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World Exclusive Interview With StoneBridge

Revolutionizing the Global House Music Scene

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World Exclusive Interview With StoneBridge

The music genre recognized as house, characterized by its repetitive four-on-the-floor beat and a standard tempo of 120 beats per minute, originated within the subterranean club culture of Chicago during the early to mid-1980s. Aspiring to infuse disco tracks with a more mechanized rhythm, DJs and music producers spearheaded this transformative movement. Notably, African American luminaries such as Frankie Knuckles, Ron Hardy, Jesse Saunders, Chip E., Joe Smooth, Steve “Silk” Hurley, Farley “Jackmaster” Funk, Marshall Jefferson, Phuture, and Stockholm’s own StoneBridge played a pivotal role in pioneering house music, propelling its influence beyond geographical confines and captivating a global audience. Noteworthy within the realm of dance music, house music has significantly impacted the domain of pop music as well. Esteemed international artists, including Whitney Houston, Janet Jackson, Madonna, Pet Shop Boys, Kylie Minogue, Lady Gaga, among others, skillfully incorporated elements of house into their musical compositions. Moreover, a multitude of mainstream chart-toppers, exemplified by notable tracks like “Pump Up the Jam” by Technotronic, “French Kiss” by Lil Louis, StoneBridge’s remix of “Show Me Love” by Robin S., and “Push the Feeling On” by the Nightcrawlers, emerged from the house music movement. It is noteworthy that many house DJs ventured into the realm of remixing for popular artists. Despite its prominent presence in the mainstream, house music has managed to sustain its popularity on radio and within clubs, all the while retaining its formidable grip on the underground scenes that thrive across the globe.


Satisfying Reader Demands

Responding to numerous requests from our readers, we delve into the realm of StoneBridge and the broader landscape of house music production. The Roland TR-808 Rhythm Composer, famously referred to as the 808, emerged as a game-changer in the realm of drum machines for house music. Produced by the esteemed Roland Corporation between 1980 and 1983, this groundbreaking device allowed users to craft their own personalized rhythms, setting it apart from its competitors. In a notable departure from the costly Linn LM-1, the 808 utilized analog synthesis rather than relying on pre-recorded samples, resulting in a distinctive array of sounds that have since become iconic. Its ascent within the underground music scene, buoyed by its resonant bass drum, solidified its status as a cornerstone of electronic, dance, and hip hop genres. The profound influence of the 808 on chart-topping records firmly established it as a pioneering invention within popular music, paralleling the transformative impact of the Fender Stratocaster on the rock genre. Subsequently, the introduction of the TR-909 in 1983 as the successor to the 808 introduced sample-based sounds and MIDI functionality, further propelling the evolution of techno, house, and acid genres. Despite its limited commercial success, the indelible mark left by the 909 on electronic dance music is indisputable.


StoneBridge’s Enigmatic Journey

SweMix, established several decades ago, emerged as a direct response to the prevailing presence of Remix Services like DiscoNet, Hot Tracks, and DMC. With their forward-thinking concepts and avant-garde sounds, these notable Swedish DJs forged a trail that reverberated on a global scale, thereby paving the way for the proliferation of Swedish Dance Music exports. Through their exceptional remixes and productions for esteemed artists such as Dr Alban, Michael Jackson, and Robin S, they cemented their position as a prominent force within the music industry. Notably, Dag Krister Volle, known as Denniz Pop, a Swedish DJ, music producer, and songwriter, played a pivotal role in this narrative. In 1992, Denniz Pop co-founded Cheiron Studios in Stockholm, a recording studio that would go on to shape the Scandi-pop landscape and nurture talents like Max Martin, Robyn, and NSync. This exclusive interview with StoneBridge, an influential figure in Swedish house music production, DJing, and label ownership, seeks to shed light on his enigmatic rise to become Sweden’s most successful house music producer. StoneBridge, one of the co-founders, has been intricately involved with SweMix from its inception. While this narrative may hold broad interest, particularly in an era dominated by a new generation of promoters, exemplified by Rich TVX News Network, who employ anarchic approaches to social media, it is essential to uncover StoneBridge’s trajectory.


