From an early age, D. Ramirez displayed an innate passion for music, experimenting with various instruments and genres. His journey into the electronic music realm began in the early 1990s, where he quickly made a name for himself as a trailblazing artist in the burgeoning dance music community.
One of D. Ramirez’s defining characteristics as an artist is his ability to seamlessly blend elements from different genres, creating a distinctive and dynamic sound that defies categorisation. His tracks often incorporate elements of house, techno, electro, and progressive, resulting in a sonic landscape that is both versatile and captivating.
D. Ramirez’s breakthrough came with the release of his now seminal remix of Bodyrox ’Yeah Yeah’, which not only received critical acclaim but also became a dancefloor anthem, a No. 2 chart hit, and received an Ivor Novello Award nomination. This success catapulted him into the international spotlight, and he continued to produce a string of chart-topping hits and underground classics. Throughout his illustrious career, D. Ramirez has graced the stages of some of the world’s most prestigious clubs and festivals, delivering electrifying performances that leave crowds in awe. His ability to connect with his audience and create an unforgettable atmosphere is a testament to his talent and dedication as a DJ.
In addition to his thriving career as a producer and DJ, D. Ramirez has also played a pivotal role in shaping the electronic music landscape through his involvement in various industry endeavors. He has shared his knowledge and passion for music through workshops, collaborations, and mentorship programs, inspiring the next generation of electronic music artists, working alongside The Toolroom Academy amongst others.
We sat down with Dean in his studio in London to talk his new album and alter ego Raze.D
What made you want to launch Raze.D? Was there a specific moment when you thought, “Yeah, I need to do this”
The inspiration for RAZE.D really came during the pandemic when everything slowed down, and the world of dancing and clubbing stopped. With no pressure to create for the dancefloor, I finally had the space to step away from the club scene and dive deeper into my own sound. It felt like the perfect time to work on what I saw as my magnum opus — something that was deeply personal and more introspective, free from the expectations of dance music.
Without the usual context of DJ sets and clubs, I was able to focus on creating something that expressed my emotions and artistic vision in a completely different way. Raze.D became my outlet to explore these new ideas and to create a body of work that felt truly mine, without boundaries. It’s a reflection of where I was mentally and artistically at the time, and it allowed me to fully embrace a sound that was darker, more atmospheric, and personal.
The project has a real 80s indie electronic feel with some clear influences from the era. How important was this music to you growing up in Sheffield in the 80’s, set against the backdrop of a city in industrial decline?
Growing up in Sheffield in the ’80s was a huge influence on the music I make today. The city was going through a tough time, with industries closing down and a sense of uncertainty in the air. It was a time of change, but also of creativity and resilience. The music from that era — from electronic pioneers like Heaven 17, The Human League, and Cabaret Voltaire — was a soundtrack to that moment. It was a mix of melancholy, rebellion, and hope, and it resonated deeply with me.
That sound from the ’80s, especially the indie electronic side of things, has always stayed with me. It felt like a way of expressing the tension and energy of the time, and it really shaped my musical taste. For RAZE.D, I wanted to capture that spirit — that raw, emotional, and atmospheric feel that came out of the industrial decline in Sheffield. It’s not just about the sounds of the ’80s, but about channeling that sense of defiance and introspection into something fresh. The city’s vibe, combined with the music that was coming out at the time, had a lasting impact on me. It’s in my DNA, and it feels natural to draw from that influence when creating music now.
At the same time, the whole Angry Silhouette album manages to feel fresh and modern. How do you keep it sounding authentic while avoiding a complete nostalgia trip?
It was really important to me that Angry Silhouette felt fresh and modern, while still drawing from those ’80s influences. I think the key to keeping it authentic without falling into pure nostalgia was to stay true to the emotion and vibe of that era, but then push it forward with my own personal sound. The synths, the atmospheric textures, and the darker tones all have roots in the ’80s, but I wanted to give them a new context — something that feels relevant to today.
I avoided getting stuck in just recreating the past by blending those sounds with more contemporary production techniques and incorporating elements from modern genres like electronic, indie, and even post-punk. I also kept the songwriting at the forefront, ensuring that the emotion and themes in the music felt timeless, not just retro.
