Get to Know the Wicked Sounds of HD-4884

4 weeks ago 13

Mysterious creative artist HD-4884 swung by to discuss his backstory, recent accomplishments in the scene, and what the future holds for the project.

DJing and producing are two common skills that artists in the electronic music scene typically put on display, but others break the mold and deliver captivating visual elements and more from the depths of their minds. That’s exactly what HD-4884 has proven over the years as he began to explore his passions and his creativity soared.

Early releases from HD-4884 that landed on labels like Dim Mak and Bassrush Records helped put him on the map while he continued to drop heaters like “Portals” with HVDES and “Death Awaits” with Torii Wolf as tunes on his 4884 Records imprint. Unfortunately, his rise through the ranks was slowed down by a health crisis in 2022, which forced him to put the project on pause as he healed.

Since then, he’s returned to the scene. He’s continued helping others through CTRL: Database Research, but over the past few months, he put his new era on full display with a remix of Deathpact’s “HOLD ON.” He also took another step forward by taking the stage again this year, performing at The Circle OC and embarking on a tour of the UK with Mimi Barks and Raven Gray to captivate crowds across the pond.

As the year’s final months loom on the horizon and HD-4884 begins to prep for 2025, we caught up with this mysterious artist to explore his past, present, and future. Listen to his exclusive guest mix and read on to learn more about where he plans to take his project next.

Stream EDMID Guest Mix 442 || HD-4884 on SoundCloud:

Hi HD-4884, thanks so much for chatting with us today. Before we get into your recent accomplishments, let’s turn back the clock. Who or what were some of your earliest influences that led you to develop a passion for electronic music?

Some of my earliest influences in electronic music stem from the hybrid of indie rock and electro in 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 definitely a different time, and I have to say I love that it was edgy, with most of the electronic elements performed live on a MicroKorg and Kaoss Pad—not to mention scratching on real vinyl. These were my early days of discovering electronic music.

Was there something specific about the sounds of midtempo, drum and bass, and other genres you’ve created that had you gravitating to them?

Yes, the ability to sound design without boundaries or limitations drew me to these particular genres. I’ve always wanted a way to express myself without being judged for a ‘non-traditional approach to songwriting’ and instead have the complete, unapologetic sounds of insanity be appreciated in full effect.

Since I can remember, these aggressive sounds weren’t widely accepted, but we’ve now reached a point in the industry where they are being embraced publicly, commercially, and even in film scores. These are the creative spaces where I thrive, and I don’t see myself turning back.

You rebooted the project this spring after you had gone on a release hiatus for a bit. Can you share what your journey has been like over the past few years?

The hiatus was due to a health crisis that happened to me on Oct 2, 2022. I, unfortunately, tore the main artery in my esophagus from a prior birth defect and lost half my blood, which ultimately caused me to briefly lose my life for about four minutes.

This happened shortly after the release of my remix of Reaper’s “Coach.” Before the incident, I was preparing for my first EP release for 2023, multiple official remixes with some big names, and a release on Sony Music. All of that came to a halt when the road to recovery took almost a year, and the blood loss caused massive damage to both my eyesight and hearing.

I was adamant about not giving up on myself, and I had to pivot my motivation in multiple directions to avoid a deep depression of feeling lost and worthless, especially when I was at a pivotal turning point in my career in 2022 when much success was on the horizon.

So I decided to build a digital twin of myself (HD avatar) and a community of unheard producers and artists on Discord to help those to develop skill sets for themselves; since I thought my producing days were over, I thought I should share the knowledge I carried with others simply because things weren’t looking so bright for me health-wise. Doing so was the best decision ever, with 200+ members and some of the most talented producers in the game. I have no doubt that all of this was created by design and not by coincidence.

What defines this new era of the HD-4884 project?

A new era, a new chapter, a new page… to be unapologetic, to stand with creativity at the highest apex of oneself, to be undeniably a source of inspiration for others to push through the muck of negativity that drags the soul into an early grave. I’ve survived the worst, and from this point on, it’s because I choose to be, not because society tells me to be, but because I want to. It’s a bit poetic, but definitely not sorry. I’m here and ready to bring the project into a new era.

Your remix of DEATHPACT’s “HOLD ON” was incredible. What was the production process like for this one? How did you marry their elements with your style to create this one?

Well, funny enough, I did that remix in under 18 hours and turned it in 30 minutes before the deadline. I didn’t expect to become the winner of the remix competition or even have any intentions of winning; in all honesty, the song resonated with me so much that the production and emotional intuition truly flowed like water. I kinda treated it as if it was a collaboration with Deathpact themselves. I mean, it has always been a dream of mine to collaborate with them, so I literally just put all my heart and soul into it. And that’s what came out.

And if Deathpact and their team is reading this, can we please get it released as an official remix? Tell me what I need to do, and I’ll make it happen!

