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Galimatias Talks Debut Album ‘Renaissance Boy’

He has one request for his listeners: let it play..

Photo Credit: Jake Wangner

Five years ago, Galimatias and Alina Baraz had music lovers deep in their feels with their critically-acclaimed joint EP, Urban Flora . While Baraz took the lead on vocals, Galimatias provided the alluring production. Since then, the project has garnered millions of streams. Baraz went off to further her solo career with The Color of You and her most recent album, It Was Divine .

As for the Danish producer, now an artist, he decided to keep a low profile, despite the success of Urban Flora . “I think there was a while that I felt uninspired because I just walked the same lane back and forth,” Galimatias tells Rated R&B. “I had put myself in a situation where I wasn’t challenging myself. As creatives, I think it’s important to always chase the fun, and often times challenge is what engages us.”

During his five-year hibernation, Galimatias  started to experiment with his voice, which led him to want to become a recording artist.

“I’d always been writing and doing little vocal things here and there, but it wasn’t until I fully embraced that aspect of music, that I opened the door to a whole new world of exploration,” he shares. “I guess you could say it took me a few years to find that door.”

The door Galimatias is referring to has finally opened. His debut album, Renaissance Boy , is out now. The sonically coherent album, preceded by the single “Redeye,” was carefully sequenced to be played without skipping a track. He keeps his collaborations to a minimum, which gives listeners more time to connect with him on a personal level. “GPS,” track seven, is the only song on the album with a feature (Xavier Omär and Bas).

In our interview with Galimatias, he talks more about Renaissance Boy , finding his sound as an artist and how R&B music has influenced him.

You were first introduced to the world as a producer. Over time, you’ve evolved into an artist. What was your journey like finding your sound and figuring out who you were as an artist?

I guess in the R&B world the classic definition would interpret the vocalist as the artist. I find that the lines are blurry. One of my favorite artists is Jamie xx . He is incredible with sound and I love his solo album In Colour , yet if you look at him in the context of ‘The xx’, you would define him as a producer.

At the end of the day, whoever has their name on the track will be defined as an artist. I’ve been putting out music for a while, but over the years, my own voice and my own words are carrying more and more weight in those tracks. To me, I’m still the same musician. I just keep following wherever my intuition takes me.

We often hear the term “renaissance man.” However, your album is called Renaissance Boy . What’s the significance behind the title?

The renaissance boy hopes to grow up to be the renaissance man. The pleasure of creation is in the growth. I’ll never be a renaissance man of music because that pursuit is infinite, but I’ll always strive towards it.

Renaissance Boy is categorized as electronic on Apple Music. How has R&B music influenced you?

I think any artist is essentially a result of all the things he or she finds inspiring. A great artist can let this be a catalyst for innovation. But, ‘Standing on the shoulders of giants’ works as a metaphor within the realm of music, as well. Growing up in Denmark, the cultural output of such a small country is limited. We lend our ears to America. I’d always had a rich input of music from all over the world through my dad, but R&B is likely the sound that has stuck with me more than any other.

You said that making “Redeye” helped inspire the rest of the album. What is it about that song that makes it special to you?

It was the sonic character that defined the rest of the album. I always try to create an evocative ambiance. If it sounds like a memory, I know I’ve done something right. The gritty texture of that loop makes it almost tactile to me. It has to stir something in me, and when I’d made those two tracks (“Intro” and “Redeye”) it felt like I had found the soil in which to plant the seed that became this album.

Speaking of “Redeye,” you shared a short clip that showed how you came up with the production, which included going into the jungle to record natural sounds. What motivated you to do that?

Yes, it was the symbolical gesture that tied into that creation as well. I had to leave LA to renew my visa at a U.S. embassy in any other country. I chose to go to Costa Rica and make a trip out of it. It was the week after I came back that I started “Redeye,” and that ambiance of soft rain falling on the leaves in a lush Costa Rican jungle was the very inception. I put in that recording and played the Rhodes over it.

You collaborated with Bas and Xavier Omär on “GPS.” What was the inspiration behind that record?

The chords just dictated the mood for that one. Lyrics came fast after. I sent it to Bas and Xavier, and they were both down with it. I was super honored to have them involved. We never met up in person for this, just sent it back and forth online. I’ve been working quite a bit with Bas since, though. We have more things in the works.

