A chat with Brooklyn's Fireberg...
Dan Berg aka Fireberg is an artist whose musical journey has been a rich tapestry of influences and experiences. Hailing from Philadelphia, his musical odyssey began at an early age with the piano, where he displayed an innate talent for improvisation. Over time, he delved into jazz concepts and repertoire, eventually expanding his horizons into reggae and groove/fusion music during his college years. It was a pivotal moment when he acquired his first synthesizer, a Nord Wave, which opened his ears to the world of electronic sound and production. Collaborating with Joseph Alpern, also known as J Gabriel, they explored vintage production and recording equipment, leading Fireberg into the realm of hip-hop production and electronic music.
Brooklyn has been a significant backdrop for Fireberg's creative journey. Moving to this vibrant musical hub in 2009, he immersed himself in its diverse music scene. While the city has seen changes over the years, he still finds inspiration in its rich history and cultural diversity. He appreciates the walkability of the city, access to cultural institutions like Lincoln Center and museums, and the comfort of having his home and studio in Brooklyn. Fireberg's musical evolution has been heavily influenced by a broad spectrum of genres and styles, from jazz and reggae to electronic music, indigenous Amazonian sounds, and classical traditions. These eclectic influences are woven into his compositions and piano performances, reflecting the diverse nature of his musical identity. The "Myami Rain EP," featuring J Hoard, is a testament to his ability to meld these influences into a harmonious sonic experience. We caught up with Dan recently to learn more…
Hi Dan, thanks for catching up. Can you tell us about your musical journey and how you got started as a producer?
Hi Nightclubber, thank you for this opportunity to speak with you and for all the work you do highlighting new music. My journey began on the piano at my home in Philadelphia. I quickly learned to improvise very freely and eventually found a teacher who supported that approach to music performance, though he slowly introduced jazz concepts and repertoire as I got older. Through college I explored composition and arrangement and performed in various bands of diverse genres, focusing on reggae and groove/fusion music. As I was about to leave school, I made an impulse purchase and bought my first synthesizer, a Nord Wave. It began to open my ears to another side of the music (a darker side of the moon, if you will…)—that is, the world of sound. Before then, I was only focused on notes and feelings
Alongside my good friend, Joseph Alpern, aka J Gabriel, who’s featured on this release, I began to play around with vintage production and recording equipment like the Akai MPC 2000XL and Ensoniq ASR-10, which brought me to hip-hop production and eventually, as I deepened my understanding of the computer program Ableton Live and synthesis, electronic music.
You’re from Brooklyn, right? Is it somewhere that continues to inspire you musically?
The reason I moved to Brooklyn was out of my devotion to music and expanding as an artist and sideman performer. When I first arrived, in 2009, there were so many incredible venues and phenomenal musicians and acts. And there was every stratum as well, from super top-tier, straight down to the gritty DIY. Unfortunately, over the years, due to a variety of factors, many of those venues have closed and a lot of the musicians have moved on to other cities (or, sadly, other careers), but there is still a deep history here, and there are many beautiful and profound artistic projects underway. Nowadays, I like the walkability of the city and the access to institutions like Lincoln Center and the museums (even if I don’t go as much as I like), but mostly, I just have my home here and my studio and it’s a good headquarters, even if I’m preferential to more naturalistic or low-key environments.
Do you remember the first time you encountered electronic music? Why do you think it so appealed?
There had been a variety of electronic albums in my CD collection, things like The Prodigy’s Fat of the Land, Moby, Bjork, and compilations like The Buddha Bar and The Verve Remixed albums. I even remember an anthology of one of the pre-dance electronic music pioneers, Raymond Scott. But, in a way, I always saw these records as part of a continuum of the general zeitgeist. I hadn’t really made the differentiation with this specific world of electronic sound. It wasn’t until I started learning synthesis, and then, subsequently going to rave events in the city, that I started to understand the different set of intentions, techniques and processes that are involved with the genre. I love collaborating with the machines, realizing that we each play a part. Sometimes I can just set things in motion and listen, whereas other times I can have complete, neurotic control over every micromovement. Electronic music allows me to deepen my self-reliance as well, if I want, since I don’t need a whole band to create something lush and interesting. But I also love how, as a language, it’s very accessible so many people from different walks of life can communicate and co-create using a shared framework
What motivated you to collaborate with J Hoard on the "Myami Rain EP"?
