Elliot Moriarty [Interview]

Elliot Moriarty is one of the most exciting artists to make his way into the realm of Electronic Dance Music. He started listening to, and exploring music aged 11 years old, and it was clear from this early age that this was a real passion. Today, he remains more determined and focused than ever, as this passion has grown enormously over the years. Els, as he’s also known, started off DJing at local parties and events, until his late teens, when the mighty Ministry of Sound came calling. It was obvious at this point that he had a natural talent for the craft, which was noticed immediately; securing several gigs at venues including The O2, Egg LDN, Lightbox, and Cable. Fast forward to present day, whether it’s spinning vinyl at the legendary Pikes, heating up the dancefloor of the main room at Pacha, or taking people on a tantilising journey at Ibiza’s spiritual Akasha, he continues to push boundaries with his sound and style, so if you see his name on a lineup, be sure not to miss him. As Elliot’s journey progressed, the addition of wanting to make his own music became more apparent. He began making edits of tracks he admired, until eventually starting to release his own productions. Fast forward to the present day, and Els has now released music on some of the biggest and best labels around; When We Dip, The Soundgarden, UV, Krafted and Sirin Music to name just a few. This week finds Elliot making his debut on Musique de Lune's 'Rayons De Lune II' collection with an eleven minute epic entitled 'Visions'.

Progressive Astronaut caught up with Elliot to learn more about the release of  'Visions', 2024 highlights, growing up in the UK, DJing, and much more. Enjoy.

Hi Elliot, I hope all is well and thanks for speaking with us today. You've had a great year highlighted by a recent debut on Bedrock, how has your 2024 been now looking back on it as we're weeks away from 2025?

Hey! My pleasure, thank you for having me. 2024 has been great, a really positive and busy year with lots of bucket list things ticked off in terms of record labels I’ve released on, and gigs I’ve played at. It just goes to show that with hard work, determination and being fully committed to something, you really can achieve what you set out for!

Let’s look back on the year, what gig of yours has stood out the most and why?

2024 has been amazing. Debuts in places such as USA, Denmark, Portugal, Hungary and Ireland are standout performances for me. Getting to travel the World, being able to share my own releases and present my taste is music is an absolute joy. It’s tough to pick out one event in particular, as every crowd I played for were truly wonderful. One thing I love and adore is that even though each place I have visited has their own special culture, one thing that bonds them all is music!

Now let’s look at tracks (not your own), what is a track or tracks which have come out this year that has impressed you the most and why?

This is always a tough one as I am constantly finding tracks throughout the year that I love! One that I have played a lot this year is Jim Rivers “Cosmos”. It actually came out towards the end of 2023, but it’s been a great track for in more of my peak time sets. I’ve noticed a lot of different DJ’s playing it, which is a testament to the ability of Jim being able to produce something that works across multiple style DJ’s.

Flicking back towards more of the the Organic House style, Dave Beck’s remix of Verche’s “Into the Light” and Keltik’s release, “Zesty Days” on my label (L O S T ), are also wonderful tracks. Both have such an immersive feeling about them, which is important to me as I really want the crowd to not only hear what I am playing, but to feel it too.

In terms of electronic music, were progressive and organic house the styles you discovered first? And what was it about those styles that made you want to pursue it at the level you are now?

The earliest memory I have of hearing Electronic Music, is the Ministry of Sound Annual II compilation. I was 8 years old when it was released, but I can still remember hearing tracks like “Voodoo Ray”, “Trans-Euro Express” by X-Press 2 and Underworlds “Born Slippy” for the first time and being totally mesmerised. This was really a pivotal moment for me as I knew right then, that Electronic Music was going to become a big part of my life. Since then, my love and sheer passion for music has grown immensely. Progressive House hit bit a few years after, when I fell in love with DJ’s like Sasha, John Digweed, Nick Warren, Danny Howells and Anothny Pappa.

For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you?

