Ward Andrews swung by to dive into how he developed a passion for electronic music in the ’90s, the scene in Arizona, and where he plans to take his sound next.
Turn back the clock to the emergence of electronic music in the ’90s, and you’ll find Ward Andrews beginning his journey in the scene. His first taste of infectious grooves arrived while digging through vinyl and CDs at local record shops in Arizona, leading to him making mixtapes for friends while in high school.
Flash forward to the present, and Ward Andrews has completely embraced everything about the genre he unearthed decades ago. He took the next step a bit more recently—starting his artist project in the midst of the pandemic—but caught fire with tracks like “Do You Hear Me Now” and “Timbavati.” This led to appearances at festivals like Goldrush and Decadence Arizona, along with nightclubs such as Discopussy and more.
This week will see Ward Andrews check off two more huge milestones in his career. His upcoming EP, The Decoration Of Time, is due out on Friday, which coincides with his appearance at EDC Las Vegas, where he’ll take the stage at 8pm on the Forest House stage on Sunday, May 18. Before this massive weekend ahead, we caught up with Ward Andrews to chat about his roots in the scene, his new release, and more. Give his mix a spin and read on for the full conversation!
Stream EDMID Guest Mix 464 || Ward Andrews on SoundCloud:
Hi Ward, thanks so much for taking the time to chat with us today. Your love for electronic music began in the early ‘90s, so let’s begin there! Turning back the clock a few decades, tell us about your initial discovery of electronic music and what it was like crate digging during that era.
No Beatport. No iTunes. No LimeWire, Napster, or streaming. No mp3s. If you wanted to discover new music, you had to hunt for it. In big cities, it happened at clubs, on listservs, or… if you were lucky, at a record shop with a good buyer. I imported UK CD singles through a local shop called Stinkweeds in Mesa, Arizona. I was drawn in by 12” remixes of Pet Shop Boys, New Order, and Erasure; which led me deeper into artists like The Orb, Orbital, FSOL, Global Communication, and Autechre. Back then, I was making mixtapes using two Sony Discmans, a little mixer, and a cassette deck, sharing them with friends in high school.
The scene today is very different from decades ago, yet there are still some constants that have remained. What are your thoughts on how artists and the electronic music community have morphed over time?
At the University of Arizona in Tucson, I got into the rave scene. This consisted of abandoned warehouses, late-night flyers, and calling payphones for directions. The vibe was welcoming, like today, a great community. But musically, it leaned toward hard techno or fast trance. So after the parties, we’d retreat to driving to the city or heading to someone’s apartment to cue up ambient electronica and watch the sunrise. Melodic and progressive sounds were rare in a desert town back then. I played what I could on my student radio show on KAMP which broadcasted on access cable TV. In some ways, the tools and access have changed drastically, but the community spirit remains.
Flashing forward to the present, you’ve really honed in on a production style that’s very cinematic yet features flourishes of house, synthpop, and more. What drove you to this particular niche of the electronic music scene?
I follow what feels right. I’ve had to learn all the sub-genre names after the fact; my process is rooted in intuition. A bassline or a breakbeat might surface in my mind, and I follow it. I’m still new, still shaping my sound. It’s a blend of everything I love: melodic progressions, emotional resonance, and a cinematic flow.
You have an upcoming EP on the horizon, The Decoration Of Time, which features previously released singles “Future Memories” and “Uncharted Course.” Will the other tracks on this EP carry on with similar thematic elements? Is there one you can’t wait for your fans to hear?
“Prologue” and “Uncharted Course” set the tone beautifully. Together, they ease the listener into the EP like a ship entering a foggy harbor. Originally they were one track, but “Uncharted Course” became a standalone single since we crossed the five-minute mark. The full EP is a 20-minute immersive experience. I wanted to create something unhurried, where the rhythm pulls you into a hypnotic flow. It’s inspired by both modern dance grooves and the ambient electronica of the ‘90s. For me, music is how we decorate time. If time stopped, the music would too.
Flipping over to your DJing side, you’ve performed at festivals like Goldrush and Decadence Arizona but have also spun in nightclubs over the years. Do you feel there’s a difference in energy when performing in those two spaces? Is there one you prefer over the other?
Festival energy is electric. As an emerging artist, I appreciate the exposure, and my sound tends to draw in curious passersby, which is a great feeling. But there’s nothing like the intimacy of a club when the crowd is locked in, and the sound system is dialed. That connection is powerful.
Arizona has quite an eclectic community of dance music lovers. What’s your favorite aspect of the scene there? Additionally, what’s something you’d like to see improved in the future?
Relentless Beats and Walter Productions have done an incredible job bringing world-class talent and creating memorable experiences. I’d love to see continued growth around melodic and progressive music, and that’s happening organically as the community evolves. One of my favorite sets was a Halloween show in Prescott behind an art gallery. The crowd was deeply connected, and I still hear from people I met that night. That’s what I love most about Arizona: the people. It’s a supportive, passionate scene with the potential to explode as Phoenix is the fifth-largest metro area in the U.S., and the energy is building.
Just for fun, can you share three artists whose music you’ve been rinsing lately, whether for pleasure or in your sets?
Dosem always finds his way into my sets, his grooves are so tight. Romain Garcia’s work is incredibly emotive and polished. And I’ve been revisiting The Future Sound of London, especially the UK Cascade single from the ‘90s. It’s perfect for late-night listening.
Finally, aside from your forthcoming EP, is there anything else that’s on the horizon that you’d like to share with our readers?
I’ll be playing EDC Las Vegas on Sunday, May 18 at 8pm on the Forest House stage! I can’t wait to connect with fans from around the world. I also have a new single dropping in June on Vivifier’s Deep V label. Lots more to come.
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