Funkin Matt: A Journey Through Four Decades of Electronic Music (Part 3)

Part 3: The 2010s – Defining a Career in Music

We’re back with the third installment of our four-part interview series with Funkin Matt, diving into his evolution as an artist across the decades. This series is inspired by his Nostalgia EP, a garage house-driven project that reflects different eras of electronic music. With each part of this interview released alongside a new track, we’re uncovering the key moments that shaped his sound.

In Part 3, we’re exploring the 2010s—the decade when Funkin Matt cemented his place in the industry, navigated the explosion of electronic music into mainstream culture, and developed his signature sound across multiple phases. From his first breakout moment to the impact of streaming and the transition from club music to festival stages, this is the era where everything started coming together.

At what point did you fully commit to pursuing music as a career?
I took the leap in 2010 after finishing my bachelor’s degree in brand management. I didn’t really have a plan on how to make it work financially, so I quickly realized I needed part-time jobs to stay afloat while I built my music career. Finding something related to my degree wasn’t working out, so I ended up doing a bunch of smaller gigs on the side.

At the same time, I started my record label, Fjordin, in collaboration with Gregor Salto. I wanted a space where I could be completely experimental and have full creative control. A lot of the tracks I released during that period were really unique—some of my most interesting work, in my opinion—but they didn’t perform commercially. That said, they laid the foundation for my career. After spending a while pushing the boundaries, I made Elephant, which was much simpler than my previous work. To my surprise, it blew up—especially on SoundCloud and with DJs. That track changed everything for me.

What were some of the biggest changes in electronic music that you witnessed during the 2010s?
Living in Norway, I saw electronic music transition from being niche and underground to becoming pop music within a few years. While the explosion really started in Europe around 2010 with Swedish House Mafia, Avicii, Calvin Harris, Deadmau5, and others, it took a bit longer to hit up north. At the time, I was on Fool’s Gold and Mad Decent, doing gigs, but things were still relatively low-key. Around 2014-2015, when I released Elephant and Rapture, I could really feel electronic music becoming mainstream in Norway. Skrillex and Nero were even getting radio play, which felt crazy back then.

I sometimes miss the years before the EDM explosion—there was something raw about the scene. It was purely about the music and the culture. No one was thinking about algorithms, branding, or marketing. But when the money came in, things shifted. The industry moved towards superstar DJs, ghost producers, and massive festival productions. That said, I’m happy that electronic music broke through. It became a major part of pop culture and brought in millions of new fans.

Your sound evolved a lot throughout the decade—what inspired those changes?
I’m always looking for what’s new—whether that’s experimenting in the studio or being inspired by fresh sounds. I’d break the decade down into different phases:

• 2009-2012: Pure experimentation. I was influenced by the Dutch house scene, tech/electro sounds, and what was happening in the US with Fool’s Gold and Mad Decent. I was making music non-stop, trying to figure out my identity. My biggest track from this period was probably ‘I Wish’.
• 2013-2016: This was when I really found my sound. Artists like Tchami, Oliver Heldens, and Don Diablo were pushing things in a futuristic house direction, and I was inspired by that. During this time, I made Elephant, Rapture, America, Alive, and Aero—tracks I’m still known for today.
• 2017-2020: I moved towards melodic and atmospheric sounds. I’d always loved film music, like Daft Punk’s Tron Legacy soundtrack, and I started diving into sound design. Tracks like Phoenix, Aeon, Aurora, Twilight Remix, Feel So, and Everything came out of this period.
• 2021-2024: After Covid, everything changed. I started exploring darker, futuristic themes. Tracks like JOI, AVA (with Elohim), and MIA (with Maya) were inspired by AI, robotics, and movies like Blade Runner 2049. I got deep into that world, and it shaped my music in a big way.
• 2025-2028: This is where I am now. My Nostalgia EP contrasts the darker phase by bringing back hopeful, energetic, and fast-paced elements. It’s a mix of garage, house, and melodies. It takes inspiration from all my past phases, but in a fresh way.

What was it like touring and playing on bigger stages during this period?
Things moved fast. I went from small clubs to big stages, stadiums, and festivals quickly. I’ve always loved being close to the crowd, seeing their faces, and being a part of the party. So at first, performing in huge venues was weird. Bright lights in my face, a sea of people in the dark—it took some time to adjust.

I’ve always seen myself as an old-school DJ—I love smooth transitions, building a proper set, and keeping people on their toes. I’m not the MC type, dancing on tables and hyping the crowd with gestures. That said, I’ve had some of the best experiences of my life playing to big crowds.

The rise of streaming changed the way artists approached music—how did it affect you?
It completely changed my mindset. I used to make tracks strictly for clubs—no reverb, everything in mono, super punchy. Now, I create atmospheres, textures, and immersive soundscapes that work beyond the dancefloor.

Streaming also made me change my arrangements. Before, I’d make 5-8 minute tracks so DJs could get creative. Now, my extended mixes are 4-5 minutes. You have to adapt to how people consume music today.

What’s one lesson you learned in the 2010s that still shapes how you approach music today?
Trust yourself. Don’t second-guess too much. If you love what you make, it’s good—no matter how well it performs on streaming or sales. It’s easy to get caught up in numbers and start believing that a track with 10 million streams is better than one with 50k plays. But chasing the numbers isn’t the way to build a real career. Make music you’re proud of, and the right audience will find you.

If you had to pick one track from this decade that represents your sound best, which would it be and why?
Tough question, but I’d say Aeon. It has the melodies, atmosphere, depth, and heaviness that define my sound. Aurorawas also a big turning point for me. Honorable mentions: Rapture, Phoenix, and Elephant.

Stay tuned for Part 4, where we’ll talk about the future of electronic music, AI’s role in creativity, and what’s next for Funkin Matt.