David Lindmer discusses everything related to his new release, “Omen”, including his music video and label Running Clouds.
Even before being a producer, David Lindmer has shown an affinity and a knack for all things creative while working in the visual effects industry. But the music called and he traded visuals for audio. Now in the field of music production, it didn’t take long for the artist to develop his talents and join Andrea Kaeri as co-owner of the label. Running clouds and the Chromia sounds collective. While Lindmer touts his own releases, he also defends the label’s artists, gaining support from a multitude of melodic artists.
Now residing in New York City, Lindmer has carefully explored and refined his sound since his early days as a producer, finding his place where it belongs. His melodic techno style reveals cinematic experiences as he creates truly otherworldly atmospheres. The latest version from Lindmer, “Presage, “follows the producer’s recipe for a spellbinding experience as he delicately builds the song alongside Johansonmoving voice.
To celebrate his release, David Lindmer joined us for a preview of his journey to becoming a producer, his label and the music video for “Omen”. So check out this video below, listen to the song on your favorite platform, and read on for the conversation!
Watch the music video for David Lindmer’s “Omen” feat. Johanson on Youtube:
Hi David, thanks for chatting with us today. When you got into music production, did you explore other genres? What attracted you to melodic techno?
Hi guys! Yes, it was really a long process of learning electronic music. I was a big fan of UK Garage when I was a teenager. I absolutely loved this FM Bass style sound and still do today. Todd Edwards blew me away with his vocal cuts, and I loved the beautiful melodies and lush piano chords of MJ Cole and Grant Nelson. These are the guys who inspired me to start making beats in my bedroom using old DAWs like Fruity Loops and Reason.
Then when I was a little older I moved to London and started doing raves. The energy, the friendliness, the crowd, that was something I had never really experienced before and I just loved it! I went to festivals all over Europe and listened to all styles of house and techno music. It was then that I decided that I wanted to get serious in producing music and started to get more interested in analog synthesis and learning how to use Ableton Live.
I would say the moment that really drew me to Melodic was when I first heard Mind Against and Tale of Us with their track “Astral”. This record had a really profound effect on me. I loved the drama and the richness of each element; the atmosphere that these guys create in their music is amazing and that’s something that immediately appealed to me.
Before you became a producer, you worked in the visual effects industry. How have some of the practices you experienced with visual work guided your work as a producer?
I’ve always loved filmmaking and studied filmmaking in college, so having the chance to land a job in the visual effects industry and seeing the work produced by my incredibly talented colleagues every day was so inspiring. The transition to my music production started when I started learning to use Touchdesigner audio responsive software which is an amazing tool for me because it is global because it combines my love for music, visuals and technology.
I’m planning some fully immersive shows later this year with my company Chromia Sounds… I can’t say too much about it just yet, but check out this space…
You are not only a producer, but also a co-owner of the Running Clouds label. What are the accomplishments that you have accomplished with the label of which you are most proud?
So Running Clouds was launched in 2018 by Andrea Kaeri. At that time, I was releasing on other labels, but I decided that if I was going to do it right, I had to create my own label. The problem was that at the time I had no idea what went into running a label. I was browsing Beatport one day and saw this label charter called Running Clouds, so I texted Andrea and we started talking. I told him about my vision and asked him if he had any advice for me to start my own label. It turned out that we all shared the same passions and we clicked immediately. He said to me, “Why don’t we become partners and you can join me at Running Clouds? »We can collaborate on the musical part (Mastering, A&R, etc.) and also on the visual art for the label (Logos, Artwork, etc.). I accepted and a new version of the label was born.
We started looking for talent and the first artist we found was Un: said. His track “Asgardian Sense” was immediately picked up by the boys from Tale of Us and we were off! We have worked tirelessly as a team to learn the inner workings of the industry together. I’m proud of so much that we’ve accomplished over the years, but most of all that we’ve given a platform to some amazing artists who have since exploded.
Massano is a prime example. A young boy from Liverpool with an ingenious talent. Its sound was not your traditional melodic techno, but it was bold and unabashedly punchy; as soon as we heard him we immediately wanted to sign him and now his track “The Feeling” has over 1.2 million plays on Spotify. But not just Massano, so many other amazing artists I could mention, Un: said, Dyzen, Grigore, Anticyclone, Analog Context, all receiving incredible support from Tale of Us, Mind Against, Tiesto, Pete Tong, Lane 8, Lee Foss and many more. We are so proud of all of them and incredibly grateful to all the fans and DJs who have supported our releases over the past few years.
Can you also tell us about the future of Running Clouds and your goals for the label?
We just want to keep doing what we do best. Find the music we love and give these guys the platform they need to be successful. We are nothing without artists, so we always try to take care of them as best we can.
“Omen” was written during the New York lockdown. Has containment changed the way you approach your work or impacted your workflow?
Yeah absolutely. Being able to create and make music during that time was such a savior for me in so many ways which makes this track especially special. I really like putting my whole being into every outing anyway, but I’m used to doing club bangers, and “Omen” is a much more emotional track. I wanted it to feel like a self-contained moment within all of this lockdown, and to me, that’s how I feel. That’s what keeps me going back to the studio over and over again, the idea that a song can capture a moment in time and live far beyond me.
You have already worked with Johanson on “Night Owl”, in which he also provided the voice. What was it like collaborating with him the first time for this song, and again for “Omen”?
It was a pleasure to work with Jonas throughout the creation process, he was introduced to me by my friend Mark Tormonea and we immediately started to vibrate and come up with ideas. In fact, we did “Omen” first and everything went so well that we decided to work together again for “Night Owl”. Her voice has that lovely haunting emotional quality that I was looking for and I just think it works wonderfully with my music.
As well as dropping “Omen”, you also post a pretty punchy music video for the song. Can you explain the story behind the clip to us?
The starting point for the “Omen” video was to explore the theme of “failing relationships” and witnessing the nuanced moments when things go wrong. Rueben is a troubled child and a former psychiatric patient who falls in love with his doctor. She should know better than to act on his feelings, but doesn’t and leads him on an adventure into the unknown. Sex, drugs, first love, and finally heartache, when he realizes that she is having a relationship with a coworker.
Ruben goes looking for them in a club and confronts them both with the truth. This journey from the club gates to the dead end on the dance floor is the frame upon which all of his memories hang. From their first glances through the canteen until the end, alone in the rain.
From the start we decided that the images shouldn’t make it look like they had just been pasted onto the track, but that there should be a reciprocal process, where the images enhance the music and vice versa. The feeling of being both completely in bed together was of paramount importance to us.
Finally, can you also give us a behind-the-scenes look at the clip and what it feels like to see your music come to life that way?
The video was all shot in locations around London, but the goal was to make it look like it could be anywhere, in order to resonate more with our audience. It was shot over three hot spring days and nights – which is a bit of a luxury these days – with a super dedicated little crew around DRUST the director.
I have known DRUST for a long time since my days in London. He’s a great guy and I really enjoyed working with him. He is easy to work with, full of ideas and it has always been a very collaborative process. Now seeing the full video with the emotional images alongside the music really takes it to another level for me.