styles, and can easily pass the computer back and forth, adding ideas, and evolving the song. I’d say Daniel Allan adds a friendly, fun energy to the places he’s in and the music he makes.

△ Daniel Allan 也是一名极有才气的制作人

Daniel brought a really fun and hungry energy to the room. He’s someone who keeps trying ideas and works really hard. It’s great working with someone who you know is trying to get the best out of everyone in the room.

PART.2 不挑食,就不怕没灵感
Not Picky, Never Short of Inspiration

M:如今回看 Future Bass 已然可谓是一种成功的电音曲风,不仅与流行音乐完美兼容,它也一直延续发展至今仍保持着相当的热度。那么作为乐迷公认最棒的 Future Bass 制作人之一,如果你们用几个词或一句话来概括自己秘诀,会是什么?
Looking back now, Future Bass can be considered a successful electronic music genre. Not only does it blend perfectly with pop music, but it has also continued to evolve and maintain considerable popularity. As one of the widely acknowledged best Future Bass producers among music enthusiasts, if using several words or a short sentense to describle your music secret (production key), what would it be?

F:我想强调纯正的Future Bass融合了90年代到2010年代的嘻哈、爵士、旋律性Dubstep、Trap、电子独立音乐(比如Indietronica)和常规独立音乐的元素。

Future Bass的关键在于非常精细的节奏点,由现代合成器设计演奏出来,并且非常注重音色、立体声效果,包括混响、音头、持续时间以及和弦合成器的运用。和弦旋律的创作尤其关键,你必须捕捉到正确的情绪。正确使用7和弦、9和弦或add9和弦,并把些和弦适配到跳跃的节奏性中。


I’d say pure future bass pulls together elements from 90s-2010s hip hop, jazz, melodic dubstep, trap, electronic indie, and general indie music. Future bass is about really fine tuned rhythmic pockets played out by modern synth design with a focused attention to detail on timbre, stereo imaging including reverb, attack, sustain, and release of chord synths. The chord and melodic writing are also really important to capture the right mood. The right use of 7th and 9th or add9 chords, and using those chords rhythmically are also important. Getting the right rhythmic pocket, melodic feel, sound design, and lyrical songwriting all together on one song makes this style a bit more technically difficult than other genres. A lot of people have replicated it in a surface level way, but capturing the soul of it isn’t easy.

From 2010 to the present, what are the phased changes in the mainstream EDM trend? Could you give us a brief interpretation?

F:主流EDM已经发展得非常多样化了,有很多不同的空间容纳各种大类和子类型。我觉得Dubstep/Trap和Future Bass分别把140 BPM和80-100 BPM的节奏引入了主流。在那之前,主流EDM基本上都是在120 BPM左右。

现在,UK Garage和Drum & Bass在国际上,甚至在美国都很受欢迎,人们也还在做120 BPM的House音乐,但也有人把House音乐的节奏提高到140甚至155 BPM以上。Fred again..无疑就是现在的主流EDM,他自由地拉扯节奏,从Garage、Drum & Bass、House、现代Rap-Trap等风格中汲取灵感。如今的电子舞曲在节奏和节拍上的做法已经有很大的自由度。

Mainstream EDM has evolved pretty divergently. There’s a lot of different spaces for a lot of different genres and sub-genres. I think dubstep/trap and future bass opened the door to 140 bpm and 80-100bpm respectively. Before that, mainstream EDM was largely in the 120s. These days garage/ drum & bass are having moments internationally and also in the states, and people are also still making 120s house music, yet people are also making fast house music into the 140s and up to 155bpm+. Fred Again is now mainstream EDM and he freely pushes and drags the tempo and pulls from garage, drum and bass, house, modern rap-trap etc. Right now there is a good bit of freedom in tempo and rhythmic pocket.

It’s interesting to see that in the past few years we’ve seen a shift towards more of the early roots of electronic music. Almost a complete 180 from the big stages/pop sound of the 2010s. Of course a lot of these sounds/styles have always been around, they’re just having a much bigger moment right now and people are seeking it out more. It seems like people all around are searching for more authenticity now in their experiences with electronic music.

M:那么在这十多年的推移中,你们的音乐路线(或者说理念)是否有发生 重大改变的时刻?
So, over the past decade or so, have there been any significant moments where your music direction (or philosophy) underwent major changes?

