With a sound that sits comfortably between underground club energy and melodic finesse, TCTS has built a reputation for precision-crafted dancefloor cuts. His latest EP hones in on that balance, offering tracks that feel immediate yet intricately layered.
In this interview, he breaks down the rhythmic push-and-pull behind Take Me (Favourite Place), his less-is-more production ethos, and the moment a track “clicks” into place. From the influence of old trance records to the clarity of his mixes, TCTS offers a deep dive into his creative process—and why, once a track is out, it no longer belongs to him.
There’s a real elasticity to the groove in Take Me (Favourite Place)—tight but never rigid. How did you approach the rhythmic structure on this one?
Take Me was definitely influenced by some old trance records I was listening to, where theres a single synth peddling on a note, punching out a rhythm and the rest of the record is built around that. I think it gives it quite a marching, chuggy feeling, almost like call to action. It felt like the natural tune to open the EP with.
Your productions have always felt precise but never overworked. Where do you draw the line between refinement and rawness in your tracks?
Its a balance I’m always trying to find, that sweet spot between the production feeling interesting and like it develops, but not overproduced. I think its important to remember in dance music, the records that connect most with people are often the ones that feel natural and not overthought – its really easy to throw the kitchen sink into a record, its harder to make an effective, really simple song. I try and keep the number of elements small but each one is crucial and I’ve thought hard about whether its needed or not.
This new run of singles seems to be about honing in rather than casting a wider net. What’s the core idea or sound you’re pushing forward with these tracks?
I’ve always preferred to write across a bit of a spectrum sonically, never narrowing the sound too much but always having a through line and an identity that feels like ‘TCTS”. This EP is about showcasing that – its a collection of records, all written roughly around the same time, inspired by music, moments, parties, etc. It has some moments that are tougher or faster and moments that are more vocal led and melodic, but they all belong together and all represent different tactics when it comes to writing music for the dance floor.
A lot of dance music works within established structures, but your tracks often play with tension and release in unexpected ways. How consciously do you think about form when you’re producing?
For me dance music is most enjoyable when theres something a little surprising about it, something interesting or slightly unexpected that makes it feel fresh. I think it just naturally comes out in the stuff I write because its something that draws me to the music I listen to and play when I’m djing. Dance music is all about tension and release, and the ultimate satisfaction is when you see it working when you play it out and the crowd responds.
Your music often strikes a balance between immediacy and depth—club-ready but also rich with detail. Is there a particular element in your production process that helps achieve that?
Finding that element – a vocal hook, or a synth line – some kind of identity that a listener can immediately attach to is important. For example the main riff in ‘Icy feet’, or the synth rhythm in ‘Take Me’, or the vocal in ‘Sarge’ – once you have that strong element to base the record around then just make sure you’re keeping it front and centre and allowing it to lead the tune – thats my approach. The rest is ear candy to keep it interesting.
You’ve always had an ear for melody, but never in a way that feels predictable or sentimental. How do you think about melody in relation to groove and atmosphere?
I grew up playing piano which I think helps alot, its made my brain very melody focused and im always looking for things to feel harmonically satisfying. It definitely shapes how I approach writing music – I’d love to say I could easily write a super heads down, underground techno roller, but I find it much harder. It doesn’t come as naturally to me as writing more melody centred productions – which is also why im such a fan of producers who do do it.
There’s a clarity to your mixes that makes every element feel intentional. Do you approach production with a less-is-more philosophy, or do you tend to strip things back as a track develops?
Definitely, like I said earlier, I’m always questioning if something is needed, and the goal is always to make the record as simple as possible whilst being as effective as possible. Easier said than done, its something I’m always trying to get better at.
Between last year’s flurry of releases and what’s coming next, it feels like you’re working at a faster creative tempo. Has that changed the way your tracks take shape?
The process hasn’t really changed, I just like keeping the schedule moving and getting the music out there. My problem is the last thing I wrote suddenly becomes my favourite so I want it to get released next.
Your music has landed everywhere from underground clubs to major festival stages. Do you tailor your productions with specific spaces in mind, or do they take on a life of their own once they’re out in the wild?
The only intention comes from when I sit down to write them – I like to have an idea of the destination in mind – am I writing something more club focused or more streaming focused or more vocal led etc. Once they’re released they dont belong to me anymore, its up to the person listening to decide where it fits best.
A lot of artists talk about the moment a track “clicks” into place. What does that moment feel like for you, and how do you know when something is finished?
I’m a big believer in the flow state of creativity, and its my absolute favourite thing about producing. When you lose track of time and you’re in the zone – its like chasing a high looking for that moment when everything clicks together, and its working as you hoped it would. I used to endlessly tweak and refine songs, but as I’ve grown as a producer I’ve become much better at knowing when a record is finished and when to draw a line under it.