Com Truise makes sounds that are '80s-routed, slow-mo mood rings. Put the mood ring on, let it read your body-temp, it will shine some shade of aqua marine. The synth-loped sounds always seem to find the secret passage way. "Sundriped" looks through the '78 lens for bulbous rounded graininess and delay. It's the jam, if we're using jam to describe jams. Com Truise is New Jersey producer Seth Haley. He’s just released an EP on Ghostly International called Wave 1, and he took a moment to speak.
Musically, where do you come from. What did you listen to growing up, as young Com Truise? I’m definitely subliminally inspired by the '80s. When my mother was pregnant with me, she went to a Culture Club concert with me in her womb. I saw, or should say heard Boy George as an unborn. I think that affected me somehow [laughs]. I remember riding around in her car, and listening to Billy Joel, and Bette Midler, Tina Turner, Kenny Loggins, and Michael Jackson. It never really hit me until like four years ago. I was working in advertising. Coworkers always used to push synth pop on me, and '80s stuff. Not in a bad way. They’d send me things, and I’d say, “Yeah yeah, I’ll listen to it.” But then the folder would just sit there in my download files forever. I was more into drum 'n' bass, and ambient stuff. I can’t remember exactly when I let my wall down, but at some point the '80s music hit me. And I completely saturated myself in it. And was baffled at how I hadn’t gotten into before. So much music came out of that period, and the equipment, and everything. I’d research and research, and surf and surf and surf. And dig. And look through the liner notes of albums to find out what synthesizers these bands would use.
You did a remix for the Tron Legacy soundtrack. How was it remixing an orchestral score? How did that remix land in your lap? The guy that did the music supervision on the movie is a DJ in California for KCRW. He knew Sam Valenti. My remix was last minute. They were looking for another one, and Sam thought I would be good for it. They sent me all the stems, it took like three hours to download them all. Three gigs of stems, all this orchestral stuff. I maybe used 100 megabytes of them [laughs]. It was my first major instrumental remix. Definitely a challenge, because I was used to vocals. The Tron song was amazing, but it was from a score. I wanted to make it sound like me, but didn't know how I would tie it all in? I found strings that happen at the end of the song, and were able to make them work. And time signatures for scores aren’t forgiving, very weird stuff. I basically had to restructure the entire thing, which was big learning experience for me, to make be a semi-dance music format.