F:当我们在创作新专辑或项目时,会非常具体地确定项目的重点。比如,当我们写《Here For Now》这张专辑时,我正深处爷爷过世的悲痛时期,因而这整个专辑其实是关于死亡的,关于我们只存在于当下的理念。


When we’re working on a new album/ project, we get pretty specific about what the focus is of the project. When we wrote our album Here For Now, I was going through the grieving process because my grandpa had just passed away, and the whole project was kind of about death, and the idea that we’re only here for now. It was about trying to find the best in each moment, and appreciating the time you have with friends and family because in a snap of a finger, it could be over. So you might as well really soak in the moment and slow down and appreciate the people around you. No matter how good or how bad things are for you, that moment is here for now. So appreciate the good as much as you can, and realize that the bad moments are only transient as well.

  △ 《Here For Now》LP

我们的项目《Black Marble》在音乐上探索了相对更抽象的深夜舞曲,把你引向欧洲俱乐部舞池的感觉。这个项目有点粗糙,褪去了我们日常的创作风格。我们把这个项目视为舞曲电影的配乐,你可以在YouTube上观看张专辑对应的影片。

Our project “Black Marble” musically explores abstract late night dance music with a European club DJ feel. It’s a bit grittier and removes our usual song-songwriter feel. We view that project as a soundtrack to the dance film which is available on YouTube. With the film, we wanted to focus on late night urban environments around the world, and dance cultures from those places. We wanted to shine a light on the individual dancers as well, as we feel most dancers get outshined by the artists they’re dancing for, and their name usually isn’t even referenced. There’s a street videography feel, and a focus on late night, urban dance culture.

回到我们即将发布的专辑,我们想创造出经典Louis the Child风格的进化版,包含Future Bass、House、Indie Dance、Drum & Bass 和 Garage 等元素。这次我们要重回歌曲创作的模式,并通过更鲜活的制作手法来支撑它。

这次我们不像《Here For Now》那样有一个贯穿的故事主题,因为那段经历代表的是人生中的沉重时刻,我们有更多的风格化制作主题,还有整体上的云怪概念,这是一场与朋友们一起开启的奇遇冒险。

On our upcoming album, we wanted to create an evolved version of the classic Louis the Child style, including elements of future bass, house, indie, drum and bass, and garage. We wanted to bring back the songwriter aspect and support it by bubbly vibrant production. This time around, we didn’t have an overarching storyline theme like we did for Here For Now, as I was going through a heavier moment in my life at the time, but we have more of a stylistic-production theme, and the idea for the cloud monsters. We feel like this period in our lives feels like a series of fun creative adventures with our friends, and the cloud monsters portray that nicely.

Your music often strikes a perfect balance between pop and electronic elements. We’re curious if there are any alternavtive or underground electronic genres that have provided you with a wealth of inspiration behind this balance.


像Bon Iver、James Blake那样的优美独立音乐,像Passion Pit、Neon Indian、Two Door Cinema Club那样生动的独立音乐;

像Robert Glasper、A Tribe Called Quest、Kendrick Lamar那样的爵士嘻哈,像Robin S、Disclosure、Calvin Harris、Dajae、Green Velvet、Chris Lake那样的浩室舞曲制作人;


像Odesza、Sweater Beats、Hermitude那样的modern Future Bass艺术家;

像Kanye West、Jay-Z、J Dilla、Pete Rock那样的2000年代说唱音乐人;

像Sonny Rollins、Sonny Stit、Dizzy Gillespie、Wes Montgomery、Joe Pass那样的经典爵士乐…


We love nearly all music styles, and pull inspiration from just about everything. Pretty indie music like Bon Iver, James Blake, vibrant indie music like Passion Pit, Neon Indian, Two Door Cinema Club, jazz-hip hop like Robert Glasper, A Tribe Called Quest, Kendrick Lamar, house artists like Robin S, Disclosure, Calvin Harris, Dajae, Green Velvet, Chris Lake, older dubstep artists like Rusko, Skrillex, Caspa, Flux Pavilion, modern future bass artists like Odesza, Sweater Beats, Hermitude, 2000s rap/producers like Kanye West, Jay-Z, J Dilla, Pete Rock, Classic Jazz like Sonny Rollins, Sonny Stit, Dizzy Gillespie, Wes Montgomery, Joe Pass. The list goes on, we love music with soul and emotion mixed with great rhythms and arrangements.

Who are your current favorite electronic music artists or groups? What aspects of their music attract you?

