STORE MIX 111: UMRU

Step into the world of umru, a boundary-pushing producer and DJ known for crafting bold, high-energy sounds that defy convention. With a knack for blending futuristic production techniques and a deep love for collaboration, umru brings a distinct voice to every project they touch. From creating on-the-spot magic during live sets to drawing inspiration from unexpected visuals like street textures and signs, their artistry extends far beyond music.

In this interview, umru opens up about their creative journey, the tools that shape their sound, and the risks and rewards of improvisation, offering a glimpse into the mind behind the beats.

In what ways do you express your personality or personal story through your music?

I’m more of a producer than a songwriter, so I’m often helping tell someone else’s story rather than mine. However, I hope there’s some personality in my production that shines through without needing to read the credits. I definitely tend to push to the extremes rather than seamlessly blending into an artist's style. That said, I really love collaborating, I never want to get in the way of an artist’s idea, just support it as strongly as possible.

It used to be a running joke when people met me in person that "umru is the quietest person I know to make such loud music.” I might’ve come out of my shell a bit since starting out as a kid, but I guess there’s still a lot of energy that only really comes out in my music or performances. Not sure what that says about me exactly.

When it comes to production, what are the key tools or software you rely on the most?

I’ve made music almost exclusively on a laptop using Ableton Live for as long as I’ve been doing it. I’m always looking for new tools, but the staples have been things that provide the path of least resistance to a desired result. Autotune, soft clipping in Ableton’s Glue Comp or Gold Clip, Nathan Blair’s Hyperspeed, or Elizabeth Homeland’s Varispeed are some examples. Ableton’s browser, which can see the contents of other projects and drag them into the current one, has also been invaluable.

I often record in various locations, but at home, I’ve used an ElectroVoice RE320- a mic you often see in radio stations, for years across various NYC apartments. It never picks up much outside noise or the room and has really never let me down.

What do you find most rewarding about sharing your creativity through your sets?

A lot of my early experience in music was almost exclusively online, so it’s still such a thrill to see a crowd reacting in real time, especially now that I’ve been able to travel further across the world to play. I feel like I have such a specific set of influences and favourite music, so it amazes me every time that there are people all around the world who just get it.

Can you share a moment when you took a creative risk during a performance, and how it worked out?

River Moon invited me to go back-to-back for a few tracks during her set at Bossa recently, and the CDJ wasn’t reading my music library on my USB. I didn’t have my playlists or the BPMs, but I could still browse through the files in alphabetical order, so I was frantically listening to each track to see if it would work. It felt like a real test of “traditional DJing,” but it worked out, we had a fun little set. I played Digits by Young Thug.

Where do you find inspiration beyond music that fuels your creative process?

I work a lot on the visual side of my project too, such as on flyers and artwork. I’m drawn to imagery that feels high-impact, unapologetic, and pushes the bounds of what’s possible in some way, especially if it wasn’t really meant to do that. I’m always taking pictures on the street of textures or purely utilitarian typography that looks more like "graphic design" than it actually is.

The cover art for my last track Matter of Time was an almost unedited photo of a street sign I saw in Montreal that had been smudged. I guess, just like with music, I’m inspired by art in any form that connects with a broad audience without compromising its identity or voice. That’s something I think David Lynch was incredible at—rest in peace.

Do you have a go-to track that you play when you want to elevate the energy in the room?

Danny L Harle & MC Boing - Boing Beat VIP, or maybe my edit of Snow Strippers - It’s A Dream. People love that one.

How important is improvisation in your sets, and how do you approach it creatively?

I used to be a serial set planner. Early in my career, I was performing in more concert-like settings where I’d try to fit in as much of my own music as I could. However, as I’ve started getting booked in clubs, playing longer sets, and DJing rather than performing as a producer, I’ve started improvising most of the time. There’s such a genuine sense of excitement that the crowd can feel when you figure out a perfect blend on the spot that you’ve never done before—it’s one of my favourite feelings ever.

How do you manage the balance between tradition and innovation in your productions?

That’s a great question. I’ve obviously built my career on labels like “futuristic,” and I’m definitely drawn to sounds and ideas that feel like “the loudest, brightest thing,” as SOPHIE said. I tend to avoid emulating “vintage” or nostalgic tones much. But it’s also important to realise everything’s probably been done before, and I’m really drawn to music that feels like it was ahead of its time—something that maybe didn’t fit into the common practices of its era.

A big part of what I enjoy about DJing is not just playing my own music but introducing the context and influences behind it.

Over the years, what’s one production technique or trick that’s had the biggest impact on your music?

I think the most impactful thing I’ve learned is to just turn things off. Mixing is usually a separate stage that comes after making the music, and sometimes I’ve worked with a pro when I’ve needed help and had the opportunity. However, I think it’s infinitely more helpful to pick one sound rather than changing levels or EQ between two competing sounds.

There’s only so much that can play at once and still have an impact, so I often write the actual music with that in mind, leaving space for each sound rather than adding endless layers. I think this reflects how a lot of earlier electronic music was made on gear with limited voices or channels, which is probably why much of it still stands the test of time.