What do you hope your listeners take away after listening to Renaissance Boy?

I hope that anyone who listens will listen from start to finish. It’s a big ask in today’s digital age, where skip buttons and peripheral playlists suggest you to look around the corner at every moment. But this is very much constructed as one cohesive journey. I’ve put a lot of effort into tying all the songs together to make it as cinematic as possible. I didn’t want it to feel like one song stops and another start. I wanted it to feel like you could escape for the entire 30 minutes and watch a movie play out within the confines of your own imagination. With that said, I appreciate all the people who listen to my music, in any capacity. How it impacts them or not is out of my control.

Stream Galimatias’ debut album,  Renaissance Boy , below.

Keithan Samuels

Keithan Samuels is the founder/editor-in-chief of Rated R&B.

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Galimatias Dishes on His Tour, Remixing Porter Robinson, and Sade [TMN RESIDENT ARTIST INTERVIEW]

As we started planning this month-long spotlight on Danish producer Galimatias , we were anxiously awaiting this portion of his Residency. Knowing that we would soon enter a selective group of very few publications who have had a chance to talk with this quickly rising star, we relished in the opportunity. The only drawback to this exclusive chat was how difficult it would soon be to narrow our questions down to a reasonable amount. In all honesty, we could have dialed up at least twenty-five, but that would have been a tremendously long read. Instead, we went with what you’ll find below.

TMN: First off, thank you so much for being a part of our Residency program. It’s an absolute pleasure to have you. You’ve just come off tour and a wildly successful EP. Did you take a moment to breathe, or have you jumped right back into the studio?

Thank you, it’s been a while since I’ve had time, so yeah, I’ve been excited to get back to making music. It was a pretty short tour run, but being the very first live shows for me and Alina both, we had a lot to learn going into it. So, it was still a big process.

TMN: Speaking of the tour, we have to imagine that you had a few “Holy shit!” moments. Was there any particular show or fan interaction that made you step back in disbelief?

TMN Let’s touch on Urban Flora. It’s safe to say that this whole project started from a simple Soundcloud message, correct?

TMN: One thing that came up a few times while listening through Urban Flora is a slight resemblance to Sade, especially “No Ordinary Love”. The association actually came up while listening to “Unfold.” Are you a fan of Love Deluxe , or was that purely coincidence?

I’m definitely a fan of Sade . My parents listened to her a lot, so I grew up on that. I wouldn’t say I’ve been directly inspired by any of the tracks to create Urban Flora , but maybe subconsciously, considering this is the music I’ve been listening to.

TMN: Let’s talk your remix for Porter Robinson. Talk about a perfect pairing! Two artists who are pushing the boundaries of electronic music on the same track. How did that opportunity come to be?

On Twitter, he asked me if I wanted to remix a track from his album. This was in early 2015, I picked “Fresh Static Snow” at the time because that song inspired me the most. I remember making a cool section, but then I was just stuck with it for months. Around summer time I gave up, but then he asked if I wanted to try another one of the tracks and I picked “Sea of Voices.” I was thinking a lot of the approach, cause the original is so cinematic and beautiful. It’s one of those songs that people develop a special relationship with, the kind of song that will represent a time or a certain moment in their life cause it’s so visual. It wasn’t just a generic pop song I was remixing. So, with that in mind, I decided that instead of trying to outdo the original in this kind of vibe, I’ll do something completely different.

TMN: Before we head into a few random questions, can you fill us in on what your musical upbringing was like? Did your parents stress this when you were a kid, or was it something you were naturally drawn to?

I was obsessed with music ever since I was young. As an 8-year-old kid, I would dance to my dad’s Michael Jackson records and force my parents and brother to watch it. I got my own CD player and would eventually start listening to a lot of hip-hop like Dr. Dre , Gangstarr , Nas , etc. I was always fascinated by the productions; the idea of creating a short loop so perfect that you could just listen to it on repeat for hours – and that’s exactly what I did. I’d find one song or a segment that I’d fall in love with and then repeat it over and over forever. My beginning with music production stems from one certain moment –

TMN: One last business-related question. Can you talk to us about the Danish music scene, and what kind of impact that had on you? Can you name a few influences that people wouldn’t normally deduce from listening to your work? Is there anything specific you’re listening to now?