Ultimately, I wanted to create something that felt familiar but still had a unique voice and energy. It’s about taking inspiration from the past but filtering it through the lens of my own experiences and artistic growth.
Are you using any original 80s hardware in the studio, or are you using all modern tools to recreate that classic sound? Is there a specific synth, drum machine, or production trick that defines the Raze.D sound in particular?
I do have some original ’80s gear in the studio, and it definitely plays a role in capturing that classic sound. For example, I use the Roland SH-101 and the ARP Odyssey, which have that unmistakable warmth and character from the era. But I’m also not trying to recreate the ’80s sound exactly — it’s more about using those vintage pieces as a foundation and blending them with modern tools to give it a fresh, current edge.
In terms of production tricks, I love using analog synths with pedals for extra texture, like running a synth through my Meris pedals or the Chase Bliss pedals. That combination of analog warmth with modern effects gives the sound a lot of depth. I also tend to layer sounds in a way that’s quite atmospheric, using reverb and delay to build that cinematic feel, while focusing heavily on creating a strong emotional undercurrent in the music.
What defines the Raze.D sound, I’d say, is a mixture of dark, cinematic synths, with lush, ambient textures and a real emphasis on emotion. It’s not just about the sounds I use, but how they’re put together to evoke a feeling — something that feels introspective, raw, and almost otherworldly.
Has working on Raze.D changed how you approach music in general?
Absolutely, working on RAZE.D has shifted my approach to music in a big way. For years, I was immersed in dance music, which comes with its own set of expectations — the rhythm, the energy, the focus on the club environment and the genre. But with RAZE.D, I was able to step away from that and really focus on creating something more personal and introspective. I gave myself the freedom to experiment without the pressure of making something for the dancefloor.
The whole process made me realize how much I enjoy exploring different emotions through music, and it encouraged me to take more risks with my songwriting and production. I’ve become more interested in using sound to tell a story or convey a feeling, rather than just creating for a specific environment. Now, I’m more open to pushing boundaries, mixing genres, and following my instincts, even if it takes me in unexpected directions. RAZE.D has definitely redefined what music can mean to me, and it’s something I want to carry forward into everything I create, whether it’s for my own projects or collaborations.
This project has highlighted your skills as a songwriter (and lead singer). Did you find it difficult to write ’songs’ as opposed to the club tracks and remixes you’re known for as D.Ramirez? Did the various melodies and vocal hooks come easily?
Writing songs for RAZE.D definitely felt like a different challenge compared to the club tracks and remixes I’m known for as D.Ramirez. When you’re creating dance music, it’s often about building energy, keeping things moving, and making sure everything hits at the right moment on the dancefloor. But with Raze.D, I had to think about structure, melody, and lyrics in a way that was more emotionally driven and less focused on the beat.
It wasn’t always easy to switch gears and start writing proper songs with full vocal melodies, hooks, and lyrics. I had to let go of the mindset of simply creating for the club and allow myself to explore different musical ideas. At first, it felt like a bit of a stretch, but as I got into it, I found the melodies and vocal hooks started to come more naturally. I think the key was allowing the process to flow without forcing anything — once I opened myself up to songwriting, it became a creative outlet that felt both freeing and deeply personal. So, while it was a challenge, it also felt incredibly rewarding to tap into a new side of myself musically. It was like discovering a new language I hadn’t spoken in a while.
Angry Silhouette landed in January – what was the overall vision behind it? Is it tied together by an overriding concept or more of a collection of ideas that naturally came together?
Angry Silhouette definitely has a central vision, but it also evolved naturally over time. The album is a reflection of the emotional journey I was on during the pandemic, a period when everything slowed down, and I had the chance to really step back from dance music and explore something more introspective. There’s definitely an overriding concept of personal reflection, societal change, and the emotional weight of those experiences, which is expressed through the lyrics, melodies, and atmosphere of the album.
While there’s a unifying theme of emotional depth and introspection, the album also became a collection of ideas that came together organically. Each track reflects a different mood or feeling, and in a way, they’re like snapshots of my state of mind at the time. I didn’t set out to make a perfect, cohesive album — I just allowed the music to come as it felt right. But when I looked at the finished product, I realized it had a strong narrative running through it, both thematically and sonically. So, in short, Angry Silhouette is both a product of a carefully thought-out vision and a collection of spontaneous ideas that naturally aligned.