J Hoard stood out in the crowd, by miles, as a best-in-class vocalist and improviser long before I had the opportunity to work with him. He regularly performed for a residency at Arlene’s Grocery called “The Lesson” which was an improvised r&b and hip-hop jam. He could come up with incredibly catchy hooks, on-the-spot, and then expand on them to epic, and practically transcendental proportions. Once I had the confidence and a library of music that I thought worthy, I invited him to my studio and we collaborated on some r&b tracks, one of which, “Got the Light,” he released on Ropeadope Records. I later asked him to add lyrics and vocals to the “Myami Rain” instrumental and he knocked it out of the park.
How would you describe your musical style and the influences that have shaped it?
As do many musicians in this extremely globalised industry, I have a very eclectic set of influences. My foundations are in the colours and feelings of jazz, though I never quite aligned with the formats that are most common, i.e., the swing and bebop bands with its extended solos and tighter vocabulary of appropriate rhythms and musician’s roles. My first performance opportunities were all with reggae and Caribbean music, which is incredibly deep and taught me, early-on, about the spiritual qualities of music (both in the potential hypnotic moods and sounds, but also the messaging of the lyrics). I studied abroad for several months in Havana and got to experience the highly transportive expressions of both the folkloric tradition but also the progressive fusions of Western classical, Spanish, and pan-African music, including that of the diaspora and even the third wave (which would include something like the salsa music of New York City in the 70’s). Later in my life, I’ve fallen in love with other types of spiritual moods in music, such as the indigenous music of the Amazon, the deeply technical or devotional offerings of Hindustani classical and Carnatic music from India, as well as the reverent sounds of the Baroque period. I’ve also been drawn back to my own roots from the Pale of Settlement, which include styles like klezmer, Balkan music, and, adjacently, the sounds of flamenco.
All of this is incorporated into my writing and piano playing, but, of course, there are countless contemporary artists and producers who have influenced my creativity in the studio. Too many to name…
Could you share some insights into the creative process behind the original track on the EP?
Many of my productions can tend to have a fairly extended course of development. I wrote and produced the “Myami” instrumental back in 2015, I believe. At that time, I was heavily interested in the production techniques of early 90’s hip-hop, staying away from the computer, at least in initial phases, and relying on smaller but powerful loops as the foundation for the track. I used the ASR-10, an incredibly versatile and underappreciated machine, to chop up a breakbeat I sampled, and then added a host of other percussive elements. The harmonic part is a simple two-chord progression between some jazzy 9th pads that cycle throughout the song. It’s a fairly simple production with some added sound FX and synth leads, but the J Hoard vocal is what makes it particularly compelling. He has an inspiring ability to extend the harmony of whatever he’s working with by utilising upper structures and then he goes deep with his own background vocals, often layering many parts to create a rich choir-like accompaniment.
What inspired the message conveyed in the original track about embracing and appreciating life?
When I sat down with Jonathan to develop the lyrics for the track, I was having a lot of thoughts and concerns about living in NYC and wanting something more for my life. I felt stifled by the competitiveness and the concrete everywhere and I kept trying to think of an alternative place to call home, but I always seemed to fall short, feeling that the resources and community of the city were somewhat irreplaceable. It was with this concept that we embarked, the idea of a searching soul, travelling around the world looking for contentment or expansion or novelty and never quite stopping to “smell the roses.” The narrator of the song urges this individual to consider the Buddhist concept of returning to the here and now. In a way, Miami, like Vegas, represents the pinnacle of high-production entertainment and scintillation, and yet these superficial delights or fantasies fail to provide the personal and spiritual connection that the protagonist is seeking. J Hoard’s final line sums up a takeaway message of wisdom: “We all live under one sky, so find happiness inside.”
Prefuse 73 provided a unique remix for the EP. How did this collaboration come about, and what was it like working with such a renowned glitch pioneer?
