Today, we have a special guest – the talented electro pop songstress and hybrid DJ whose music takes us back to a time when sounds were not just melodies but true art. With her recent mesmerizing rendition of Pink Floyd’s “Time” and the thrilling project “New York, It Was Fun,” Sasha Atlas is is changing the music scene. Today, we’ll dive into the fascinating world of her creativity, unveil the secrets of her super sound studio, and, of course, discover how she strikes a balance between electro pop and DJ artistry. But let’s start with a question that many have been eager to know the answer to: why did Pink Floyd’s “Time” become a sonic experiment for our guest? Welcome to an engaging interview with Sasha Atlas!

V. Hello, Sasha! Let’s start our interview with the exciting moment of your new otherworldly version of Pink Floyd’s “Time,” set to be released on February 15th What emotions and inspiration led you to undertake the remake of Pink Floyd’s “Time,” and what does this piece mean to you personally?

When I was in middle school, I inherited my older brother’s entire iTunes music library, which at the time, felt like it contained every piece of music ever written. I listened to everything: The Beatles, Madonna, ABBA, Michael Jackson, Nirvana, Ace of Base…you get it. None of my friends knew this old stuff, I felt like some kind of musical archeologist, digging through endless records and discovering my favorites. Pink Floyd was different, special. They unlocked something in me, like I was hearing music, real music, for the first time. Imagine my surprise when my dad tells me he actually performed “Time” for me when I was little. Allegedly, when he sang and played it on the guitar, I became ecstatic and overwhelmed with emotion. I later learned Pink Floyd had the same effect on him, and on my brother, as they did on me. Turns out my connection with this song goes further back than I ever thought, might even be genetic…rather fitting with it’s theme of getting older and time passing you by.

V. What unique features and aspects of your performance style have you infused into this version to give it a distinctive touch?

This is not your dad’s dad rock. Unless you really know the song, you might not even recognize it. It has a modern approach to production and song structure. The original arrangement of the song is very unique, it doesn’t really have a chorus, and midway through it sort of transitions into a completely different song. I tried to unify the distinct 1st and 2nd parts by creating a verse/chorus structure that blends them. But mainly, it’s a dance track. It’s meant to make you get up and move, whether you know the original or not.

photo by @@thecarlosknight

V. In what ways does Pink Floyd’s music influence your creative decisions and overall sonic concept?

This might be a hot take, but I don’t think we’d ever have EDM without Pink Floyd. They were pioneers in the use of synthesizers and electronic elements. Their soundscapes are cosmic and extra-dimensional, and there’s a reason people struggle to categorize their genre, usually falling on the catch all term “progressive rock.” What they did was, and is, extremely special, experimental, and one of a kind. I take influence from them when I plan my live shows and DJ sets. Every one of their albums or shows has a concept, motifs and themes that carry through and reprise. No breaks in the music either, it all flows seamlessly in and out. I try to bring that thoughtfulness and energy into my longform works as well.

V. What challenges did you face working on such a well-known and classic track, and how did you manage to strike a balance between your unique interpretation and respect for the original?

With covers, it’s always paramount to respect the original. That said, I don’t really see the point in doing exact remakes of a song. I’m not a tribute band, and unless I think I have something to add, the original will always do a better job of sounding like the original, you know? That’s why I don’t think I’d ever release a cover of a song that didn’t have considerable significance to me, because I wouldn’t want to do a half-baked job at reinterpreting it. Every change I made was deliberate and thought through 100 times before committing to it.

V. Could you share any special details or creative decisions that made this process unique for you?

This was the first song I recorded in my home studio! I spent a good amount of time getting the space ready, buying gear, proofing it, and it felt really right to inaugurate it with this track.

V. Moving from New York to Miami’s vibrant electronic music scene must bring about some interesting changes. How has the shift in location influenced your creative process and the energy you bring to your music?

I’m not sure I’d be making dance music if it wasn’t for the move to Miami. When I lived in NYC, I was so moody. I listened to sad indie rock and I was stuck in a rut of writing these emotional piano ballads. I only went to my first rave after I moved; and it was just as profound as listening to PF for the first time. I was moved by the positivity and love in the dance music scene (PLUR, if you will), and I realized it was something that was missing in my life. Miami is vibrant and fun and full of life, which is exactly what I needed after my relatively dark and edgy years on Wall Street. I learned to DJ, and with every release my tracks have become more dance-y.

photo by @thecarlosknight

V. When crafting your beats, do you ever imagine the perfect setting for someone to listen to your tracks?

Sasha Atlas- I don’t know if many other people did this, but I used to love to turn on an album and just listen, no distractions, all the way through. Really be present in the music. If I could have whatever I wanted, I’d design my shows to feel like 4-D immersive journeys, where every element of the set, lighting, sound system meant to take you into another world. No phones, just you and your senses.

V. I’m really vibing with your track ‘NY, it was fun.’ It feels like a personal journey through your time in New York. What’s the story behind this track, and what emotions were you channeling when you brought it to life?

Thanks! It’s definitely very personal, it’s basically my breakup song with New York. I know I’m not the first person to write something like this (looking at you, LCD Soundsystem), but I think anyone who has lived in the city for an extended amount of time starts to think of it as more than just a place. New York is a living thing, and my emotions related to leaving the city were really complex and tough to work through. I’ll always love it, but for now, we need to take some time apart, and experience something different.

V. If your music could transform into an enchanting beverage, what flavor would it have, and what emotions would it evoke in those who drink it?

Oooh, cool question. I think the flavor would be complex; bittersweet, maybe a little spicy; it makes you thoughtful, but also energetic, you wanna move..so like a chili-espresso martini? Actually, my favorite bar in Miami, “Sweet Liberty” makes a drink like this…so yeah, basically that.

V. You’re often described as a hybrid DJ and artist. If you could add another profession to this mix, what would you choose and why?

Easy answer would be trader/financier/corporate drone, but I guess I left that life behind for a reason, haha. Actually, I love gardening and landscaping. I don’t really have the time or the space to dedicate a meaningful amount of myself to it, but it is a hobby that I could see myself taking more time to professionally cultivate someday, pun intended.

*This interview was made possible by Evergreen Entertainment