The ever-evolving British DJ and producer Tim Green has thoroughly navigated through the endless sea of electronic music by imprinting his unparalleled touch in each subgenre. Having released on a wide variety of labels like Anjunadeep, Get Physical, Cityfox, Dirtybird, and several more, the brilliant artist has found his home in the All Day I Dream scene, which is renowned for its emotive nature, fusion of ethnic elements, luminous colors, and ethereal melodies. With this freshly liberating chapter and through his own label For A Memory, he feels that he can especially express his sentiments and experiment without any judgment or barriers and has never been happier.
As with any flourishing musician, the chameleon has renovated the direction of his sound, transitioning every so often to feel what was best for him at the time from techno and big room to downtempo, organic house, and everything in between. Each time, he’s had to build up from scratch and start all over again with new labels, promoters, and clubs, but despite being “looked at as a new sound,” Tim’s never felt more fulfilled and content than now. The course of his career traversed similarly to that of a smiley face, for he felt happy in the beginning, not so much in the middle, and is now back to being happy again. “I love techno and its energy is unmatchable in my opinion, but right now this genre is less interesting to me to experiment in. I also felt that I never really belonged in this world. I don’t look back at it in a bad way or negatively, but sometimes I felt like a black sheep on the Cocoon label. I was still extremely welcomed and made part of the family, but I was just always pursuing a lighter and more musical direction. So it wasn’t a perfect fit at the Cocoon shows, and when you have a room full of people expecting proper techno, I wasn’t always a nice departure for them ;).” Regardless of the style, it’s apparent that there’s a solid quality, thoughtfulness, and delicate precision to his wistful sound.
It’s compelling to see how in the past there’s always a genre that is dominating the scene, usually a few years at a time. For example, minimal techno was all the trend for a while, followed by deep house, then melodic techno, etc. “Now, I feel we’re in a great time where we have so many different genres. Like techno, disco, organic house, tech house, etc., and all different labels happily co-existing together instead of one dominant genre or sub-genre sitting on top. But it’s also equally frustrating, as I wish some narrow-minded people would appreciate and respect other sounds instead of being die-hard fans where every other kind of music that’s not theirs is wrong and pointless. Kind of like supporting football teams, where you essentially have to hate all other teams apart from the one you love. And unfortunately, it feels too often like this in music, I think, where liking other genres is almost a crime.” The pragmatic character acknowledges how there’s some good music and bad music within any kind of genre and believes that people should be open to liking various kinds of subgenres. “It’s one of the reasons I gravitated towards All Day I Dream – it’s so nice to see a variety of people attending the shows, women, different colors and all different backgrounds instead of just men in black T-shirts at 6am.”
Appreciative of his lengthy career, the charismatic soul finds that if there was ever a time machine where he’d go into the past or future, he’d take the opportunity to spend a day with his younger self and watch himself as an observer since he doesn’t remember how he used to think for a lot of the time.
“In my earlier days and career, it’s like a blur, especially all of the little things. I’m intrigued to know how I got to this point in my life and I don’t remember if I used to be nervous as hell when performing, but maybe I repressed those emotions? Now I’m much more conscious and aware and make sure I’m fully present when I’m djing. It would be insightful and cringe-like I guess to see my past self, but it would be interesting.” While exploring the past, the avid guitar player would have also loved to meet legends like Jeff Buckley, Eddie Van Halen, and Jimi Hendrix and enjoy the ’80s firsthand. He even bought 3 guitars during the pandemic, reflecting on how he was just “a guitar player who grew up in the middle of nowhere surrounded by fields and sheep and listening to American rock bands.”
Hailing from southeastern England, the London-based musician finds what’s exceptional in his current hometown is the consistency of the scene, for “London’s never gone in and out of style, regardless of genre. You can find any type of underground music and easily have a good night.” If there was anything he’s learned over the past few years, it was how to survive by listening to music and being a parent to his young daughter. Tim worked as an audio engineer and consultant, which allowed him to help other people over the course of the pandemic. “It’s easier to give your opinion on other people’s music versus your own and it made me reflect on my own music as well.” He reveals that he’s currently working on a song remix of Perry Farrell, the lead singer of Jane’s Addiction, which “is like a childhood honor to remix a legend.” Check out his latest collaborative track with Izhevski called “Icicle” and support the altruistic, lighthearted artist on Beatport and Instagram.