“I Just Threw All My Favorite Artists Into a Blender” - Little Foot on Finding His Own Sound

Somewhere between nostalgia and the dancefloor lives the sound of Little Foot — a Sydney-based producer who blends progressive, melodic, and deep house with cinematic warmth and emotional precision. His music feels familiar yet new, like returning home after a long journey, a feeling that runs through his debut album Echoes of the Valley, released earlier this year on Songspire Records.

Rooted in the Trance and Deadmau5 era that shaped his early listening, Little Foot’s sound has evolved into something deeply personal — a fusion of emotion, melody, and groove where subtle details and storytelling take the lead. Drawing inspiration from film composers such as Philip Glass, Trent Reznor, and Hans Zimmer, his tracks unfold like soundtracks to imagined landscapes, each one built to move both body and memory.

With support from labels like Armada, Black Hole Recordings, and Songspire, and a fresh reinterpretation of BT’s timeless “Mercury & Solace”, Little Foot has carved his own space within the global melodic house movement. Grounded in Australia’s thriving scene yet reaching far beyond it, his journey feels only just beginning, and every beat seems to echo a story still being written.

Hi Little Foot! We love how your music blends various melodic sounds, and it’s clear that labels love it too! What usually inspires that mix of groove and emotion — nature, travel, or maybe some personal experiences?

To be honest, there´s no special inspirational answer to this except my sound is a blend of all my favourite artists and songs I´ve had on repeat over the many years, thrown into a blender and regurgitated into my own thing. I grew up listening to a lot of trance and then a lot of Deadmau5, but then transitioned more into house, so my sound is a blend of all of these and everything in between. Also, I´m super inspired by film & traditional composers like Philip Glass, Trent Reznor, Thomas Newman, and of course, Hans Zimmer.

Coming from Australia, how do you see progressive/melodic house music evolving there? Do you think Australia gets enough recognition in the global electronic scene?

Australians are killing it in all genres on the global scene and prog/melodic is no exception. We have the likes of Rufus Du Sol, Cassian, Mall Grab, Lipless, Pretty Girl, Lastlings, Golden Features, Rromarin, Double Touch, Night Tales & so many more... insane, I say. It´s so inspiring to see how well these artists are doing overseas.

A few months ago, you released ‘Echoes of the Valley’, your debut album that feels both cinematic and deeply emotional. What world did you want listeners to step into when hearing it?

When I was working on “Echoes of The Valley”, I wanted to create something that felt both familiar and new – kind of like the feeling of returning home after being away for a long time. Each song is meant to take the listener on a cinematic journey, where they can find their own reflection within the music.

Can you walk us through your creative process, from that first spark of an idea to the final mixdown?

Every song for me starts differently. It might start off with a preset I discovered or a chord progression I made while messing around on the piano, or the idea might have come from a song I Shazamed in an elevator. Once I start an idea, tho, I normally just work on it for 1 hour max, then save it. The idea will be super rough at this point. Then at the end of the week or month, I´ll listen to the ideas I´ve started and I´ll know straight away which ones are the best to keep working on.

I never just work on one song at a time — I´ll always be chipping away at many songs at once. I normally mixdown as I´m working, so right at the end I don’t really have to do a full mixdown — just double check that everything is clean. Then I always get Wayne Sunderland from Suture Mastering in Australia to master the final track.

You love experimenting with different gear, both in the studio and when playing live. What’s one piece of gear or plugin you can’t live without right now? And how would you describe your sound in three non-musical words?

Very generic answer here but I can´t live without the MOOG SUBSEQUENT 37. Famously used by Stephan Bodzin, and it seems that in every viral melodic house video on TikTok, someone is using the MOOG 37 (probably just as an expensive MIDI controller lol)… but the bass on this thing is insanely warm and phatt. I used that thing on nearly every track on my album for bass.
Three words to describe my sound: warm, pretty, nostalgic.

Your visuals and artwork have a really warm, organic feel. How important is visual identity to your artistic expression?

I love being in nature, I love movies, so my visual identity is a blend of that.

You just remixed BT’s classic “Mercury & Solace.” How did that opportunity come about, and what made you take it on?

It was actually my manager's suggestion. He sent me the track as he works closely with Black Hole Recordings through Songspire Records. I´m a massive fan of BT, so it was a no-brainer to take it on.

BT’s production style is famously complex. Was it challenging to dive into such an iconic ‘99 trance record? How did you find the balance between honoring the original and putting your own touch on it?

It´s funny you mention BT´s complex style because that´s something that has been super inspiring to me over the years. His song “Skylarking” is one of my favourite tunes of all time. There are so many crazy intricate details in that song, especially the intro and just subtle things going on in the background that most listeners might not even notice.

For my remix of “Mercury & Solace,” I used the main melody a lot but had to find a way to make it sound more like the Little Foot sound. I´ve been using this trippy soaring lead sound lately — it kinda sounds like it’s alive and moving. Playing his melody with this synth was magic to me. And then again, the MOOG bass underneath.

The name Little Foot sounds quite interesting. What’s the story behind it?

I´m obsessed with dinosaurs and one of my favourite movies from childhood is “The Land Before Time.” The movie is about a group of dinosaurs on a journey to The Great Valley. Littlefoot is one of the dinosaurs. When starting this project, I literally had a hundred name suggestions written down and this one was on the very top — it just felt right from the beginning.

Any dream collaborations you’d love to make happen someday?

I´ve already ticked a couple of my dream collaborators off my list on my album. But for future collaborations, I´d love to work with Tourist, Deadmau5, Lane 8, & Robby East.

What’s next for Little Foot? Any upcoming tours, remixes, or special projects you can share with us?

I´ve got another remix coming out next month of fellow Aussie Lipless, and then dropping two remix compilations of my album “Echoes Of The Valley.” After that, I have a massive remix of Lifelike & Kris Menace’s “Discopolis 2.0” coming out on Armada.