Kind of. I’m always conscious that trying to emulate others, whilst is a great way to have an understanding or guide to work with, isn’t always a good thing. I’ve noticed that a lot of artists tend to simply copy some of the big guys, which in my opinion isn’t quite right. Don’t get me wrong it can help with a sense of direction, but I feel as if it makes me people only want to make something like “Nick Warren” or “John Digweed” for example. For me, its always about balance. Take influence from others of course, we all do it – but its important to find and produce your own sound. Focus on what makes you, you, as an artist. Take this track of mine “Visions” for example. Some people would not go near an 11-minute track, but for me I felt it had to be the duration it is, to take the listener on a journey and create a story through its duration.

How did growing up in the UK affect your music taste and direction into becoming a DJ and producer?

The UK has such a diverse and wonderful range of musical styles. Like most things, musical genres become more popular over others at certain times. For me, its all about evolving and developing as an artist which is why I try not to pin myself too much to a specific genre. Good music is, good music, and I think its important not to forget that. Inspiration can come from anywhere; I could be walking down the street and hear a busker playing a guitar and I’ll think to myself…..”that’ll make a nice little loop” - I often make notes on my phone at moments like that so when I return to the studio I have an idea to start with.

Who else from the UK inspired you when you first discovered electronic music?

And what was it about their DJing or production which led you to pursue it yourself? From quite early on, styles of music that had beautiful melodies grabbed my attention. I used to love listening to Trance music, as a lot of the breakdowns in those style tracks were sublime. Artists like Above & Beyond, Darrent Tate and Chicane instantly spring to mind. They all bring emotion and feeling to their productions, which is something I have definitely taken inspiration from over the years.

You’ve played some of the UK’s most storied venues, from Ministry of Sound and O2 to The Egg LDN, Lightbox, and Cable. Looking back on your gigs, what have been some of the most memorable ones for you and why?

Playing at Ministry of Sound for the first time was special I must say. I think I was about 20 years old when I first played here. Because of the huge influence that their compilation had on me, it really felt extra special. The night did not disappoint - everything went perfectly, and this gig certainly helped me “step up” to the next level. It’s one thing being able to play well at local events and friends parties, but this was a whole new ball game. I can safely say that I learnt a lot during the early gig days.

What is a track that reminds you of your early days DJing and what event/club do you associate with it?

One of my other big breaks was playing for a brand called Electronic Sessions, it was run by two brothers named Ross and Greg, who are terrific guys and gave me a lot of opportunities back in the day. They used to organise some fantastic events, in particular, their River Thames Boat Parties in London. I remember playing Leftfield’s “Phat Planet” to a totally shocked crowd as the previous track I filtered right down, to pretty much silence on the dancefloor, before mixing in the thudding bass of “Phat Planet”. Adding a bit of reverb and ensuring the drop kicked in extra hard, made the crown go insane! That moment still gets a mention now and again from people even to this day, so I hope that what I done that day went down well!

You’ve been a producer for the better part of a decade now, when you look back on those earlier years can you pinpoint pivotal moments to the success you’ve achieved today? Maybe a gig or two, or a release which really helped your propel career?

I’ve only really been producing properly since lockdown in 2020. Like a lot of people, I had a lot of time at home and decided to focus my energy on trying to improve on my production skills. I had success in signing a track titled “Elixir” to an Ibiza-based label called Seamless Recordings quite early on. Its run by a guy named Graham Sahara who loved it. Not long after, I was getting feedback on my music from people I grew up admiring, until one day I sent a track to Nick Warren called “There’s Always Light”. He replied to my email saying he wanted to sign it to The Soundgarden. I nearly cried with excitement and joy. The fact that he liked it already was a dream in itself, but him then saying he wanted sign it…I was overwhelmed with emotion and couldn’t believe it! I think they are two moments that stand out to me, but having said that, every time I send something to a label, and they like it, the feeling it gives is unreal. I would have obviously only sent my music to that specific label because I was a fan, and then to have them come back and want to sign something, is a special thing which I am always grateful for.

