Third Development – Our Parallel Worlds

By starrymag | October 18, 2024

By: Lisa Steinberg

 

 

Q) You are often described as an EDM artist, but how would you describe your sound?

A) My sound with Third Development is really a complex thing I would best describe as “etheria” (my own word I use as I try to describe my unique genre). I’m a little older than the average recording artist out there these days so you’ll hear my 80’s synth influences in my music and the synth strings are the backbone of every track I’ve produced. This heavy synth strings influence has led to some strong cinematic vibes and my tracks are packed with a lot of emotion. Some listeners may not hear what’s really going on, but if you really listen, you’ll hear layers upon layers of synth harmonies and this  really creates the emotional electronic experience I love to deliver.

Q) Who are some of your musical influences?

A) I mentioned I have some 80’s synth influences, but these influences have been significantly enhanced by my two favorite electronic influences who are Thievery Corporation and Zero 7. The world vibe you experience with Thievery really captured me from the first time I heard them. I immediately connected with them and I’ve carried the baton with that whole approach which really comes naturally to me.

Q) Talk about the story behind your new song “Our Parallel Worlds.”

A) Similar to my other Third Development material, this track has that signature world vibe and it’s really cinematic. For me, it always starts with just the music and then I source out the vocal that best fits the vibe you’re experiencing. When I composed this one, I was flooded with so many powerful emotions and images and this is the most incredible experience to have as a recording artist. The power of the imagination drives the creative process when you get on a path like this and the music simply flows out of your mind like a river. It’s incredible and you actually feel a bit exhausted after a six to eight hour session of building something like this. The imagination drives the output and this track was created with a heavy dose of imagination.

Q) What do you think it is about the song that fans connect to?

A) I think this track really takes the listener into that fantasy realm where mysterious encounters and spy-themed scenarios flow freely in the mind. It’s has a sultry, sexy vibe that triggers so many great images and feelings and it’s really quite cinematic which helps as well. Music plays such an important role in film, so whenever a track triggers the imagination like this, you get a really powerful crossover effect where the mind fires on all cylinders. It’s an amazing experience.

Q) How did Ali Wick come to be a featured vocalist on the track?

A) With “Our Parallel Worlds,” I had a solid demo completed here in my studio and I was shopping the world for the perfect songwriter and voice for this special track. I was introduced to Canadian singer Ali Wick and when she sent me a demo of the first verse I was truly blown away. Prior to her writing and recording the lyrics, we discussed the fact that this song had an underlying James Bond vibe to it and she decided to run with that fantasy theme for her lyrics and vocal performance. The end result is pure ear candy. It’s sultry and exotic and it just captivates the listener leaving you hanging and wanting more after every line.

Q) Where did the idea come from to include opera singer Francesca Maionchi for the bridge?

A) For the bridge, my Co-Producer Sara suggested I think of something interesting for the forty seconds of instrumental music where Ali was not performing her vocal. I always absorb my music demos when I’m driving around in my car and for some reason, every time the bridge of the song arrived, I launched into my own version of opera while driving – and trust me, you would not want to hear my opera! I told Sara Fedi in Tuscany where I was going with it and she strongly suggested that it was not a good idea for a song of this caliber. I managed to talk her into it provided she sourced me an amazing Italian opera singer in Italy and that’s exactly what she did. Francesca Maionchi rose to the occasion and walked into a studio in the heart of Tuscany this past Spring and laid down the most beautiful opera segment for this track. Francesca has toured and performed with Andrea Bocelli and it was such an honor to have her join this Third Development collaboration.

Q) What is your song writing process?

A) Everything starts with the mood. When I sit down in my recording studio, the mood I’m feeling immediately influences what I start to play. I usually just free play random chord progressions using some rich strings and my general mood at the time will influence the tempo and the type of music that transpires. When I catch a wave that grabs my attention, I immediately add electronic drums and percussion to compliment what’s happening with the music and from there everything usually flows quite freely.

Q) Do you need beat before you can decide if you want lyrics or do you let the artists you work with flesh out the lyrics themselves?

A) I always seem to know what songs require a vocal and I always have a specific vocal style in mind when I’m listening to an instrumental demo I’ve produced. It’s just one of those funny things. I can really hear the voice that is going to be the right fit for a track but then I have to go out and find that voice. On a few occasions, it took a few tries to secure the right one but I’m a perfectionist and I’ve never hesitated to pivot and keep searching until I find exactly what I need.

Q) How much of a hand do you have in the production of your music?

A) A lot. I always know what the final product needs to sound like and this is why I love being a Co-Producer with Sara Fedi in Italy. I send her my demos and she puts it all together electronically and then we continue to fine-tune from there. I love how she’s adds some of the ear candy effects with her incredible bass playing and then I usually have a short list of tweaks to get the final product and listening experience perfectly aligned with what I was feeling when I sat down to compose.

Q) With “Our Parallel Worlds” out now is there a full album or EP coming in the near future?

A) No immediate plans for that but I think an EP is in the cards for 2025. It feels good to take a nice pause after each new launch as you need to switch gears and experience all the other stuff life has to offer. This balance really helps when you sit back down in the studio feeling fully refreshed after a nice break.

Q) Where are some of your favorite places to perform and what makes those locations so significant to you?

A) Due to the way I’ve structured Third Development, the live performance thing just isn’t in the cards. I’ve adopted a global approach with my recording process as I love the power of global connection when I have collaborators from all around the world appearing on each track. This is what works for me and it’s led to so many rewarding recording experiences.

Q) Who would you most like to collaborate with on a song in the future?

A) Honestly, I would love to provide an instrumental piece for Canadian icon Sarah McLachlan to run with. I would happily just turn the music over to her without any need for recognition as just hearing the final product would make my music journey complete.  Her 1992 song “Possession” has a vibe that is really aligned with my style as a composer and producing something similar over thirty years later would be awesome.

Q) What artist/musician are you currently listening to and why do you dig them?

A) I listen to almost everything. I love variety and different artists and varying styles of music reconnect with me with past experiences and different stages in my life and that’s really special.

Q) What would you like to say to everyone who is a fan and supporter of you and your work?

A) A big thank you for listening. Music is personal. You can’t be told to like a song so seeing people freely listening to my music from all corners of the world gives me a really great feeling, especially when there is no big music label driving that traffic. Knowing that something that started right in my studio is now being listened to by someone on a train in Tokyo or on a bus in London is really cool.