Salt Lake City’s Alex Unger blends hip-hop and jazz influences with bass music in a way that is truly his own. His music moves between soulful, reflective, cinematic, sexy, and beyond. His ear for sampling is masterful and his ability to craft original works is breathtaking. With a new EP just a few weeks away and a catalog that has been at the top of my rotation as of late, it’s only fitting that we have Alex Unger drop in for a guest mix + interview.
The mix is a reflection of his unique influences and style. It features some of his unreleased originals, jazzy downtempo grooves, sophisticated bass, a classic from Falcons, bops from Mac Miller and Sainte, heaters from Cesco and Ivy Lab, and everything in between.
As for the interview, we delve into what drives him to create, explore Sound System Sensuality, get a list of his favourite plug-ins, discuss Salt Lake City, and learn what’s on the horizon. Dive in below.
Where are we going when we press play on the mix?
In terms of where the music takes you, hopefully that’s different for every listener!
I think this mix tells an interesting story, and much of the music I consider rather genre-fluid with sounds from varying time periods and influences. For me, this mix touches on feelings of curiosity, playfulness, love, nostalgia, heartbreak, and self-assurance to name a few.
There’s a couple fresh tunes from myself off my upcoming EP in there, as well as some of my favorite stuff to listen to and play out from the past couple years.
I want to encourage people on the dance floor to move and connect with the people around them in a more sensual way, and bring a variety of dynamic music that is not as frequently showcased in the high-production, sound-system culture landscape, especially during peak hours.
What is Sound System Sensuality?
That is a phrase I thought of that I feel represents the environments I hope to create when playing music, especially in the live setting.
In the electronic music landscape, a lot of the time it’s built around the hype-party aspect. The headliners are often the ones who “go the hardest” or have the wildest sound design, and make music that people want to go crazy to. I think that’s super dope, and have mad respect to the artists that do that well.
I used to want to fit into that mold, but over time as my taste has developed, I’ve shifted to wanting to facilitate an experience that brings people inward with more introspective and less suggestive music. Music that is more open to interpretation, whether that’s how you want to move your body to it or the emotions that it evokes.
I want to encourage people on the dance floor to move and connect with the people around them in a more sensual way, and bring a variety of dynamic music that is not as frequently showcased in the high-production, sound-system culture landscape, especially during peak hours.
If I had to pick a few general themes of the music I’m most drawn to, they would probably be sexy, classy, groovy, and moody.
Why do you make music?
I make music primarily because of its unique capability of bringing people together. The cliche of music being the universal language is actually so real.
It has inspired me more than anything else in my lifetime, and I’ve always hoped to capture elements from the auditory worlds I’ve spent the most time in and that have shaped my taste. I hope to pass on those feelings to as many people as possible.
For the live aspect, there is no greater thrill than playing for a huge crowd of people and showcasing art that means so much to me and has made me who I am. Seeing it have a similar effect on others in real time is very special. It’s that togetherness and shared experience that feels the most meaningful. I’ve also made many life-long friends through music, and I wish for that to continue forever.
Your music incorporates a lot of beautiful jazz and hip-hop sounds. How much of your music is sample-based?
Thank you! I’d say most of my music incorporates sampling in one way or another. I’ve really fallen in love with a lot of jazz, funk, soul, and world music, especially from the 70s. And all of those things are the building blocks of hip hop. As I was mentioning before, I really enjoy trying to capture the feeling that the above-mentioned music gives me and present it in a new context. My favorite music is often the stuff that has a lot of humanistic and natural elements mixed with the quality and precision of modern production. Also the music that is hard to categorize and draws from multiple time periods and cultures.
Often I’ll begin creating a track by sampling something that inspires me, and build around that. It just immediately fills a lot of space and sometimes feels less intimidating than laying sounds and ideas over silence. After I’ve built around that thing, I can then make the choice of either keeping that original idea or removing it and taking the elements that I laid down around it and heading in an entirely new direction.
It’s amazing how the same samples can be used over and over again in so many different ways and contexts. And that includes splice, loops, iconic recognizable samples, whatever. Nothing should be off limits, and if it sounds dope at the end, go for it! Don’t let anyone tell you that sampling isn’t creative. It should always sound like you at the end because the combination of creative decisions and tools used throughout the production process are unique to each individual.
How do you go about finding samples? What makes a certain sound or piece of music stand out?
I’m always listening for sounds that are useful. Whether actively digging through old records or listening to what’s playing on pandora when I’m in line at Chipotle.
Over the years I’ve discovered many YouTube channels from expert curators of old and obscure music whose taste I align with. I dig through those frequently, and have a folder on my computer of probably close to a thousand songs I’ve collected for sampling, which I am constantly adding to.