TMN: What was your very first job that didn’t have anything to do with music?

I was a paperboy when I was 13. I quit when I was 15 and started selling beats instead.

TMN: Name one food you were introduced to when you moved to LA, that you now can’t live without.

I was put on to frozen dates by Alina. Dates are good already, but 10 times better when frozen. They can be found in my freezer at all times now.

TMN: If aliens landed on earth today, and asked you what music was, who would you show them first?

TMN: Finally, if your music were an animal, what would it be?

A jellyfish. Entrancing slow movements underwater. My music is underwater.

Copyright 2013 The Music Ninja. All rights reserved.

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Alina Baraz & Galimatias Announce Urban Flora Tour

It’s been a wild ride for singer songstress Alina Baraz, who in collaboration with Galimatias first debuted their 8-track EP ‘ Urban Flora ‘ earlier this  May . The duo have experienced nothing short of a roller coaster ride these last three months after the record opened #1 on iTunes Electronic, while remaining within the top five ever since. It’s also been a presence on Billboard’s Top Electronic / Dance chart, peaking at #2 just last week – a full 3 months later.

Ta-ku and Alina’s collaboration “ Down For You ” was a perfect follow up to ‘Urban Flora’, showcasing the singer songstress’ multi-faceted talents. It was a rework of “Long Time No See” on his 2013 ‘Songs To Break Up To’ record. Ta-ku worked Alina’s vocals around the flipped rendition, intertwining her soulful voice perfectly in the new tune. “Down For You” became the lead single off ‘Songs to Make Up To’, linking together Ta-ku’s musical

Today marks the official announcement of Alina Baraz & Galimatias’ debut tour. Beginning in Los Angeles at the Constellation Room on September 29th , the duo are then set for a takeover of the country’s most prominent locales – San Francisco, New York and most notably, both weekends at Austin City Limits. The ‘Urban Flora Tour’ will conclude during the second weekend of ACL, a perfect closure to the seminal EP’s live run.

Tour Dates:

9/28/2015 – Santa Ana, CA – Constellation Room

9/29/2015 – Los Angeles, CA – Echo

9/30//2015 – San Francisco, CA – DNA Lounge

10/2/2015 – Austin, TX – Austin City Limits

10/5/2015 – Brooklyn, NY – Baby’s All Right

10/6/2015 – New York, NY – Mercury Lounge

10/9/2015 – Austin, TX – Austin City Limits

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Alina Baraz  

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We just saw her at a sold out show in DC and she def lip synced the whole thing. Which is not only sad, but basically amounts to fraud. Everyone at that show should get a refund.

When it started we thought it was strange that all the stage lights were pointed at the crowd and and not at the band or on her. We spent the first 10 or 15 minutes looking away or looking down because it was so bright in our eyes.

Then she also had this just one dancer, not a duo or a back up group, just one dancer who was moving all over the stage — it was very distracting.

Next we started to notice that every single song was almost exactly three minutes and 30 seconds, just as they are on the radio. There were no ad libs, no runs, no freestyle, which is very unusual at a concert. Also every single song had a hard stop with a break in between and then a restart. Not once did she just flow from one song directly into the next.

That’s when we realized that all of the lights and the dancer were all specifically designed to distract the crowd’s attention so they wouldn’t realize what she was actually doing.

We average over 60 concerts per year, and this was by far the worst so far in 2018.... a complete waste of time and money.

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The talent that opened for Alina Baraz, Demo Taped was pretty good, I really enjoyed his vibe and excitement. His passion really poured out, I love that! As for Alina, beautiful woman with a great voice. Although I thought the dimmed to no lighting was pretty nice for the type of music we were listening to I wish I could have been able to get a better look at her. She performed for about an hour or less and kind of seemed as if she didn't want to be there. I mean for $15 I shouldn't complain. Oh and her drummer, amazing!!

Over all I enjoyed myself. I would see her again.