Not only did you drop that wicked remix, but you’ve been performing throughout the UK! Can you share what it’s been like touring on the Mimi Barks Doom Trap Tour?

Well, timing and synchronicity played a key part in the tour. The opportunity came about six weeks prior to the tour when I was onboarded by Raven Gray’s team to become a joint venture on her Raven Gray project. We are currently working on some amazing music together that we plan to launch in 2025 that will represent her entity and the sound of the talented artist.

During our studio sessions, she witnessed how passionate I was about the project and my capabilities of working with a talent like herself in a very unconventional way while still being able to capture an authentic side of her that she’s been seeking for years. And that’s when I believe she felt the need to have me on this tour. Also, witnessing my performance at The Circle OC, I think she was pretty impressed with my stage presence.

Fast-forward to now: It was an amazing experience, especially since it was my first time in the UK. Experiencing the different energies, environments, and fans all at once was truly an inspiring blessing that only has me wanting to come back and bring the full HD experience, both visually and to the CTRL community.

It’s definitely something I recommend to anyone who feels like they are not appreciated in their hometown, and in need to venture off into new worlds and places as your fans await your arrival for a fresh new experience and sound. Your fans are waiting patiently for you.

Oh, and Mimi Barks is one hell of an artist and performer. I hope one day I will have the honor of working with her on a studio project and sharing it with the world. Mimi’s conceptual art and taste for breaking boundaries is beyond belief. Keep an eye on that one.

Beyond your work as a DJ and producer, you also create some fantastic visuals and run CTRL: Database Research Agency. How do you manage your time between these two creative outlets, and are there goals you hope to achieve with this newfound agency?

Thank you so much! I really appreciate the kind words. How do I manage my time between the two, well……for one, having patiences and knowing when to pick and choose your battles is one.

I’m constantly developing new concepts and ideas for CTRL to expand in different fields in the industry not only creative but tech, community and as a boutique label. And that’s the beauty of it: It’s not just one thing; it’s a home, a sanctuary to thrive and develop, to take control, research oneself, and execute your ideas through a linear pipeline to reach your goal.

Again, CTRL was initially developed as a creative sanctuary (Private Discord channel) for the HD project to help manage asset deliverables, releases, and visuals that were housed under one streamlined platform. When I began to onboard clients and commissions, I soon realized that my method was not just suitable for me but could be a valuable asset to others who seek the same refuge, and that’s when I opened the channel publicly.

For over a year, we held Demo feedback live streams, helped develop, package, and pitch artists to labels, and built a community of over 200+ members. We now have an internal team of four who are passionate and dedicated to CTRL, helping run the discord, brand partnerships, and project management on the commissions. By the way, a huge shout out to DENIS, Lugobi, Tayken, and SE3R for all your hard work and dedication to CTRL. I wouldn’t be here without my team.

What we hope to achieve in this newfound format agency is to open the doors to like-minded individuals who are looking to invest in themselves and be unapologetic in their art. So, if you can relate and want to join CTRL, just send over a DM, and we’ll be more than happy to extend the invite to you. The door is always open.

AI has been a hot topic in the scene lately, with many artists taking different sides on the matter. What are your thoughts on artists using AI?

As someone who creates AI models for artists and large companies, learn it, use it, and grow. This is just another tool added to your arsenal of creative extensions. But, and there’s always a but, use it in uncommon ways to break away from the generic stream of glorified Pinterest clickbait and use it to tell a story of a perspective that no one else can see but you and bring it to life.

Plus, wouldn’t it be cool if one day you could go b2b with an AI version of yourself, split stems in a DJ set in real-time (Mixtour Pro Reloop), and do a collab with a 15-year-old you, Reiner Zonneveld did it why can’t you? The possibilities are endless!

Finally, with much of 2024 in the rearview mirror, what do you have planned for the remaining months and into 2025?

Music, collaborations, remixes, flips, edits, festivals, tours, and CTRL Label.

Currently, I am consolidating a large catalog of unreleased music that has been archived from 2022 to 2024. I look forward to finishing and releasing all this music for my February 2025 launch. It does hurt me that I’ve made so many dedicated fans wait so long for me to release anything, but I promise it’ll be worth it.

I place a lot of sentimental value and driven emotions into the music and make sure that all of it relates to my experiences and turmoil of the growing pains I’ve endured in these past five years, so expect a ton of chaos and suffering. [Laughs] I do hope that the music I’ve created resonates with many and hopefully gets played out into major festivals. Only one can hope. If not, I’ll make sure to rinse them out in all my sets.

Tons of work is being done behind the scenes with the CTRL Team for our label releases, bookings, and tours for the HD project. Once the launch is activated, you’ll definitely see a shift in the project, and there will be no turning back.