It’s clearly a very personal project and you’re baring your soul in different ways. Was that difficult and has it been cathartic? Are some songs an uncomfortable listen for you?
It was definitely a personal project, and at times, it was a little uncomfortable to dive so deeply into my own emotions and experiences. Writing and recording Angry Silhouette felt like an act of vulnerability, especially with the vocals being front and center. There were moments when I had to confront feelings I hadn’t fully processed before, and it was hard to put that out there for people to hear. But at the same time, it was incredibly cathartic. There’s something healing about expressing what’s inside of you, even if it feels raw or unsettling at first.
Some of the songs, especially the more introspective ones, can be difficult for me to listen to now because they capture such a specific emotional moment. It’s almost like looking back at a period of time that you’ve moved past, and the feelings attached to that can stir up a lot. But overall, I think the vulnerability in the project was necessary. It helped me work through some things, and I think it connects on a deeper level with listeners who might resonate with those same emotions. So, while it was tough at times, the process was definitely worth it. It gave me a new level of honesty in my music, and I hope that comes through for others.
What challenges do you see now compared to pre-pandemic with releasing music, the industry and finding a new audience?
The landscape of releasing music has definitely changed since pre-pandemic times, and there are a few challenges I’m navigating now. For one, the way people consume music has shifted even more towards streaming and social media, and that creates a lot of noise. There’s so much content out there, and getting people’s attention is harder than ever. You have to be active on multiple platforms, and algorithms tend to push certain kinds of content, which can make it harder for more niche or experimental artists to break through. It’s a bit of a double-edged sword — more access to music, but also more competition.
Another challenge is that, with live music and touring being disrupted for so long, there’s been a huge shift in how artists can connect with their audiences. Touring and live performances have always been an essential way to build a fanbase and create deeper connections with listeners. Now, even though things are opening up, there’s still a sense of caution in how people engage with live shows, which makes it harder to build that personal connection in the same way.
And then, of course, there’s the struggle of building a new audience, especially after stepping away from the dance music world. With Angry Silhouette, I’m not just making the same kind of music I was known for as D.Ramirez, so I have to find ways to reach people who are into that kind of introspective, atmospheric sound. It’s been about finding the right audience that resonates with the emotional depth of RAZE.D and introducing them to the new project without losing the people who followed me in the past.
Overall, it’s definitely a different landscape now, but there’s still room for growth. The key is to stay authentic, keep experimenting, and find the right platforms and community where your music truly connects.
How do you want the listener to react to this album? What are the main things you’d love them to take away from it?
With Angry Silhouette, I want the listener to experience something emotional and thought-provoking. The album is deeply personal, and I hope it resonates on an emotional level, whether that’s through the vulnerability of the lyrics or the atmosphere created by the music. I’d love for people to feel like they’re not alone in their struggles or moments of introspection. It’s about connection — if someone hears a song and feels like it speaks to something inside them, that’s a win.
I also hope the album opens up a new way of thinking about the role of electronic music in storytelling. It’s not just about the beat or the groove; it’s about creating a world of sound that makes the listener feel something. I’d love them to take away a sense of discovery, maybe even challenge their expectations of what an album can be. I want them to feel like they’ve been on a journey with me, one that reflects the complexity of being human, the highs and lows, and everything in between. Ultimately, it’s about creating an experience that sticks with them, something that makes them think, feel, and maybe even come back to the album at different points in their lives and find new layers.
What’s next? Are there more releases, live shows, or something bigger? And if someone’s never heard Raze.D before, where should they start?
What’s next? I’m definitely excited for what’s ahead. I’m already planting the seeds for Album No. 2, but considering how long Angry Silhouette took to come together — about four years — don’t expect it to drop too soon! I’m also thinking about live shows, though the way I approach performance with Raze.D will be different. It’s about creating the right environment for the music, and I want to make sure that when the time comes, it’ll be something truly special for the audience.
As for newcomers to Raze.D, I’d suggest starting with Angry Silhouette. It’s the core of what the project is about. But for a more immediate taste, you can check out the playlist on YouTube and the album on Spotify. That should give you a good feel for the sound and vibe of Raze.D.
The post In the studio with D.Ramirez and the launch of Raze.D appeared first on Decoded Magazine.
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