Danny L Harle is an experimental pop musician intimately connected with the London-born PC Music label. As a producer, he crosses international borders, collaborating with artists from Asia, Europe and the US and creating a unifying, global pop sound in the process. His latest EP, 1UL, showcases his production skillset and inclinations: maximalist, sugar-sweet melodies with expressively pitched and edited vocals. Danny spoke to AdHoc about his music and his vision for the future of pop ahead of his Halloween show at Brooklyn Bazaar on Friday, October 27.
AdHoc: What are your thoughts on how PC Music has grown over the past four years, and where do you see it going?
Danny L Harle: There are always a lot of big exciting projects in the works, and that’s how we always operate. For me, the goal has always been to make music which is accessible, but is also deeply experimental in its heart and is an expression of things that I love. For example, releasing the Carly Rae Jepsen track is one of the pinnacles of what I’m setting out to achieve: it has its heart in the sort of trance music I love, and the kind of clarity of expression that I love. It’s just very exciting dealing with the pop industry, because there’s an open-endedness to everything.
There are various TV/film/game ideas that are always in the works. I’ve always loved kids’ TV, and I’ve always been into the fact that you can be completely experimental and kids basically don’t know what’s going on, especially under the age of three. I’m really into that, and I’m really into storylines of TV shows in that world—like the illogic of them [laughs]. That’s the kind of level that I’m at in terms of following narratives. I get it when there’s a funny monster that runs really far away then back to the front of the screen—like, very simple ideas. I’m into extremes of simplicity and I think kids are on that level as well. And really funny stuff, like the sort of thing that kids would find funny so it has to be really clear.
A long-range goal is sort of to infiltrate the world of pop music and push it over the brink of insanity. I like when pop delves into the realm of fantasy–I feel that pop music, and culture in general, points toward either reality or fantasy, and I really like that as an idea. I’d say pop at the moment is a reflection of post-EDM culture, which is like, “We’re done with the electronic stuff, let’s get real, with real sounds and with real people singing about real things,” but it’s a pendulum that swings from side to side, because of course this “real”-sounding music is just as fake as the EDM.
Ultimately, my heart lies in the more honestly fake-sounding music. I’ve been writing some Japanese pop music that’s coming out soon, and their aesthetics have been in that world for a long time. They can have a pop star like Hatsune Miku do a sold-out live show, and no one bats an eyelid. Whereas if she does a show in the UK, it’s presented as a more of an art [thing]. In Japan it’s just a live show from a pop star, even though she’s completely fake. I like that kind of pushing against reality, and it would be fun to push things more in that direction, both working with artists and with major label stuff as well.