Lane 8 is an established deep house producer ready to release his debut album, Rise. An awe-inducing 10-track journey through sounds of the deep, Rise is sure to shoot Daniel Goldstein into stardom as he makes his way from the slow lane of his childhood swim meets to the fast lane of the deep house music scene. Check our interview with this rising star below.

What city are you currently hanging in?
Leipzig, Germany, where I currently live. 

You’re playing Red Rocks in two days, have you ever played the venue before?
I’ve never performed at Red Rocks, I’ve attended events because I have a couple buddies that live in Colorado, but playing there is always a dream for DJs.

How does it feel knowing there’s enough people out there that support your music for you to be playing such a famed venue?
I don’t think I’m on the level of headlining Red Rocks yet, but being able to perform with a large group of artists that may not have been able to fill the venue on their own is a cool experience. It’s obviously exciting to dream about selling out Red Rocks one day, but I’m not going to kid myself and say that I’m at that level right now.

Your debut album Rise is going to be released on Friday as well, was this your most difficult project to date ?
This was by far the most difficult project so far; I started working on the first few songs for the album over a year ago and by the time I finished, I wasn’t into the same trends as I had been at the start. Trying to juggle all the styles and sounds was definitely a struggle, and putting it all together in one cohesive album was the hardest thing to do.

Can you describe the process of creating a story with your album? What was your vision when you decided to create the album?
I wanted the album to be a mixture of the types of songs I include in my sets. That’s where the more instrumental side of the album originated from. I wanted my own original body of work to reflect what I was playing. In terms of tracks with vocals, I wanted to create tunes that were catchy and that people would dance to. I also really enjoy songwriting and didn’t want to leave that out, so most of the songs with vocals are catchier than the instrumentals.

You’ve talked about wanting to mix live instruments into your DJ sets; can we expect anything of the sort from your upcoming shows with the new album?
My upcoming tour is all DJ sets and that’s what I’m interested in right now. I love DJing and I don’t want to start doing live shows on just a whim. I want anything I do to develop naturally, but I have done live versions of a few tracks already and might incorporate them into shows sometime in the future.

Where did your love for DJing stem from?
Hm, that’s a good question…I guess I’ve always enjoyed DJing. I got my first turntable when I was 13 and have been messing with the things ever since. When it’s done well, it creates an intimate connection between the DJ and audience. There’s also so much room for improvement, there’s truly no limit when it comes to mixing. I’m always learning new tricks and improving or changing the way in which I DJ.

Why deep house? I know the terms meaning has lost meaning to you, but what made you want to produce “dreamy back rub house”?
Haha…I’ve always been a hip hop guy, but in high school and college I started to get into stuff like Daft Punk. After hearing their style, I started messing around on different software. Nothing really sounded that good, but by the time it started to develop in quality, deep house was what I was into. Julio Bashmore was one of the guys that turned me on to deep house, and so I started producing it because it’s what I enjoyed listening to.

When you first became serious about producing, what, if any equipment did you have besides headphones and a laptop did you own, and how did you raise the funds for the equipment?
My style hasn’t evolved much from when I first began producing. I still make tracks on my laptop. I’ve had synthesizers come and go, but none have had a lasting effect on my music. The only thing now that’s different is using studios in order to record vocals. My setup is still a fairly inexpensive one. I bought everything through my job working for the government back in the states, nothing special.

Describe your production process; do you generally start a track with drums or piano? Do you mix and master your own tracks?
I don’t think there’s a way in which I consistently start tracks. I sometimes start with a drum loop, but I do prefer trying to start with melodic elements because working on drums for hours can make you go insane. When I start with a melody, I create a chord progression on piano, and even if I’m not using the sounds I will eventually incorporate, it’s important for me to have an idea about the melody. I mix my own tracks but turn to a 3rd party for mastering.

How was your hip hop background helped with your deep house production?
I think most house producers have a background or knowledge of hip hop, at least that’d be my guess because there’s so much sampling, especially when it comes to drums. I know that a lot of my drums come from taking a piece of an old school track and disguising it so no one is able to recognize it. Sampling is a big part of house, so being able to refer to hip hop helps the production process.

I’ll spare you the “advice to young producers question”, but I have to ask: a lot of young producers start with the belief that they need to create remixes before they release originals, is there merit in that belief?
Haha…there’s definitely something to be said about coming out with a plan in getting your name out there. Remixing a big artist’s track tends to be a shortcut, and I understand that it helps. I also did that at the beginning, but I would suggest producing original music. It may take a while for people to find your music, but once they do, it’s 100% yours. You can own it and make it all about you. So even if remixing gets your name out faster, I’d advise producing your own original music first.

What are three trends in electronic music you personally don’t care for? Examples would be the Pryda snare, over-the-top builds, overcompression, etc?
Haha…There’s definitely some trends I’m not fond of and have make drunken tweets about. Saxophones are very in right now and I’m just not into that. Bongos are used in a lot of tracks as well and they don’t even sound good naturally so why would you use synthetic bongos? I’m not sure about a third one…pitched-down vocals are losing popularity, and I can’t criticize them too much as I’ve used them before, but they’re still somewhat popular to my dismay.

You’ve talked a bit about how fame and money aren’t your goal, but I’m sure that the feeling yo get while playing in front of thousands of people is indescribable, so how do you balance staying humble and pursuing that feeling of being onstage?
I think it just happens naturally for me. I’m not just playing at festivals or massive venues, I play smaller clubs a lot, so I don’t always have that feeling I’d get at a giant venue. I also am the type of person that sees something cool and then tries to emulate it, so watching real, iconic DJs perform is inspirational. It’s also very humbling, but I’ve never thought of myself as a cocky person in the first place.  

Speaking of being onstage, what’s the most embarrassing moment you’ve experienced while mixing at a venue?
Technical problems tend to be brutal. I was in London the other day mixing at club on two decks and one was constantly stopping throughout my set. Obviously that’s not my fault but anytime the music stops in a club, the crowd just stares at you. The most brutal example I have is opening for Above and Beyond at the Brixton Academy. Within 15 seconds of my opening song, the power went out. The Academy is a huge venue, so it took the sound guys five minutes to get to the stage. Meanwhile, everyone was sarcastically yelling, “Great set!” while I just stood there waiting for the power to come back.

If you were to become THE taste-maker of electronic music, which genre would you like to see stand the test of time?
That’s tough…I think techno and house will stand the test of time regardless , but I would like to see real trance like Tiesto’s older stuff survive as well.

If you had to choose between never producing and Djing again, or never being able to watch or attend a Giants baseball game, which would it be?
Oh wow, I’d have to say I’d leave the Giants. I’m sorry about it, but you have to take care of yourself first. That’s a pretty easy one.

Finally, just a rapid-fire series of questions for our producers out there:


Massive, Sylenth, or other VST?

Do you use any Vengeance samples?
Once or twice

Equalizer of choice?
Waves Renaissance EQ

Delay or reverb?

Go-to non-Ableton effect?
Sound Toyz Decapitator

Did I forget to mention Lane 8 is on tour? Check to see when the deep house expert is coming to a city near you.
You can pre-order his new album, Rise, which releases Friday July 17, here.

Connect with Lane 8:
Facebook I Instagram I Soundcloud I Twitter I Youtube I Website