As a valiant advocate of modern progressive house and its transferable underground tendencies, you would struggle to find an artist more illuminated on the global club circuit than Jeremy Olander. But with a journey that started in North America and that found its peak among Sweden's fertile house elite, it comes as little surprise that the Pryda protege has made such sharp professional and geographical maneuvers throughout his zestful career.
Through a mutual love for Elvis Presley, Michael Jackson and East Coast American hip-hop, Jeremy lapped up influences from across the musical spectrum. Though he never conceived that music could muster a career for him, each respective genre mustered crucial emotions for the aspiring producer, the culmination of which led Jeremy on a quest for musical absolution that only a technical approach could truly satisfy. Matched with an obsession with technology and the peaking action of such European assets as Joachim Garraud and The Prodigy that surrounded him, his choice to opt for composition over computer-based strategy opened a new world for the impending Swedish heavyweight. When that love for music and technology combined, Jeremy truly found his element, testing and trialing its resonance right through to his now global standing as progressive house music's golden boy.
Curiosity would see Jeremy sneak into the early shows of Steve Angello and Eric Prydz, the latter of whom would prove instrumental in Jeremy's breakthrough later down the line. He had already found maximal strength in minimal production techniques along the way, opting for subtle drops and steadfast composition over senseless dynamics. By the time he was inaugurated to Pryda Friends, that approach had been perfected - a matter of scrutinous years trialing and testing his own sound to imitate the quality of his peers, but the composure of his own musical ambitions. The journey from inaugural label duties "Evade" through to an off-the-cuff remix of Golden Girl's Floorplay classic "Kinetic" suggested that somewhere along the line, curiosity and consistency had met to make the young Swede indispensible to his craft and its forward motions.
By the time "Let Me Feel" had found its way onto the digital market, Jeremy could be found well and truly in tune with his own distinct musical agenda. In need of a closing number that bore his own melodic hallmarks, speedy emotional process would translate seamlessly into the perfect closing number for perhaps one of the more radiant examples of a talent driven by scrutiny, passion and persistence. With his techno moniker Dhillon representing the untamed underground edge strategically separated from his own, the likes of Adam Beyer and his Drumcode imprint have quickly inaugurated young Olander into a successful dual reign of two essential modern facets of global club land.
Where his DJ persona is concerned, Jeremy has always referenced the greats as an essential understudy. From the peaking homeland sets of Steve Angello to those journey-like constructions of John Digweed, his live persona has always risen above the champagne lifestyle and gimmick-ridden culture of live dance music. Be it such high-profile festivals as Creamfields or South West Four, or the trail of his debut North American tour alongside Pryda Friends peer Fehrplay, an emotional connection between the underground and his own progressive stylings have kept Jeremy buoyant amidst the flood of talents now facing global dance music.
But with North America bowing to his sound and a firm allegiance with Pryda Friends now forged, the road ahead looks to propel the ambitious artist to heights once thought impossible. Expect bigger shows across the globe, extended EP duties for Drumcode and a welcome preservation of the progressive house charts through a series of solo and collaborative ventures, all driven by a lust to challenge, educate and elevate the world around him through the quality of his own musical callings.
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