Rapidly rising through the ranks of house and techno, Emery Warman is a name to keep your eye on over the next couple of years. With praise for his tracks from the likes of Richie Hawtin, Paco Osuna, Marco Carola, Stacey Pullenand Nicole Moudaber, that’s a prediction that comes with a lot of heavyweight backing.
Born in Hungary, Emery moved to London and quickly set about making his mark on the capital’s scene after cutting his teeth around Central and Eastern Europe. Soon playing regularly at the legendary Ministry of Sound and hosting his own London Beloved parties there, he released his first track in 2014.
From there, releases on labels including Lapsus Music, D-Floor, Deeperfect, Orion Muzik and The Room Records have proved immensely popular, with two Beatport Genre Chart Top 10s, a Top 100 Overall Chart entry and a slew of Genre Chart Top 100 placings to boot. His own burgeoning imprint NoExcuse Music goes from strength to strength too, uncovering many lesser-known talents and hidden gems along the way. Meanwhile his DJ diary continues to grow in stature, with key dates including Privilege Ibiza’s opening party and BalatonSound in Hungary.
“I am a bassline maniac”
Born in Hungary but living in London, what made you go through that move? How involved had you been in the electronic music scene “back home”?
Because of the limiting reach of the music scene back in Hungary, I realised that I couldn’t reach my dreams and publish the music I wanted to play. London was the best place in my mind to do this, so I took the risk and moved here with my family.
What kind of resources did London provide that Hungary did not, regarding how to further your career in the scene?
A better outreach to the music scene that appealed to me, and the ability to perform my music to a bigger audience was a big push. Then through the availability of bigger & better clubs I was able to showcase my music, which proved to be one of the best resources in London.
How often do you get back to Hungary? Do you focus on playing a certain amount of gigs there over the year?
Not that often but I have now made London my home. So I don’t usually focus on getting gigs in Hungary.
How do you approach production? It is described that you maintain intensity, yet wrap your productions up in more subtle elements. Is this true? Is this conscious on your part?
Yes, I like to use natural instrument sounds, which I think is rare in the music being released lately. All day I think of ideas for my tracks, and honestly, I am a bassline maniac so that’s where the inspiration for my track starts.
Speaking of productions, your first production received some heavy support from big names, ultimately sending you down the path you are on now, with all kinds of heavy hitters in the scene singing your praises. What was your first reaction to the industry admiration?
I was very taken aback by the support. The music I made was what I wanted to play out, and to see that it was being favoured by so many well known DJs was truly a special moment for me. It made me feel as if all the risks I have taken were worth it.
Was there ever a moment over the last year or so where you felt you were living in surrealism?
When I saw Marco Carola playing three of my tracks at the Music On closing last year in Amnesia as I stood next to him, watching the reaction of the crowd to my music was the moment where I felt really special.