F:我们一直仰慕Skrillex、Madeon、Porter Robinson、Odesza、Rusko、Disclosure等许多音乐人。他们在音乐中投入了大量的心血和灵魂,并且非常注重细节质量、能量和音乐性。
We’ve always looked up to Skrillex, Madeon, Porter Robinson, Odesza, Rusko, Disclosure, and many more. They put a lot of heart and soul into their music and have a great focus on detail, energy, and songwriting.

I’ve always appreciated electronic artists that can pair great production with great songwriting. There’s plenty of great producers, but sometimes people in our world overlook songwriting. It’s so important to me that the lyrics mean something. It’s what I listen to the most when I listen to music.

△ 志同道合的合作伙伴:Louis The Child 和 Madeon

PART.3 公式之外的冒险
Adventures Beyond the Formula

M:你们不仅是EDC、Ultra等大型电音节的常客,而像 Coachella、Lollapalooza 这种家喻户晓的综合型音乐节或是“红石”这样的限定演出场地,都乐于邀请你们代表电音领域登台演出,依你们看LTC对这类主办方更有吸引力的缘由何在?
You’re not only regulars at major electronic music festivals like EDC and Ultra, but also invited to perform at well-known multi-genre music festivals like Coachella and Lollapalooza. In your opinion, what are the reasons why LTC is more attractive to organizers of such events?


I think our music fits in best at multi-genre festivals, because our music is so multi-genre’d and genre blending. We can definitely spin a fun, high energy DJ set anywhere, but we love to play our songs where people can sing the words and feel the meaning of the song. We try to fit the production, melodies, chords, and arrangement to match the meaning of a song, so festivals like Coachella and Lollapalooza are a great place to showcase that.

△ LTC是科切拉音乐节的“老顾客”了

Yeah I think that the fans at the multi genre festivals are more used to full song structures. Most other bands playing those festivals are singing full songs with proper verses and choruses. Sometimes fans at electronic only festivals are more interested in music that doesn’t have as many lyrics, which is totally cool.

△ LTC @Red Rocks

Do these music festivals’ booking decisions also rely on the “Top 100 DJ” rankings as a reference standard?

F:事实上,我从未听说我们这边的任何主办方、艺人booking、经纪人、粉丝或朋友提及过TOP 100 DJ榜单。更重要的是创作对人们有意义的歌曲,让人们喜爱并希望与朋友一起现场聆听的音乐。
I’ve actually never heard any promoters, talent buyers, agents, fans, or friends reference the top 100 dj’s list. It’s better to create songs that mean something to people, and that people love and want to hear live with their friends.

Yeah that list is kind of a joke at this point.

LTC are particularly skilled in live-set performances. What special understanding do you have about this way of showing?



We’ve been DJing for over 10 years now, and have a great ability to change directions at any moment, and read the crowd to see what energy they’re on that night. We like to switch genres, and keep people on their toes. We don’t like falling into any sort of formula or pattern, we just want to provide a fun experience where you’re curious what will come next.

We also play instruments when we’re creating songs, and have a lot of fun  playing live sets with keys, drums, and sometimes singing. It feels different to perform live that way, and when you’re showcasing a project that you’ve created, that can feel like a fulfilling way to do it.

I also think that over the years we’ve gone to a lot of shows and are able to recognize what we do and don’t like about concerts. In order to be a great performer, you also have to be a great fan and understand the fan experience.

PART.4 让自己有趣起来!
Make Yourself Interesting!

Are there any variety shows or TV shows in the US about electronic music?

There aren’t any that I know of, but it could be really cool to give contestants an opportunity to remix songs, to see what their interpretations of the song production would be. But I think it would have the risk of ending up highlighting only the most exciting and in your face dance music, but sometimes a nice chill vibe is also really great. I would encourage variety.

Have you ever heard of any electronic artists from China?

I haven’t yet (That I know of) but I’d be very interested to hear your recommendations!

