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What was it like for you, personally, to perform at this years Electric Daisy Carnival? Was there a deep sense of accomplishment after playing one of the biggest EDM festivals in the world? How else was Vegas?

It was a dream come true. One of the reasons it’s the biggest festival in the world is because the vibe it sets. I felt like I was on fucking Mars. You can really feel a family connection there because everyone knows they are apart of something bigger at that point. They aren’t acting like a angry army of kids… they are all smiling and letting their minds run free while dressing fucking insane. It’s amazing. EDC is a weirdo’s heaven and I’d play it every day if I could. I felt at home.

Your label, DOOM Music, has brought together some of the heaviest names in the bass community together and has put out some top notch releases. Where do you see Bass music going and how do you hope for DOOM to shape the new sound of today’s Bass?

Bass music could have a great future as long as we all don’t run it into a repetitive rut. Right now shows are really fun because people are into almost every angle you try to come from. There is a lot of things on the menu and today we are eating at a ‘buffet’. Anything you want is out there now and people are loving the variety. As long as that mindset keeps strong, we as a whole are good. I’m not just referring to myself and the label…. I mean everyone. Duplication should be far behind experimentation, if even on the table at all. There will always be fans that want Radiohead to make a album like ‘Ok Computer’ again, and that will always be matched by the fans that want them to keep moving in and out of their own soundscape and offer up a new sounding piece of work.

One of your trademarks in your productions is your use of vocal samples from old horror movies. Your recent track, “The Last Dawn”, features an epic vocal sample of Charlie Chaplin from The Great Dictator. Can you talk about the ways you go about finding these vocal samples and what about them draws your interest?

The sampling comes from my hiphop and turntablist roots. I grew up on samples and “nerdy” audio clips in songs. The samples come from records, movies, cartoons, and video games. The way I look at it is, as long as I’m not leaning on the sample to make the song what it is (to make up for a lack luster track), then it’s all open for use. It’s all part of my arsenal. I never sample basslines or anything like that. I’ve sampled movie soundtracks for big noises and whatnot, but after I get done extensively processing and chopping them, they might as well be my own creation.

You’ve been traveling the world and playing shows on different continents in venues ranging from smaller clubs to vast festival grounds and have come to know all kinds of audiences. Are you excited for your upcoming show in San Francisco, where you know your massive Bay Area following will have the club packed?

Yea man. I’m really stoked for San Francisco. Everyone seems really open minded and well educated on whats going on. I’ve stayed here before for a while and I love it.

Your latest Beatport release, The Destruction Series Vol. 1, went to the top of the charts on the Beatport Electro House, Dubstep, Drum and Bass, and broke the top 10 releases on the Beatport top 100. How did you feel about this release doing so well on the charts and what did you enjoy most about production? Has its success reaffirmed you of your status as one of the top names in the world of all things Bass?

Well ‘reaffirmed’ might not be the right word. More like.. showed me that I should keep (musically) being myself and not pay attention to the popular sound. Sometimes I wonder if people are going to care again and again about my bass music laced with samples, but it seems to hit a nerve with the right people. It’s attracting people that are just like me, people who still play tons of video games, grew up on the same shit, and love the underworld we all seem to live in. I have something in common with my fans outside of “dubstep drops.” You know… I’m not getting paid the big mega bucks. I don’t get magazine coverage or even a front spot on huge music sites. But I do get booked at the same venues, festivals, and massives and the fans come out and support. I feel a part of the family but I haven’t crossed over yet. If remaining myself means I’ll never cross over to the pop world and get rich and famous that’s fine because at the end of the night, I go to sleep knowing that ‘FIGURE’ is just another name for what music “Josh Gard’ makes. It’s not some alias I’ve made to make a career out of creating sounds that I know will sell for a hot minute. I’m doing me, loving every moment of it, and am sincerely grateful for any support I get.

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