I had been following Prefuse for some time, both for his proficiency with the MPC, live and in the studio, but also because he had some amazing extended techniques that involved micro-sampling, ultimately resulting in this genre or style called “glitch music.” After J Gabriel got on board to do a remix for the EP, he and I sat down together to think on how we could expand the sonic diversity and market reach for the package. Prefuse came to mind as someone who was both a veteran in the field with a substantial niche following, and someone who could produce something of utmost quality, and which had equal footing in both the mainstream and experimental worlds. Being a top-billed name, Prefuse is a busy man, so there wasn’t a ton of back-and-forth in the collaboration but what he brought us was instantly above and beyond the call of duty and I’m so appreciative that he’s involved with the release.
Could you explain the musical choices and concepts that went into Prefuse 73's remix?
This would be a question best answered by Guillermo, himself, but I can offer a few thoughts. Prefuse took the original stems, which were at 130 bpm and he basically kept the tempo the same but made the feel of track half-time, creating this distinctly r&b vibe, but with many electronic production elements. You’ll notice, also, some super intricate sound FX and interstitial elements that create this experience like we’re in a very moist (yeah, I said it) environment. Peppered throughout are some of his signature glitch techniques which enhance the tension and release of the piece, but ultimately the vibe is incredibly chill, sensual, and, in my opinion, timeless.
Rick Wade brought a touch of 90s nostalgia to one of the remixes. How did that collaboration come to fruition, and what was your experience working with a Detroit house veteran?
For the Rick Wade addition, all credit is due to Mishbaka Records’ label manager and admin point-man, Kev O’Brien, who took on some A&R duties for this release. Although J Gabriel’s remix has a distinctly deep house sound, it was more contemporary and niche so we were looking to round out the release with something classic and accessible. Rick Wade, with his Detroit roots, has an incredible ability to encapsulate the sound of early house music, bringing power and swing to whatever he creates. His “Myami” remix was no exception. We went through a couple alternative versions before he sent over the current rendition, taking small vocal snippets from the original and adding heavy, minimal drums with an unignorable phat bass line.
J Gabriel delivered a contemporary, percussion-heavy deep house remix. Can you tell us more about this collaboration and the artistic vision behind it
J Gabriel basically taught me what house and techno music is and how it is constructed. As I said before, we came up together in the late aughts learning these classic machines and whereas I continued to explore ways to fit them into varying genres like hip-hop, soul and reggae, always with a jazz framework in mind, he went on a deep dive into sound design and production that was intended for the dancefloor. Despite having jammed together many times and contributed to each other’s tracks through actual programming or just critique, we had never been on a release together, so I was very excited to bring him into the fold. Joseph was also a proponent for the original “Myami Rain” track before it was ever released so he brought a lot of passion and dedication to his remix and he ended up overachieving his goals, in the best way. The final product is funky and spacey, highly percussive and, like most of his work, bouncy and catchy to the point of narcotic-level goodness
You also contributed an alternative remix under your pseudonym, Inbeatitude. What was your approach in reharmonizing the track and incorporating electro-acoustic instruments
Since it had been so long since the original conception of the “Myami Rain” original, I was feeling inspired to do a fresh take on the track that brought more drum-focused energy but also explored a broader harmonic palette. Using the Wurlitzer and an Ableton vocoder preset, I started to expand the chord progression of the track into something more song-like, with traditional verse and chorus, rather than a more repetitive “beat.” What really brought the remix to the next level was inviting bassist Tim Lappin into the fold. He’s a gifted musician and songwriter (performing under the pseudonym, Casual Male) and he’s also just a super chill person, so it was a great pleasure working with him in the studio. The final product has an effect of bringing the song to a more complex and, perhaps, emotionally dramatic place, while staying within a flowing realm that has a soothing component as well. I’m also partial to the opening vocal part, a J Hoard idea that got left out from the original radio edit, which I pitch-morphed to sound more affected and robotic.
The EP offers a diverse musical experience. How do you feel it represents your growth and evolution as an artist since your previous release?
