A wise man said there is nothing new under the sun. This truth still stands, although when seen in the context of creative pursuits, it becomes a bit tricky. Artists do create entirely new work, but creative direction and style rarely exist in a vacuum- more often than not, they come about through countless external influences. We choose some of these influences, others simply exist with and without our awareness or approval. The idea of influences is an intriguing one; I’ve been asked the question enough times that it’s time to give credit where due.

I’ll start with the piano. In 2006, I had to learn lots of songs with Gordon Mote’s piano parts. Gordon is a ridiculously brilliant player; his note choices are unexpected and perfect. His perspective- especially on slower songs- has stayed with me, and makes me better. Another such influence is Lesley Barber. Her work evokes. Listen to the soundtrack for the film Mansfield Park, specifically the piano parts and the interplay between piano and orchestra. Incredible. I also like Lesley because she’s not afraid to use unconventional sounds or move between genres. While on the subject of soundtracks, one of my absolute favorites is the soundtrack to the 2007 theatre release of Pride And Prejudice. It’s classic, whimsical, ambient, beautiful, and certainly an influence.

I’ve had the pleasure of doing several records with Jill Phillips and Andy Gullahorn, and I’ve walked away the better for it. Andy approaches guitar in a unique way. Over time, perhaps from doubling his parts or hearing them so many times, I’ve translated a few of his methods over to my world. If only I could write songs like him… he’s a genius, at least compared to some. Jacquire King is another such person- every time I work with him, my knowledge (and therefore my ability) increases. His influence lies less in piano playing but more in overall approach; he makes everything so much more musical.

Radiohead. I know- everyone says Radiohead is an influence. I don’t care. Go and listen to Kid A again. LET it influence you. While you’re at it, listen to Thom Yorke’s “The Eraser”. More great edits, programming, arrangements, and parts. Now go and listen to “In Rainbows”. Need I say more?

What about programming and track building? Imogen Heap: Near-perfect electronic pop from an insane talent. Jon Hopkins: You know his work from Coldplays’ “Viva”… record, but his “Insides” project is full of tracks that are brilliant. “Geogaddi” from Boards Of Canada was one of my first experiences with ambient music. It’s a classic, and a great inspiration for synth sounds. Moby’s “Hotel/Ambient” was a favorite from first listen; it’s a prime example of how simple can be right. Other artists that shape me: Guy Sigsworth, Telefon Tel Aviv, Hammock, BT, John Powell, Miike Snow and Milosh.

This list is by no means exhaustive or ordered. I could write for hours about music I love, and arguably, influence exists where love does. Each time I stand up to create, the influences vary. Therein lies the mystery: influences aren’t ideas we copy, they are concepts we assimilate. Those concepts merge and mingle, and the collective result is what sets you apart. It may even push you to do something new.

Long story short: I completely missed the music of the 80′s. Here’s what I do know: it was a dark time for guitar tone and fashion but an incredibly glorious time for synthesizers. Never before were so many tracks made of that which was synthetic. Except now. Love it or loathe it, pop music has come full-circle, and I’m making up for what I missed.

For the past few weeks, I’ve been up to my ears in 80′s, working on synth tracks for a record coming out later this year. Being a keyboard player, I’ve always been somewhat familiar with the sounds and kit from that golden era, but what began as a mere acquaintance has blossomed into a full-fledged codependency. On other projects, I find myself going back again and again to the DX7 (or in my case the FM7… for now). It was my first synth, and it’s quickly becoming a favourite- so much so I’ve been scouring eBay for the right one.

How do I approach a track that needs that 80′s sound? First, a bit of history… Whilst analogue was well developed, digital was just emerging, and the meeting of the two yielded sound that could simultaneously be dark and bright, warm and cold, smooth and sparkly. Most had Moogs, ARPS, Prophets or Juno’s but the shiny new ALL DIGITAL synths were sexy. Digital was the new cool. It was more stable, less noisy, and didn’t require so much maintenance… But I digress. To take a track back, start at the bottom. Pull up any bass from a DX, play eighth notes, and you’re pretty much there. From there, move to the mids. Forget those soft, warm sine-wave pads. Find an aggressive, fast attack monster. Repeat as desired. Who needs guitars when you have sawtooth waves? Finally, the top. Finish with bells, sparklies, or something gross and metallic, preferably playing some infectious melody in octaves. There you have it: thirty years in three easy steps.

Granted, digital wasn’t the only game in town; the best polysynths were and still are analogue. Digital expanded the range of possibilities, giving keyboard players more ways to overshadow the guitars. Now, those sounds are back. The bottom line: if you have an 80′s synth sitting around, dust it off, tightroll your jeans, and re-discover the sounds that are just as useful now as they were then.