You have a new track ‘Visions’ out now via Musique de Lune as part of their Rayons de Lune II collection, please tell us about the production and what sort of vibe you were going for on it?

I never really set out to make something in particular. I sometimes start with an idea or concept that I have, or more often than not, with a completely blank canvas. I work quite quickly and don’t really tend to revisit tracks I’ve started. I think a lot of producers can relate to having lots of unfinished productions sitting on their hard drive, and whilst I am 100% the same, if I don’t finish (or get close to finishing) something in one session, its rare that it will ever see the light of day. I need to be in the moment with a production, and if I don’t feel it or think that it really has something good about it, then it’ll be scraped, and I’ll move onto something else! With “Visions” I wanted to get across melodic elements, while still maintaining a sense of groove. When these two things work in synergy, I think it’s so uplifting and I hope that people listening to it feel the same.

It’s quite long, especially by today's standards at over 11 minutes, (although in the glory days of epic house this would have been considered average) was there ever any consideration to condense it for the release?

And please tell us why it was best to get the message of the track across at this extended length. One thing I loved about Musique de Lune when I sent them this track, is that that they understood it, and got where I was coming from. Like you say, in this day and age, a track this long is not really heard of, but why not? Why should everything all be the same? Where is the uniqueness anymore? There is far too much emphasis on plays/streams, and labels and artists trying to fit in and fuel the same platforms that pay very little or next to nothing back to them. I really feel as if we need to strip back, and all become a bit more original as artists. Break the mold, try something different and be unique. Thankfully Musique de Lune saw my vision, which is why I appropriately decided to call the track “Visions”.

Let our readers inside your studio for a moment, what is your current setup and what studio tools are featured heavily in your recent productions and more specifically on ‘Visions’.

My studio set up is quite straightforward, I think! I have an iMac running Ableton, and a midi keyboard and some plug-ins, such as Pigments and Korg which feature in this track. I often think it would be great to have lots of synthesizers and controllers around me, but at the same time I think I’d probably find it a bit overwhelming. I really try to push things as much as I can with what I have to work with. I’ve developed my own techniques and methods to achieve the sound and result I’m after for a record.

This is your first appearance on Musique de Lune, please tell us why the label was a good home for ‘Visions’?

I’ve been a fan of Musique de Lune for a while now, and it’s been a label that constantly puts out top quality music. I was listening to a lot of their recent releases and thought I’d send “Visions” to them as I felt it would be a good home for it. Luckily enough they agreed, and I’m thrilled to be part of this release, alongside some amazing artists.

Shifting to DJing for a moment, as mentioned you’ve played some notable gigs and venues over the years, so I’m curious what were some of the main challenges and goals when you were starting out as a DJ and how have they changed over time?

In the early days, I used to play short sets at only maybe an hour long. I think one of the main challenges for me are these short set times. Purely because I really want to try and tell a story with my mix and doing this in an hour, I find a bit of challenge. I really have to make sure my playlist for that type of event is on point, to enable me to go from where I start, to where I want to end up, in a short space of time. I think it kind of limits me as a DJ because I can’t fully express what I want to show the crowd. One positive side of this though, is that it helps me prepare tracks that are appropriate for each gig, so each event is unique. It keeps me on my toes and focused, so that I never play the same set twice.

What is it about DJing, compared to producing your own music, that makes it interesting for you? DJing for me is more “real” in terms of human interaction.

Playing music to a crowd and sharing your own taste with them is very special. Connecting with people is important when I play, and being able to physically see and hear what people are feeling, makes it much more of a collaborative experience.

Can you tell me a bit about how your work as a DJ and performing for larger crowds has influenced your view of music, your way of listening to tracks and perhaps also, your work as a producer?

Playing for larger crowds, on bigger sound systems really has really helped me develop as producer. I sometimes feel as if I need to add more, to make the track complete. However, this is not always the case. Often, less is more so to speak, and it helps me focus on more of the core elements of a track. Some of the best tracks I hear are relatively simple in terms of what they have going on in the mix, and yet they deliver exactly what the cloud wants!