M:比如Howie Lee、Yu Su、Chace、3ASiC、Radiax、Dirty K、血男孩Bloodz Boi、高嘉丰Jiafeng、Taiga等等还有不少,可以拿个本本记下来回头了解一下hahah~
For example, Howie Lee, Yu Su, Chace, 3ASiC, Radiax, Dirty K, Bloodz Boi, Jiafeng, Taiga, and many more. You can jot them down in a notebook and explore them later, hahah~

△ Mixmag China正在着力推荐与展现的中国电子音乐艺人

M:从你们的角度看,中国电子音乐人若想在世界上取得成功,有哪些难 点和优势?
From your perspective, what are the challenges and advantages for Chinese electronic musicians to succeed internationally?

making a career as a musician is very difficult even nationally, but it really takes a lot of consistency in releases, quality, and effort. But in this day and age, with the internet, you can make a career with a large variety of styles, whether they’re song based, or production based. At the end of the day, with dance music, you need to put on a fun show where people are engaged in the music, or even just provide a fun environment for people and their friends.

Finally, we also received submissions from two electronic music aficionados who are longtime Louis The Child loyal fans and enthusiasts.

“要旋律还是要音色设计?为啥得做选择,我全都要”—— @Lín:
“Melodies and design sense, I want them all” – Electronic music enthusiast @Lín:

你们介绍自己曾推出的beat mixtape专辑 ( ‘Candy’ 系列和 ‘Black Marble’ ) 是更具实验性和反常规的,通常来说艺人试图创作路线区别较大作品时会以其他化名进行,但你们似乎并未这样打算。想了解下你们是怎样考量这个问题的?
You introduced your beat mixtape albums (‘Candy’ series and ‘Black Marble’) as more experimental and unconventional. Typically, artists attempt to create significantly different works under a different alias, but it seems you didn’t intend to do so. I’d like to understand how you considered this issue?

F:我们本可以为这些项目设置独立的小号,但我们把Louis The Child视为Freddy和Robby,这是我们一起创造的,代表了我们是谁,我们对什么感兴趣。

如果我们想要做一个Rap+Disco+Soul的项目,我们也希望这个项目能以Louis The Child的名义呈现出来。我们宁愿给自己留下创造性的自由来进行实验,并创造出多样性和差异性的期望。当我们创作专辑或项目时,我们希望该项目具有明确的意图或灵感。每个项目都是相对独立的存在,但也都是在塑造自己的世界。
We could have made separate aliases for those projects, but we view Louis The Child as Freddy and Robby, it’s what we make together, who we are, what we’re interested in. If Louis the child wants to make a rap-disco-soul project, we’d like that to come out as Louis The Child. We’d rather allow ourselves the creative freedom to experiment, and create an expectation of variety and diversity. When we create an album or project, we’d like that project to have a specific intention or inspiration. Each project can live on its’ own and be its’ own world.

It would get hard to follow so many different side projects, and it’s more fun to broaden the scope of the project we’ve already created. Side projects feel good for something that involves people outside of what you’re already doing.

△ 火人节和360度舞台的BLACK MARBLE专属现场

“我对现在Z世代的电子流行音乐真是又爱又恨” —— @逆流鸽:
“I Love and hate Gen-Z Pop music at the same time” – @CounterflowDove:

How do you view the highly discussed Hyperpop trend in recent years, as a new era merger of electronic and pop music? Is this trend likely to impact your creative process?

F:其实Hyperpop并没有在创作上激起我们的兴趣,虽然我们也喜欢一些快节奏的音乐,但我们并没有感觉到自己投身于Hyperpop的冲动。尽管如此,我依然喜欢Charli XCX那种融入Hyperpop音乐的方式和感觉。
Hyperpop hasn’t really piqued our interest creatively, we like some faster music, but we haven’t felt the urge to make “hyperpop” ourselves. I do like how Charli xcx incorporates a hyperpop feel though.

It can be very hit or miss for me personally, but it’s clearly connecting with people and I love that. Who knows how much it will impact us, you never know.

由于在许多人心目中,Louis The Child代表的就是EDM最具“姿色”的一面,Mixmag China团队在本篇内容尾声也为大家精选了一份“LTC的必听曲目列表”,请大家随意收藏享用 (有热单亦有冷门精选)

Playlist selection by Mixmag China: 

Louis The Child / Jacob Banks – Diddy Bop [“五十度灰”原声]
Louis The Child – Euphoria [EP: Euphoria]
Louis The Child / K.Flay – It’s Strange [Single]
Louis The Child / Elohim – Love Is Alive [EP: Love Is Alive]
Louis The Child / Wafia – Better Now [EP: Kids At Play]
Louis The Child – Ohhh Baby [EP: Kids At Play]
Louis The Child – We Are Here For Now [专辑: Here For Now]
Louis The Child – Dragnet [专辑: BLACK MARBLE]