More recently, I’ve started collecting and sampling more modern music that I find on apple music/ spotify/ or even soundtracks to tv shows and movies I watch.
To me, what often makes a great sample is texture, space, and isolated instruments. It also can be helpful when there is a clear established rhythm, but doesn’t have really loud drums in the front of the mix. That gives it groove and texture right off the bat, but you can still add your own strong beat elements that won’t be fighting for space.
It feels like solving a puzzle, and it’s amazing how the same samples can be used over and over again in so many different ways and contexts. And that includes splice, loops, iconic recognizable samples, whatever. Nothing should be off limits, and if it sounds dope at the end, go for it! Don’t let anyone tell you that sampling isn’t creative. It should always sound like you at the end because the combination of creative decisions and tools used throughout the production process are unique to each individual.
What’s the music scene like in Salt Lake City? Does where you are based have an impact on the music you create?
The music scene in SLC ebbs and flows. Especially when it comes to the underground. It’s definitely not to the scale of someplace like Denver. There’s lots of crews who do really cool stuff here but the spots where the shows can happen are often short-lived and hard to come by. SLC is growing rapidly, and many of the event spaces have been getting shut down or bought out by developers after a year or so.
We do have an incredible community of like-minded people who have definitely had an impact on me as an artist and person, and have given me lots of amazing opportunities. Big shoutout to all my friends and crews in Salt Lake, I love you, ya’ll know who you are :)
Try different tempos, utilize contrast, and practice the art of finishing an entire arrangement, even if it’s not to the quality you’re hoping for yet.
Do you have any advice for new artists who are in the early stages of their production journey?
Listen to as much music as possible. Different kinds. I think a lot of people get hyper-focused on wanting to make a very particular style or genre of music and I think that can be limiting. Try different tempos, utilize contrast, and practice the art of finishing an entire arrangement, even if it’s not to the quality you’re hoping for yet.
Deeply analyze the music that you love, and figure out what specific elements turn you on about it. As you develop your ear as a listener, it becomes easier to pick apart individual layers in tracks, and that can help inform you of how to craft a recipe that you can follow and enjoy. It’s also a great exercise to try and re-create something that you love. It gives you an outline to use, you’ll learn a ton in the process, and it will often turn into something fresh and new by the end.
Share your music with people who will give you honest and critical feedback. It’s not very productive to only share your music early on with people who are always going default to, “this is dope!” Also, share your music with people in person while you are in the room with them. I find that when I do this, it helps me listen from a more neutral and honest perspective.
What’s one plugin you couldn’t live without?
Can’t pick just one but here are some faves–
Creative:
NI Komplete (mostly for sampled instruments) , Serato Sample, Cableguys Shaperbox, Splice, Serum.
Mixing:
Fabfilter Pro Q 3, Soothe2, Voxengo Span, Gullfoss, Pancz (or any good transient shaper / clipper), Fabfilter Saturn
FX:
Replika XT (delay), Guitar Rig 6, Fabfilter Pro R, RC-20
What brings you joy outside of music?
Being outside and active, friends and fam, basketball, traveling with friends, thrifting, being creative.
I’m very passionate about vintage clothing and fashion. Outside of music I’ve been collecting and selling clothes for years. Thrifting is something I’m excited to do every week, and the thrill of finding something dope and old out in the wild for a few bucks, I can’t get enough of.
If you ever wanna shop my store, you can at depop.com/kindanice ;)
What was the last piece of art that really resonated with you? What made it special to you?
I recently discovered Push Push by Herbie Mann. Jazz flute album from 1971, incredible. I’m a sucker for flutes. Plus the album cover is homie shirtless with his flute over the shoulder looking like an absolute sex machine lmfao. Everything about it is dope and peak 70s vibes.
I have a new EP coming out via all:Lo on June 17. I’m really proud of this project and I think it’s some of the most emotive and musical stuff I’ve made to date. Plus there’s a couple collabs with dear and talented friends on there.
What’s on the horizon for you this year?
I have a new EP coming out via all:Lo on June 17. I’m really proud of this project and I think it’s some of the most emotive and musical stuff I’ve made to date. Plus there’s a couple collabs with dear and talented friends on there.
Also I’m super hyped to be playing at the Secret Garden stage at Shambhala this summer! This festival has been a massive inspiration and taste developer for me since I first went in 2015 when I was 19.
Other than that, I’ll be working on new music and also trying to make a point to share more DJ mixes this year! DJing is a huge form of expression for me, and the music I produce doesn’t fully capture the essence of what I offer as a DJ and performer. So I’m super grateful to you guys for sharing your platform with me to put out a mix :)
Alex Unger FUXWITHIT Guest Mix Tracklist
