Insomniac’s Metronome series features mixes from some of today’s fastest-rising electronic stars, as well as championed legends. It takes listeners deep across a wide range of genres, movements, cultures, producers, artists, and sounds that make up the diverse world of electronic music.

Current weather aside, no place in the DJ world seems to be hotter at the moment than Australia, which boasts an unrelenting stream of talent. And for every tried and true name, there’s a newcomer, such as house music hotshot Acaddamy.

He walks a complicated path with seeming ease, combining bouncy house sounds with heavy low-end influences. Further still, he constantly treads the line between heady styles of the underground and beefy energy of the mainstream. All of this deft weaving has paid off in a very short time.

With a notable list of remixes for the likes of Spank Rock, Emoh Instead, LO’99, and even Green Velvet, Acaddamy has garnered endless support from the mighty triple J, as well as other outlets and DJs, including a recent nod from Tiësto on his Club Life show. Finally, Acaddamy has put in plenty of time on his own originals, bringing things full circle, as they’re now seeing remix support from the likes of Pablo Calamari and Jared Marston.

Today’s Metronome is a perfect cross-reference of all of the above. From remixes to originals to his own secret weapons, Acaddamy takes us on a dizzying, deep ride of bass-riddled house music.

It’s a standard question, but it’s always interesting to learn how an artist got into the DJ scene. What were some of your first big experiences with DJ culture, and who were your early influences?
When I was a kid, my mum gave me a Ministry of Sound compilation CD for Christmas, which gave me my first taste of dance music. I started DJing at a local club and helping run parties with some friends. From there, I met other DJs and promoters from Sydney and started to dabble in music production. Some of my early influences were definitely Chris Lorenzo, Justin Martin, and AC Slater.

It seems like you really cut your teeth as a producer doing remixes. What made you gravitate toward this, and how were you able to get the attention of so many noteworthy producers for remix duties?
I’ve always found remixes easier to work with, as the majority of the track is there—you’ve just got to put your own spin on it. When I was first producing, I’d always be on the hunt for remix comps of artists or labels I really liked. It’s a great way to get your stuff noticed by a wider audience, as well as helping you fine-tune your productions. Nowadays, it’s great having a manager or label-sourcing producers to remix my tunes, or vice versa.

Who would you like to see, more than any other artist, remix one of your original tracks?
It’s so hard to pick just one, but I think it would have to be Claude VonStroke. You know you’d get back something amazing and really unique.

You also have an ever-growing list of original tracks. How do you approach these differently from when you’re tackling a remix?
I always find an original a lot tougher than a remix. Usually, if I’m stuck on an idea but I’ve got a really cool melody, I will try to change my mindset and think of the track as if it were a remix for someone else. It can be a good way to get out of a writer’s-block rut.

It seems like you’ve gone a long way in a short amount of time. Does it feel like that to you, or was there more of a journey to your success than most people might realize?
100 percent more of a journey. As much as I’d love to have had one song that got me noticed and traveling the world, I feel like the journey has taught me a lot—not only about myself, but also the ins and outs of the industry.

You tend to cruise in a lane of sound that balances deep bass with dancey house music. Is this intentional or just what comes naturally?
I like to mess around with other styles and genres just to give my production a little bit of a unique touch, but typically it’s just what comes naturally.

“Temperature Rising” has a gained a lot of traction, and you just joined the One Hit agency. What next-level plans do you have for 2018?
Yeah, the track has been getting some really great support, which I’m super stoked on. In terms of plans for 2018, I’ve got a bunch of new music to drop, working in the studio on some fresh bits, and touring around Australia. Fingers crossed if all goes to plan. I could see myself playing in the US soon; it’s always been a big dream of mine.

How do you see the scene in Australia growing and evolving? What do you predict for its future?
Considering the battering nightlife took (in reference to Sydney’s lockout laws), the scene is re-establishing itself at a rapid rate. It’s crazy to think a place so isolated can compete with the rest of the world in terms of its musical talent, and I can only see the music community getting bigger and stronger.

Acaddamy’s Metronome Mix Track List:

GotSome “Bump That” (Lash VIP)
Jay Robinson “Real Raw”
LO’99 & Sinden “WGWN”
Acaddamy “Temperature Rising”
Young Franco “About This Thing” (HoodRich Remix)
Billy Kenny “Like to Get Weird” (VIP)
Nick Olivetti & Heartlybeats “Bang Low”
Marc Spence “On Air”
Acaddamy “Keep It Movin’” (Hotfire Remix)
Noise Frenzy “Werit” (VIP)
Acaddamy & HoodRich “Called # 10”
Jack Beats “Pump”
Destructo “Techno” (Ardalan Remix)
Jeff Doubleu “TV Spaceships”
Kyle Watson “That’s Kinda Wavy”
Mr Oizo “All Dry” (Bixel Edition)
Go Freek “Tape Rock”
Kry Wolf “Temper”
Haremoor “U Know That Butler”
Meramek “Feeling”

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