This show was a huge disappointment, Alina's voice was nothing like her recorded music and she didn't make much effort to put on a good show. I have been to many of shows where the artist performs live and they sound like their recorded music but this was not one of them. Wouldn't recommend seeing her live to anyone I know. I'm just going to try and forget this awefull performance and listen to her recorded music. I will give her band props, they were decent but all around they need to put more heart into live performances

The "concert" was from 10pm - 1am and I got there at 10:30 thinking there would be another band playing prior to Alina. Wrong! There was a dj, who played until 12:30am. When she finally showed up she "sang" 4 songs and left. She mostly asked the crowd to sing the songs and her voice was awful, when I could hear it over the pre-recorded music- nothing like her records. I would not recommend wasting your money or time to see her. At least she looks the same as her photo. I am very disappointed.

Absolutely Fabulous, yes she was!!!

I have been listening to Alina for about 2yrs now and was so happy she came to Atlanta! I got the VIP package and got to take a pic and meet her too. She was so nice! I told her I was a Sax Player and she was genuinely interested: DavidMorrowMusic.com. As she was speaking I was just taking it all in  Im at working listening to her now…now this is the way to start off March Madness!! I enjoyed IAMNOBODI TOO!

Alina is a doll. It was amazing seeing and hearing her live. Her band was an excellent accompaniment to the vibe as well. She even performed a new single she hasn't released yet. Ugh. My friends and I waited to see her after the show. Since we were right up front during the concert she recognized us and thanked us for the energy we gave her. We all adore her and her vibe !! She's a beautiful, sweet young lady. Can't wait to see her in the future.

This show was a disappointment.

Her live performance was lacking in many ways. I believe that she was not actually singing during most songs and used the lights and dancer as a distraction to mask it.

We wanted to leave in the middle of the show. Which was a first for me.

I was looking forward to seeing her, but unfortunately ended up looking forward to end of show.

Hopefully, she will get better with experience.

To me I wished to hear her sing more and louder, but could hardly hear her singing at all. I think the sound may have been too much. I also didn't really like the dancer she had because it seemed like a bit over the top and took away from the show. I can see how it may appeal to some - just not my preferred style.

Cautious Clay sounded amazing and thought the sound quality was great for both his singing and music.

Love, love, love her! However the show did not live up to my expectations. This is my second time seeing her perform live and I was not thrilled. Doors opened at 8, she went on at 10 and performed 5 songs total which was disappointing considering she has an album of 8 songs and 2 new releases.

She does not come to the East Coast often and I felt let down. Love her and her music though!

Such as amazing performance! I've have been waiting to see her live for years and it lived up to everything. She sounded amazing live and her band was fantastic. She sang all songs on urban flora as well as a couple of brand new songs. She looked like she was really enjoying herself and wanted to be there. I can't wait to see her again!

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How Alina Baraz Went From Sneaking Into Choir to Collaborating With Khalid, 6lack and More

Alina Baraz just released her debut album, It Was Divine —  and already feels more energized than ever to keep creating.

By Bianca Gracie

Bianca Gracie

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As the first in her Russian-Ukrainian family to grow up in America, Alina Baraz was raised in Cleveland on classical music, but soon fell for R&B. She was drawn to vocalists like Amy Winehouse , Adele and Corinne Bailey Rae , all of whom helped her realize, “I don’t have to belt my notes to be considered successful.”

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Alina Baraz

At 16, Baraz snuck her way into a gospel choir at Cleveland State University, and by 19 told her mother that in order to take her passion to the next level, she had to move to Los Angeles. She recalls: “My friend sat me down and said, ‘If you don’t do this right now, you’re never going to make it.’”

Once in L.A., she started browsing SoundCloud for inspiration and in 2013 stumbled upon Danish electronic producer Galimatias. She later sampled his instrumentals for her second track, “ Drift ,” which she uploaded to the platform. Galimatias caught wind of it, reached out and the pair started exchanging files; their virtual collaboration resulted in Urban Flora , Baraz’s 2015 debut EP. “Our connection with music was just so telepathic,” she says. Soon after, Mom + Pop founder Michael Goldstone discovered Baraz online and signed her that October. In 2018, she released her second EP, Color of You , which peaked at No. 59 on the Billboard 200 .

