Nite Fleit – DJ, producer and label owner from Australia, stopped by Underton portal to talk about her new EP “Nightmare at 20.000 Feet” as well as her creative process, her journey as an artist, and her experiences in the underground music scene. She also shares inspiring thoughts on the current state of the music industry, and her hopes for the future.
When did you move from Australia to Europe and if this decision was related to your music career development? Where do you spend your time mostly now?
I traveled from Australia in July 2018 to tour my first EP. I was only planning to stay for a few months, but I quickly realized that the close physical proximity of countries in Europe allows for far more opportunities to play in some of the best clubs in the world much more often. That’s not to say I don’t love playing in Australia – it’s got a wonderful scene filled with so many talented artists, and I love going back when I can. At the moment, I am spending my time in Sicily.
How did your time look like before you released your first EP? Did you focus more or on playing in clubs or producing and making connections in the music industry?
No, actually it was the opposite – I was still working full-time, which meant I spent all waking hours outside of my job learning how to produce. When I’m working on projects or learning new technologies, processes or skills, I like to immerse myself completely, which means eliminating distractions and devoting uninterrupted time, also known as getting into a state of flow. When I’m working like this, I find I’m able to be more creative and focus properly.
Your recent EP titled Nightmare At 20.000 Feet with Umwelt kicks ass. Could you tell us more about how the collaboration with Umwelt started and how was the work on this EP?
Thank you, it does, right? We were talking about me doing a release on New Flesh and then he asked what I thought about doing a release together and of course I was thrilled to do that! It was super easy, we sent each other stems and each worked on the others until we made the finishing touches and that was that. It was really easy working with Umwelt and I also really love what we created.
Who are some other DJ producers you’ve formed close bonds with?
I form close bonds with most people actually! I avoid writing lists for fear of accidentally leaving someone out, but I can say at the moment I am working with some pretty incredible people on a few projects right now.
Underton are vinyl lovers. What would you say about playing with vinyls now? As it was a standard 15 years ago, it becomes more a unique skill for young DJs now. What is vinyl for you as an analog music carrier?
I haven’t played records since moving from Australia as I left my turntables and records there. I love playing records and I would if I built up a collection again but at the moment the thought of moving things around means it’s not going to be for a while.
Do you have your top 5 of artists who inspire you?
My reluctance to leave people out of lists makes this hard! I will say the people I have worked with in the past all inspire me greatly along with the people I am working with now, which is still a secret, sorry! Artists that I would love to work with include Marie Davidson, Kelly Lee Owens, Kittin, Exaltics, Louisaaah, Maelstrom, Zeta Reticula.
How do you think the music production / DJing industry will look like in the near future? Do you see any risks or opportunities?
I’m optimistic about the future. I think increased access to music production software and equipment provides opportunities for artists from diverse backgrounds to produce their own music. I think this helps to break down traditional barriers to entry into the industry, such as the need for expensive equipment or access to a recording studio. With more people able to actually make music, it increases visibility of artists from underrepresented communities and encourages more diverse representation.
I think something that is super important is creating diversity at the core: managers, agents, sound engineers, label owners and all other positions that make up the music industry. I think focusing on this is key because when different types of people are involved in decision-making positions, they can bring their unique perspectives and experiences to the table, which can lead to more inclusive and innovative practices. It also can provide more opportunities and support for all artists, providing them with the resources and support they need to succeed.
Something I think about is the pressure social media can have on creativity. This focus on quantity over quality, can make artists feel the need to constantly create and share new material, rather than taking the time to develop their craft and produce more thoughtful, complex work. Additionally, social media algorithms promote certain types of content over others, which can limit the exposure of diverse voices and styles. Also the need for self-promotion and personal branding on social media can take time and energy away from the creative process itself, as artists may feel pressure to maintain a certain image or persona online. This is why I try to keep off my phone when I’m working on projects I need to focus on.
Have you been previously in Poland? How do you feel about coming here?
Yes actually I played at Ulica Elektryków in Gdansk in 2018 which was mad and again at Smolna Warsaw in 2019. I met so many great people at those shows and the crowds were sick so I’m thrilled to be coming back! Such lovely people with lots of energy!
Can you please complete the word “Under…”
I come from the land down under!
Come join us for an epic night. Together with Nite Fleit, we’ll be playing all the hottest beats with some amazing skilled DJs, so don’t miss out on this one-of-a-kind event!
