Working with underground producers is the opposite of the label machine. There’s no budget, no timeline, no marketing strategy. There’s just four people locked in a room for 18 hours because someone said “what if we ran this through a sine wave generator?” We first connected with producer SODA through Instagram DMs. He sent us a remix of “Shatter” that nobody asked for, and it was the best thing we’d ever heard. We decided to collab on the spot.
SODA’s process was chaos. He has about 40 different DAWs open at once. Half of them are broken. He explained it like: “If the software’s too perfect, I don’t trust it.” We built the track “Interference” with him in about six days of continuous work. He insisted on using a broken VST plugin that kept crashing. Each time it crashed and restarted, it generated different artifacts. We kept all of them. That track is part song, part software failure. It’s the most experimental thing we’ve done.
The underground producer community doesn’t care about streaming numbers or chart position. They care about if it’s true, if it’s new, if it breaks something. That’s the energy we want around Mirae. We’re working with SODA again in January. Three more collabs lined up with artists who don’t have record deals, who have maybe 500 Instagram followers, but who understand that the best music comes from pushing boundaries. Not breaking them—pushing them until something gives.