Tian Karl, a London-based underground talent, entered in 2024 with a fresh direction, launching his new label TRUST ISSUES and unveiling a series of singles ahead of his highly anticipated album, THINGS TO SAY ABOUT WORDS, which is set to be released in early 2025. Known for his earlier work with labels like Defected, Black Butter Records, Nervous, and Avotre, Tian’s signature sound fuses house, garage, and Neo soul. His latest single, “Flint,” marks the first release post-hiatus and reintroduces his deeply danceable, groove-heavy style while hinting at the more experimental elements to come in his new music. In our interview, Tian reflected on his journey thus far, including opening up about his hiatus. He also described his creative process while making his latest album and spoke candidly about what led him to launch his label.
Since you came on to the scene in 2015, how has your journey through the music industry shaped you as an artist, especially after your hiatus?
It was a mixed bag to be honest. When I landed my first releases everything happened so fast and I still don’t quite understand how I released on all these amazing labels in such a short amount of time. But it all quickly turned from “WOW” into “Are you kidding me, not right now,” when I was forced to stop to look after my health for quite a while. It was a hard pill to swallow at first but it also gave me perspective. Not only on the industry.
You describe the shift in your sound as more introspective after the hiatus in 2018. Can you share what personal or professional experiences influenced this change and how it’s reflected in your latest music?
I think the hiatus gave me some distance and time to reflect on past releases and what, in hindsight, didn’t make much sense for me artistically. On a personal level, I was fighting for my life. So I guess that explains why suddenly pleasing other people’s expectations have zero space in your life anymore. I try to make music now that feels honest to me – less functional, more emotional, even the club tracks.
You’ve mentioned that your music naturally blends elements of house, garage, neo-soul, and IDM without thinking about it too much. Can you walk us through your usual creative process?
Yeah, I probably did say that at one point. But don’t ask me how that works (laughs). I kind of look at it like a puzzle or problem-solving. All you have to do is translate a sentiment or idea. Just that the language is very ambiguous. But what I recently figured out for myself is not to judge ideas too early. That can be an immense waste of time. Also, I focus a lot more on recording instead of working in the box entirely. I love textures and spend a lot of time focusing on nuances. It might be in my head but the way you record something can inform your writing process and how intimate the final version sounds. I’m a big fan of old equipment. But then again the complete opposite can be true. Maybe that’s why so many people love doing it. There are as many ways to solve the puzzle as there are people.
You have also said that your upcoming album “THINGS TO SAY ABOUT WORDS” and its first single “Flint” reflect a more experimental side of your sound. What does “experimentation” mean to you and what does it look like?
“Flint” is more akin to my past releases and less experimental. But the rest of the album is. It’s not that easy to put into words actually, but “good music” often is a perfect balance between the familiar and the unexpected. Producing “the familiar” isn’t as much fun as surprising yourself with experiments that initially make no sense. Like with everything it’s about finding the right balance.
Having spent considerable time in the studio, what were some of the most significant breakthroughs or challenges you encountered while creating this album?
The biggest challenge and breakthrough on the album was definitely “CantWeJust,” which will be my third single. I only knew the mood of the track, and I wanted to start it with a long build-up and then avoid a four to the floor at all costs. Very unfamiliar territory but so rewarding when suddenly everything came together. It’s a personal track. I also spent a lot of time on mixing the record. I think two of the singles were mixed three or four times.
Can you speak about what motivated you to launch your own label and how do you think it’ll impact your sound?
TRUST ISSUES was born out of the idea of being 100% free from expectations. If I think a record is finished and good, I can put it out. I don’t even have to think about genre or release schedule. It makes me more creative and liberated in my choices.
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What do you hope to achieve artistically with “THINGS TO SAY ABOUT WORDS”? Is there a particular message you want listeners to take away from this album?
That’s completely out of my control now and that’s a good thing. Artistically I have achieved everything I wanted to achieve with this album already. Otherwise, I wouldn’t put it out there. But I hope some people can relate to the emotional and personal themes on the album. And that some of the hidden breadcrumbs on the album are found. Many tracks relate to each other in some capacity.
Looking ahead, what are your long-term goals for your label? How do you see the label evolving as part of your legacy in the electronic music scene?
Ultimately I want to gain people’s trust with my releases. That’s all that matters. The first 6 Issues are scheduled already.
Last question – are there any artists—either emerging or established—who are currently inspiring you?
There are so many good artists out there. Underrated sometimes but incredible. I only recently stumbled over Oscar Jerome, for instance. Unbelievable stuff. In the electronic sphere, I like what Call Super is doing. But also Kassian and their label comes to mind or Skee Mask who never put out a single track that isn’t great.
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