Alot Is Changing For SuperVision, But He’s Got 20/20 When It Comes to Producing
Blake Hansen, otherwise known as SuperVision, is a Dallas native whose success is making a statement within the electronic music scene, both throughout the metroplex and beyond. Blowing up the on turntables at the ripe age of 16, Hansen shared the stage with many of his idols, and he is now the newest addition to the esteemed Pretty Lights Music where he will drop his debut album titled Telescopic on September 27th. Hansen admits that he is lucky, but this kind of success can only be attributed to raw, indubitable talent.
Fusing obscure samples with organic drum breaks, Hansen’s music takes on an enthusiastic and a deeply illustrative form that is not always found within the current electro music tableau. Exposing his roots as a producer and a DJ, Hansen incorporates his early childhood hip hop influences, like A Tribe Called Quest and The Pharcyde, with funky electro drum breaks. The outcome? Hansen and the PLM crew like to call it “Electro Hip Hop”.
“I was listening to hip hop around 9 and 10-years-old, so I already had a love for music that was built around unity and culture and dancing,” says Hansen as we sip sake at a local Dallas establishment. “That’s what hip hop is about – you know, bringing people together through the medium of music. And it’s really based off the music, everything else is just an evolution of hip hop.”
Hansen recalls growing up in the Dallas area as having a profound impact on his musical approach and all around style. Acquiring a tight group of friends who were all into the same music fueled his interests in djing and turntables, which ultimately led to his passion for producing.
“I was friends with a guy who he taught me the basics on how to DJ (counting, beat mixing, cueing up a record) so I went and bought turntables at the age of 16 and I just stuck with it,” he says. “I immediately loved it.”
As for joining the Pretty Lights Music brethren, Hansen says it was all a matter of knowing the right people. When he moved up to Ft. Collins, Colo. in 2002, his manager took him to kick it with Derrick of Pretty Lights and Michal Menert, and they immediately struck up a friendship that would launch his music career to new heights.
For the next couple of years, they worked together creating beats and messing around in the studio before Hansen headed back to Dallas to help some friends promote some big name bottle service clubs. He remembers these nights clearly, stating that he was humbled to play with some of his idols, including Steve Aoki and DJ AM, at some popular clubs like Ghost Bar, amongst others.
“Its really cool, not a lot of people can say they’ve shared the stage with someone like [DJ AM]. I feel blessed and fortunate for having that experience, and it was super fun.”
You could say that SuperVision is bringing something fresh to the table with his debut album Telescopic, available for free download on September 27th. The album is all about suspense, and not the synthetic suspense found in a lot of music today using overwhelming bass lines or relying on a drop to create a dynamic peak, it’s more intuitive than that.
“I don’t like to have just one plan to my approach,” Hansen explains. “I want to keep it sample based and electronic and just let it take form on its own.”
Hansen incorporates these enigmatic, often indistinguishable samples found only by the art of record digging. He explains that the more you dig, the better at it you become, and the better you become at manipulating a one-of-a-kind sample. So don’t expect Telescopic to be a cosmetic, inattentive piece of work; think of it as a detailed blueprint, outlining each component Hansen has so passionately incorporated within his music throughout the years.
“I just want to give the people something they can dance to that has emotion. Something that you can close your eyes to, something you can listen to in the car to work, something you can listen to in the club, something you can listen to while you’re working out at the gym. Whatever it is, I just don’t want my tone to be one dimensional,” Hansen says. “It’s really just about me putting myself out there as a producer and what I’ve learned over the years and what I’ve been exposed to.”