StoneBridge’s Remarkable Career

StoneBridge, the Grammy-nominated DJ, artist, and producer from Stockholm, has achieved remarkable milestones throughout his musical journey. One standout moment was the rapid rise of his track “Too Late,” featuring Kiyoné, which gained significant momentum. His talent for remixing top international acts has been a driving force behind his success, with his iconic remix of Robin S’s “Show Me Love” standing as one of the most commercially successful house music tracks to date. As a Swedish Grammy-nominated producer, StoneBridge has garnered recognition for a diverse range of notable songs. The genre of funky house owes much of its evolution to the illustrious career of this DJ superstar. Alongside his own original artist singles like “Put ‘Em High” and “Take Me Away,” StoneBridge’s remix productions have garnered acclaim, including notable tracks like Madonna’s “Looking For Love,” Taio Cruz’s “Dynamite,” and Ne-Yo’s “Closer,” among many others. Through his exceptional remixes for some of the world’s biggest artists, StoneBridge has propelled Sweden into the status of a house music powerhouse. His contributions to the industry have solidified his position as a leading figure in the global music scene. In response to the numerous requests from our dedicated followers, we are delighted to provide an updated interview featuring the renowned artist, StoneBridge.


Exclusive Interview


What specific factors or qualities of Armada Records attracted your interest and led you to consider partnering with them for the release of “Take Me Away” after your successful independent journey with your own label, Stoney Boy Music, for many years?

StoneBridge: I actually had my label via Armada before taking it independent again. I felt with this single, I wanted a bigger PR machine and streaming support and felt my old friends over at Armada would be perfect. I played the new mix and it was done – they jumped right in!


Can you share any insights or details regarding your collaborations with Armada Records?

StoneBridge: Armada Records is known for their keen awareness of the latest technologies and trends in the music industry. Recognizing the industry’s shift from traditional sales to streaming, I have aligned my label’s focus towards these digital platforms. Partnering with Armada Records seemed like a perfect match, as their expertise and forward-thinking approach aligned with my vision.


What creative principles have guided you in developing your distinctive funky house style and maintaining a high level of quality in your music, evident in your remixes for esteemed artists such as Crystal Waters, Missy Elliott, Madonna, Jennifer Hudson, Sia, and renowned violinist David Garrett?

StoneBridge: I never compromise with the music. I don’t go for the easy option, just slamming some chords and sounds on and mixing down. I spend days finding a music bed for the song that works like an original. I think many songwriters, producers and artists like that I respect the song so I get a lot of repeat clients – sometimes as long as ten years after doing the previous remix.

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Can you provide insights into the direction you perceive music, particularly your own, heading in recent times?


StoneBridge: Very much cyclical. This is the third time in my career I see the US going urban/hip hop. It’s a different sound, but the same principle. The UK currently has a classics phase where the 90’s house sound is big. The US is more underground again as it happens towards a new cycle. I think dance has 2-3 peak years, then 2-3 years of more underground and then it repeats again – slightly different each time, but same principle.


How do you navigate the vast selection of exceptional house tracks available to incorporate into your weekly Sirius XM Radio Shows, considering your renowned reputation for delivering a consistently solid bass drum sound and captivating funky bass lines?


StoneBridge: Very similar to my production sound. I want a steady groove and bass, then some sexy chords or stabs on top to drive the music forward. In my HKJ show I tend to go a little more soulful, but the Sirius show is more of a club sound – the way I play in clubs


When remixing club classics, which specific elements do you prioritize and focus on the most to ensure a successful and captivating transformation?


StoneBridge: When remixing club classics, I approach the process with great respect for the original song. My main focus is to create a solid and compelling groove that enhances the existing elements. I pay close attention to the main features of the song and ensure they are highlighted in the remix. Additionally, I often incorporate a dramatic breakdown to add excitement and build anticipation.


Last question, apart from music production, what other aspects are you most excited about or looking forward to?


StoneBridge: I have shifted focus on my tours to bigger, more special events rather than flying across the world for a 2 hour set in a random city. I have three big UK events lined up so far and many more in discussion.

The text above is a revised and enhanced transcript of an interview conducted with StoneBridge. Updated.

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