Fast At Work co-founder Carré comes through with a freaky low-end mix scattered with her own productions and new + old classics such as Martyn’s ‘Vancouver’, Mia Koden’s ‘Racket’, and Skee Mask’s ‘Soundboy Ext.’
Based in LA, Carré founded the Fast At Work party series in 2021 as a reaction to the lack of parties focusing on the more leftfield electronic sound. Launching the party with a free event focused on the resident DJs, the Fast At Work series as since booked the likes of Darwin, Livwutang, INVT, Introspect, Spekki Webu, and Josh Caffé – the latter in collaboration with the Signal crew. Soon the series will be expanding as they launch at label arm which was recently announced with Carré’s next EP, ‘Soft Fascination’, as the first release featuring remixes from Priori and James Bangura. This shortly follows her debut on Darwin’s SPE:C label which was received with huge acclaim, supported by the likes of DJ Mag, Beatportal, Attack Magazine and more.
Hi Carré, how are you doing today? What have you been up to lately?
I’m doing really well, thanks! I’ve been in studio mode for the past couple months, while also preparing to announce my EP and the accompanying launch of Fast At Work’s own imprint.
Let’s start from the very beginning, what was your first introduction to music in general and then more specifically electronic music?
My first introduction to music was through my parents, they started taking me to concerts when I was very young. They were always hoping I would be musical in some way, so they put me in piano, voice and guitar lessons at different points in my childhood. I was introduced to electronic music in my early teens via indie dance, but it was Nine Inch Nails and Radiohead that were the big gateway bands for me.
Who was the first artist or band that you were a fan of?
I really loved No Doubt, which is probably a stereotypical California kid answer!
Was there a formative moment growing up, whether that’s seeing your favourite band live or an incredible DJ set, that led you to this path?
I saw the Yeah Yeah Yeahs at The Fillmore in San Francisco when I was 14. I think that was my first time going to a show where people were really moving/dancing, not just standing around in their own bubble listening. I became hooked on the energy of rowdy shows after that – and I think that’s one of the reasons why I connected with dance music so quickly, once I was finally able to go into those spaces.
Congrats on the release of your first EP last year on SPE:C – what has your production journey been like? Thank you! I’ve really fallen in love with production and I didn’t think I’d get here when I first started messing around in Ableton a few years ago. It probably sounds silly, but I’m still amazed anytime I’m able to capture an idea and actually bring it to life. I’m really grateful to my producer friends who took the time to teach me things, especially in the early days; their shared knowledge has been essential to my development as a producer.
Who would you say are the main influences for your productions?
I’ve been influenced by Martyn and Om Unit tracks since day one. A lot of my early ideas were sparked from Om Unit sample packs…
From what I can see online, you launched the Fast At Work party in LA in the summer of 2021 – what motivated you to start your own party?
I wanted to start my own party because at the time, the more left-field electronic music our crew was into didn’t really have a regular home in LA. As everything started opening up post-COVID, it seemed like a good time to try introducing a new party concept. We focused on establishing the brand by doing a free party with only our resident DJs playing – it worked and people connected with it!
What would you say the ethos of Fast At Work is?
Fast At Work was created as a beacon for left-field electronic music and immersive peak-rave production.
What have been some of your favourite memories from the series so far?
Some special moments include a banger of a party with Darwin and Livwutang in January 2023; INVT’s LA debut in 2022; and our favorite one yet this past November with Introspekt, Spekki Webu and Josh Caffé, which we did in collaboration with the incredible Signal crew. It was THE party.
Has running your own party changed your relationship with music at all? The way you interact with it, how much you listen to it outside of the events etc.
I think running my own party has made me appreciate music even more. If anything, it’s throwing these events that led me to start producing in the first place. So, I guess my relationship with music has evolved in a really exciting way – I feel more connected to it than ever before.
You’re about to launch the label arm of Fast At Work – where did this idea come from? How will the label compliment the event series and vis versa?
At some point our crew decided Fast At Work had the potential to expand beyond parties and once I started finishing music, we all thought it would be ideal if it could come out to launch our own imprint and set the tone for the label. Since the parties are central to our brand, the label will draw on the curation and energy that our parties are known for.
Where do you look for sources of inspiration outside of music?
Books and greenery!
You’ve also contributed a mix for the 909 series, what’s the concept behind this one? This mix captures a range of bass-heavy sounds and unexpected elements that are a source of inspiration for my own music. I’ve included tracks from 2008-2024, so you’ll hear a few classics, some more recent favorites, and a couple of my forthcoming releases that I hope tie the mix together.
Do you have a different approach to preparation for club sets to online mixes whether that’s for a platform or radio show?
Yes, definitely. For a DJ set, I’m usually digging with the crowd and dance floor in mind, always very mindful of keeping things high energy. I think mixes are more personal – I start by choosing tracks that I feel are really representative of what I’m trying to say with the mix, then I go from there. By the end of recording this mix, I felt strangely attached to it.
Is there a staple track in your DJ sets at the moment?
Mia Koden – ‘Racket’. I had to put that one in the mix.
What are you looking forward to the most in 2024?
I’m really looking forward to releasing new music, and for everything Fast At Work is doing this year. We have an insane April party planned, a London show on May 3 and more plans for the series and label, so keep your eyes peeled for more announcements. I also have my first EU gigs lined up in late Spring, so that’s quite exciting!
‘Soft Fascination’ by Carré will be released on the 1st March via Fast At Work – pre-order here: https://fastatwork.bandcamp.com/album/soft-fascination