How much prep do you put into the sets you play, or are they spontaneous for the most part?

DJing live, I am very much work on the fly with my track selection. I am always looking for music to incorporate into my sets, so I do prepare music for sets a lot. Depending on how the event is going, will determine how I start my set. I like to showcase my sound and style to every set I play right from the off, but will keep in mind what the previous DJ has played, and what the next one might play. I also won’t be afraid to play something that might be really old! If it’s a good track, then just because it was released years ago, doesn’t mean it won’t work! Listening to music from such an early age, highlights the fact that there was a reason I might remember a track from when I was 12!

Current Top five tracks in your sets?

In no particular order, at the time of writing this, my top five tracks are: Rigooni with “Além Mar” / Peter Makto’s remix of Nick Varon’s “Jollity” / “Karma” by Guy J / a track on a forthcoming EP by Leap Seconds called “Bushido” - which will be out soon my label (L O S T ) / and last but not least, a release by the.Chain called “Soul Mate”, on my good friend Gustin’s Intu Music imprint.

If you could set up an event with a line-up of five artists of your choice, who would you book and what set times would you ascribe to the artists?

Wow!!! Now this is hard one! There’s so many to choose from….! Ok so, I would love to see the following on a line up: Sasha & John Digweed (I’ll count these as “one” if that’s ok haha!), Masters at Work, Andy C, Richie Hawtin, and the band Leftfield. I would probably start off with Masters at Work opening the event to build things nicely, followed by Sasha & Digweed to up the tempo. Richie Hawtin to follow with his driving Techno, but then “ambiently” slowing down towards the end of his set, before Leftfield take over to showcase their phenomenal live performance skill. How else would you want to end this event? Well, with a bit of Andy C’s signature Drum n Bass of course! I think this would be something special and a great line-up to highlight all things Electronic Music!

If you are not DJing, producing or socializing at clubs, where do we find you? And doing what?

I like to spend time with my family and friends. Winter has firmly arrived here now in the UK, so there’ll be lots of walks with the dog, winter meals being eaten, and probably a few pints of Guinness thrown in for good measure!

What’s something people do not know about you?

Something people may not know about me is that I actually won a “cute kid” contest when I was really young…..but only because they thought I was a girl! (long curly-blonde hair is something I definitely don’t have anymore!)

Who would you most like to collaborate on a track with and why?

Again, this is a tough one! There’s so many to choose from! Artists like Guy J, Nicolas Rada, and Alex O’Rion really intrigue me with how they approach productions with their signature sounds, so that would be interesting. I would also love to spend time in the studio with Danny Howells. His productions are excellent, and with his DJ sets being so cool and diverse, yet still managing to “fit in” with a line up, I think he has a great ear for what sounds good and what doesn’t.

What TV series have you been enjoying recently and what are some of your all time favourites?

The most recent series I watched was The Penguin. The whole DC/Marvel/superhero thing, isn’t really my thing but this was great – Colin Ferrell played the part amazingly well! As for my favourites over the years, I have to say Homeland, Breaking Bad and Ray Donovan are all excellent.

What can we look forward to from you in 2025?

Any releases or gigs you are looking forward to? I never mean to over saturate my release calendar, but I try to keep on track to release something once per month. If this doesn’t always go to plan, then so be it – I don’t want to release for the sake of it, but it kind of helps give me a target to work to. For 2025, so far I have releases lined up on Nordic Voyage, Intu Music, Stellar Fountain, Podoba, Katchulli and of course my own label L O S T .

Gigs-wise next year, it looks as though I’ll be heading to back to the USA, a debut in Dubai and a potential Australia tour. I am also pleased to see that things here in the UK are starting to blossom, with a few bookings already confirmed, including an event I’m really excited about in April: my debut for the wonderful 303 Events crew in Liverpool, where I’ll be playing alongside Danny Howells, Alex O’Rion, Miss Melera and Subcora.

'Visions' is available now via Musique de Lune: https://tinyurl.com/43beectj