Rotterdam-based producer Moods aka Nick Lubbersen has pursued music for 18 passion-filled years. With 100 million streams and counting, he’s one of the most exciting electronica artists out there. While in the past Lubbersen tended to favor a stripped-down studio approach, on his latest release, Music Ruined My Life, he changed it up. This time, he fused his tasteful sound design with a full live band. Lubbersen breaks down the intricate layers from three of the album’s many gems: “Ecstasy,” “Push Pull,” and “Return to 4Ever.”
The Beauty of Improvisation
For the latest Moods album, Music Ruined My Life, you spent four lengthy days in the studio with your band. How did you prepare for the sessions?
When I work in my own studio, I’m more in control of what I do. But for this album, it was definitely more about improvising with the band on the spot. I made sure that the foundation and structure of each demo were clear. But the most beautiful bits of the record came together in those little improv moments thanks to the band, Lennard Vink (keys), Yasper Molle (guitar), Rik Kraak (bass), and Joris Feiertag (drums).
Looking back on the creative process behind “Ecstasy,” can you break down the instrumentation?
I couldn’t find a home for “Ecstasy” at first, but I really liked it. So, I decided to try it out with the band: drums, guitar, keys, and bass. The remaining sounds were already on the demo. After the recording session, I brought the audio files home and mixed them to my taste. I felt like it wasn’t there yet, so I got in touch with Bart Wirtz and Dirk Beets to add horns. We went back to the studio for a session. After mixing the horns in, I knew we’d finished it. But there’s always room for more, so I sprinkled some sparkly effects here and there. Those details can make all the difference.
"I’ve always loved the sound of the JUNO-6. It glues the other elements together and makes things more cohesive."
The Versatile Vibe of the JUNO-6
Is that a JUNO-6 pad on several tracks from Music Ruined My Life?
Yes, I’ve always loved the sound of it. It can be very versatile and adds a lot of character. We mostly used it for its warm sounds. On “Ecstasy,” I used it as a pad to fill up the background. It glues the other elements together and makes things sound more cohesive. You can also hear the JUNO-6 on “Return to 4ever.” On “Push Pull,” we used it for both stabs and swells. It cuts through nicely and gives the track extra energy. Lennard Vink and I designed the patches from scratch and played the parts. Then, l did some additional processing in the mix.
How did you initially decide to incorporate the JUNO-6 on the album?
Oscar from Kraak & Smaak brought it over. He co-produced this project, so I asked him kindly to bring it to the studio for the sessions. In time, as I learned about music, I was curious about why certain records had a distinctive sound. Roland popped up many times.
Endless Sound Manipulations
Where does the Moods fit in the current musical climate, in terms of genre?
I like to describe my sound as joyful, warm, and full of life. It’s a fusion of hip-hop, funk, soul, and disco.
"As I learned about music, I was curious about why certain records had a distinctive sound. Roland popped up many times."
How do you usually begin working on an idea for a Moods track?
It varies. Usually, I start with a drum pattern or chord progression. Sometimes a sample or sound design experiment. Whatever! It evolves into something from there. I’ve learned that everything is useful in some way. You can manipulate sound endlessly until it works.