While I’m very proud of what we accomplished at Mishbaka, with the Call of the Phoenix EP, there are a lot of elements in that EP, both musically and conceptually, which are quite intense and even challenging, at times. Well, maybe the Scott Diaz remix had, kind of, the opposite effect, with broad appeal for both the mainstream and underground. But from the perspective of my own involvement, the music was quite edgy and serious, so with this EP I wanted to create something that had a more familiar and comforting aesthetic. I also like how this EP focuses on the one track, “Myami Rain” instead of the previous EP with its four original tracks, which was a lot to manage from an admin and promotional point-of-view. To have names as respected and renowned as Rick Wade and Prefuse 73 is a point of great pride for me and, I think, shows the developmental progress of the label.
Can you share any memorable moments or challenges you encountered during the production of the "Myami Rain EP"?
One challenging component was that a lot of the development for the EP was happening during the initial phases of the pandemic. Despite having more free time, people were a little more reclusive then, so it was hard to arrange studio dates and just get people to deliver assets with expediency. I also had my share of hesitations about whether to be investing in music at the time, when so much was up in the air, especially the prospects for performance. But alas, we charged through and, as most might agree, besides the incredibly tragic losses that so many suffered, our world is not quite so different as we imagined it would be. That being said, pandemic or not, I’m still quite worried about the state of our music industry, but maybe that’s a conversation for another time.
What do you hope listeners take away from the EP, in terms of the emotions or experiences it might evoke?
I think one thing that J Hoard evokes as an artist and singer is the quality of allowing yourself to accept and deepen into who you are. The sounds of his voice on this track and the timbres and textures of the music, for me, have a soothing, even medicinal quality, which is why I chose purple for a lot of the artwork and design, a color designated by many in the new wave circles for healing and spiritual protection. If you’re a regular listener of r&b or ambient, perhaps you’re familiar with the slowing down and relaxing potential in music, but I think this EP, at least the original track and Prefuse’s mix, offers an interesting crossover between rhythms that excite and textures that can bring somatic grounding. Beyond that, as always, I hope that DJs will use these tracks to inspire dancing and connection in the club or lounge.
Are there any specific artists or genres that continue to inspire your work, and if so, how do they influence your creative process?
As far as contemporary artists go, two of my current major inspirations would be Nils Frahm and Billie Eilish. Nils is a virtuosic keyboardist with a very deep understanding of sonically rich, analog production techniques, and tape-based live looping. His melodies, harmonic choices and arrangements are both experimental and streamlined for immediate impact on an emotional and intellectual level and his sound design is enchanting, if not erotic. The Eilish team has amazed me for many years with its ability to incorporate very eclectic styles and sounds while maintaining a thematic through-line. The production is perfect, in my opinion, and I love how vulnerable Billie is with her singing and lyrical content. As far as influences from previous eras of electronic production, I keep returning to Kraftwerk and Georgio Moroder, but I’m also a huge fan of Kerri Chandler, Jeff Mills, and early Four Tet. If I had to choose one desert island music creator, though, it would probably be Miles Davis. I love the many phases of his career, his dedication to expansion and finding his edge, and the way he, especially later in his life, created deep and diverse communities within his ensembles.
What's next for Fireberg in terms of future projects and musical endeavours?
My main priority after this release is to develop my live set and play out more. I’ve been working for a while on getting away from the laptop into a “Dawless” set up where I can both freely generate improvised ideas and incorporate stems from pre-composed tracks. It’s a complex process with a fair share of technical hurdles but I’m getting closer and I’m eager to be back on the stage as it’s been a while since I last performed.
As far as releases I have two in the production line. One is a techno-inspired track that I made in collaboration with vocalist and performance artist Jennifer Vanilla. The other is a full-length album of electronic works, more in the song-form realm and influenced by genres like pop, funk, and indie rock, while staying true to the electronic frameworks that I’ve worked with up to now. Beyond that, I’m interested in doing another ambient record as a follow-up to my soundscape album, Passage to Gaumukh: Music for the Rainbow Cave. And I’d like to collaborate with some more visual artists to create unique joint works that tell a story and incorporate the psychedelic images and sensations that I’ve grown to love
Thank you so much for your time. Keep up the great work!
Keep up with Fireberg on Soundcloud and Facebook
Listen to J Gabriel’s remix of Fireberg’s Myami Rain below