We go inside the track with Sir LSG
Sir LSG began his career as a DJ back in 2006, quickly moving on to co-found Hood Natives in 2007. From there he’s seen a meteoric rise, having remixed for the likes of UPZ aka Avi Elman, Ralf GUM, Andy Compton, Nathan Adams and MAQman and with his track “Sax In The City” reaching the second spot on Traxsource’s top singles chart in 2011. 2014 even saw him voted Number 20 on the Top 100 Afro House Producers of the year. With over ten years in the game, Johannesburg-based DJ / producer Sir LSG is fast becoming a household name in the South African music scene and we’re looking forward to the heat he’ll be bringing in 2017, kicking things off with his latest release ‘Sandcastle’ on GOGO Music. We went ‘Inside the Track’ to learn a bit more about his production..
Congratulations on your new release. How is it being received in your sets? & How are other club DJs responding to the release?
Thank you so much, and thanks again for the cool feature. Ralf GUM and I have been playing it in our sets for a few weeks now, and I must say the response has been good, considering that it hasn’t released until the 17th of February. Hopefully more DJs will get on the release and get it out there even further.
Tell us more about the track. What was the main inspiration behind it and what prompted the musical direction on this?
The lyrics of the track display a fantasy love story of a queen inviting her admirer to her “Sandcastle”, which Ayanda Jiya playfully narrates. Musically, the track is simple but at the same time warm and sultry. Lyrically, I would say the track is RnB styled as it would be expected from an RnB singer and songwriter. But generally, the main inspiration comes from an obsession to create easy listening and clubbing music that isn’t too cheesy, that is full of “music” and full of soul.
Production wise, what is it about the track that makes it work?
The track’s foundation is really in the Rhodes, Bass and lovely vocal takes by Ayanda, who for me, is really a great deal to look out for from South Africa. Kafele Bandele plays the horn section, further taking the melody from the Rhodes to another level, and rounds it up with open and muted trumpet soli. The rhythm guitar played by Simphiwe “Simz” Kulla also adds emphasis to the drum programming to round up the soulful tune.
What is the one machine, program, sound, drum machine, technique that characterizes your sound?
I don’t use much specialised plug-ins but one to mention is the Trillian bass that I use on many of my productions. It just has a great variety of bass sounds that work for my kind of sound, which I would describe as soulful house with an influence of afro house.
What is the one piece of kit that you simply cannot do without?
Most of my production work is in the box, and I’m looking at getting some cool outboard gear. But I always try to record acoustic instruments as much as I can, to add a live element to my music. I’m looking forward to adding a live band performance for this single and my forthcoming debut album. But back to the question, I simply cannot do without the Trillian plug-in.
Any advice for your fans on how to make it in today’s fast-paced game?
Today’s music game is really complex, there’s an information overload on what an artist can do. With so many genres, production styles, success and failure stories, it can be quite confusing for a young musician. I think one of the many things for someone looking have longevity in the industry is to know exactly who you are, as well as what and where you want to be. If you’re certain about your identity, a lot of decisions about yourself and your music become easy to make. You simply do not need to be like anyone else.