Alina Baraz on Her Surprise 'Color of You' EP, Working With Khalid, and Getting Over Heartbreak

Trending on billboard.

Now, with the release of her anticipated debut album  It Was Divine — which chronicles the 26 year old’s journey to self-love and features 6LACK , Nas , Smino and longtime collaborator Khalid — she’s had to shift rollout plans due to the coronavirus. “It’s definitely uncharted territory,” she says. “We’ve never experienced this before, but music is the most vulnerable thing I could possibly do right now.” She’s considering hosting online playbacks with fans on Zoom but hopes to tour and record more music as soon as normal life resumes. “Usually at the end of the [album] process, I’m so drained,” she says, “but I feel so energized after this album that I want to work right away.”

Baraz spoke more about how she got into music and what she’s learned since releasing her first project.

Take me back to when you were a young kid growing up in Cleveland.

I grew up with the mentality of I didn’t know how to sing. It was a really weird mindset. I started sneaking into choirs when I was in high school. My school was super Catholic and I just hated the songs and couldn’t get down with what they wanted me to sing. So I found a soul choir at Cleveland State University. I eventually got kicked out because I wasn’t in college.

When you moved to Los Angeles, how did your mother take the news?

I’ll forever respect her [for allowing me to move] because she worked her ass off after her divorce and scrambled money to get her own plan. I could not have gotten where I am without her. She quit her job of 11 years and sold her condo [to help me]. I wouldn’t be able to do this without her being so open to it.

You came up in that early ‘10s SoundCloud era, how did that benefit you?

It was perfect timing. SoundCloud is definitely my roots. I remember just wondering, “Where the fuck should I upload this music?” I just did not know about this industry at all, and SoundCloud just appeared. I’ll always remember that time period because I found a lot of my favorite producers on it.

Urbana Flora came about from exactly that — connecting with producer Galimatias on the platform. Now, It Was Divine is finally coming five years later. Why the long wait?

In my perspective, I still feel like five years, compared to our life, is such a short amount of time. I know it feels like forever, but at the same time, five years is nothing to me. I think I needed to learn what I was doing. When I was making the Color of You EP, I originally started it as the debut album. But as time went on, I knew it wasn’t it. I try to forget the language of “single,” “debut,” all those words… otherwise, I just get caught up in the wrong things. I just wanted to focus on music.

The last time we spoke, you were overcoming some personal hurdles, but on It Was Divine , you are at your most confident. 

I think it’s just growth over time as a person. I still had all those hurdles and challenges in a relationship, but when you listen to the album you can find that point where I’m just like, “I have to make a home out of myself.” I feel like I’ve found so many homes in people and I would just get lost so many times that I’ve now found my place. I’ve learned how to walk away from something and let go, how to love myself. I think the album is the journey of finding myself.

One of the standout tracks is “Off The Grid” with Khalid. This is your third collaboration with him, why do you two work so well together?

I love him so much. It was very easy to make this one, I literally just texted him, “Come through” and he came by [the studio] the next day after I sent him the song. I love every single process that I’ve had with him. The first collaboration, we weren’t in the room together. The second, I got to know him. And the third one is just effortless because he’s a close friend. It’s always fun with him.

My personal favorite song is “ Endlessly ,” it’s a beautiful demonstration of your vocal growth.

That’s also one of my favorite songs. It’s the most mature perspective I’ve had, in terms of loving someone. It was so selfless and wasn’t possessive — it was the truest form of love that I’ve reached. I wanted so badly to capture that and I feel like I did as much as I could with “Endlessly.” I think possessiveness is tied into a lot of people’s idea of love, which is the furthest thing that it should be.

Whenever I listen to your music, it puts me in a space where I’m tapping into emotions that I may have been suppressing. What emotions came up for you while finishing this album?

I feel so much stronger now. Just thinking back to when I did my first project Urban Flora , I was so scared to talk about any other side of a relationship besides happiness. I just felt it was such a burden to talk about my sadness or struggles. Just off that thought alone, I feel like there’s been so much growth. I just wasn’t afraid to be sad. I’m proud of myself for taking that emotion and letting it out.

A version of this article originally appeared in the April 25, 2020 issue of Billboard.

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