Tim Lucent Breaks Down The Personal Stories Behind Lucent Loops Vol. 1

Tim Lucent’s Lucent Loops Vol. 1 dropped back on May 20 on Non-Friction Records, and the EP immediately puts him in the spotlight as a producer with a DJ’s sense of patience, feel, and record selection. Originally from the West Coast, Lucent eventually found his way into New York’s underground dance circuit after time abroad in Portugal playing professional basketball, where exposure to international house music helped sharpen the direction that now runs through this debut release. Across its four tracks, Lucent Loops Vol. 1 pulls from deep house, minimal, funk, hip house, jazz textures, and sample collage without losing the relaxed, groove-led character that ties the record together. “Hakyō No Kiki” brings in Mona Matsuoka and Kristos for a Japanese-language collaboration, “Dino Nugget” leans into Rhodes, piano, and playful sample work, “Anita Fan” links Lucent with Matt FX for a stripped-back after-hours cut, and “The Right Swing” folds in golf memories from Lucent’s childhood through a collage-style approach. In the conversation below, Lucent gets into the personal logic behind the EP, from his digging habits and time in Portugal to the collaborative energy around Non-Friction Records. He also talks about how New York’s current house and minimal scene has shaped his growth, why personal history keeps finding its way into the music, and what changes when a DJ starts making records meant for other DJs to play. Interview Lucent Loops Vol. 1 feels rooted in groove, texture, and personality. What was the core idea or feeling you wanted listeners to walk away with after hearing the EP? I think the core idea is that the only real rule in music is that it should come from the soul. A piece of you should come with every track, maybe that is an experience, an inside joke, or whatever else. It needs to be personal. Popular music nowadays, especially in dance music, lacks a personal touch in my opinion. You’ve mentioned that living in Portugal and being exposed to the international house scene had a big impact on your musical direction. How did that experience shape the sound and approach behind this record? It really was that exposure to the combination of deep house and unique left-field stuff that you hear in the underground internationally, that blending of genres and influence that I really wanted to be felt in this project. There is a real crate-digger mentality throughout the EP, from the jazz-infused deep house moments to the sample collages. What does your digging and sampling process usually look like? It is funny. I have my digging days where I am searching for new records to play out, and these other days where I am fully dedicated to finding weird sound bites or unique drum sounds to sample. I think I may enjoy those days the most. “Hakyō No Kiki” is a unique collaboration with Mona Matsuoka and Kristos. How did that track come together, and what did each artist bring into the process? I had this track that I really wanted Mona to throw some Japanese rap vocals on, so I basically ambushed one of Andreas and Mona’s sessions. I patiently waited until they were at a break and then showed Mona. She actually started writing immediately, had it finished in minutes, and then Andreas started to write that nice acidic bassline for the B section. It honestly came together so naturally, and a couple hours later, we had a full demo. Aside from a little mix work, very little has changed from that session. Your relationship with Non-Friction Records seems collaborative and community-driven. What drew you to the label initially, and how has working with the crew influenced your growth as a producer? It has been amazing to work with these guys who have been in the game for a minute and have so much knowledge to share. They also really appreciate what I have to offer, and they jump at the opportunity to teach me new things. I feel very lucky to have that. You collaborated with Matt FX on “Anita Fan,” which has a hypnotic and stripped-back energy. What did you learn from working alongside him in the studio? Matt is one of those guys I speak of in terms of teaching me all kinds of stuff, not only in terms of production. In the studio, though, we really do yap a lot about what we are trying to go for back and forth, in terms of aesthetics, how a track should feel, how smart or dumb something is musically, how minimal, all of that. New York’s underground dance scene has gone through a lot of changes over the last few years. From your perspective, what feels most exciting about the city’s house and minimal scene right now? Man, it is really exciting. A lot of funk, classic house jams, and minimal are being blended together. OGs are playing alongside young upcoming talent, new clubs sound amazing and care about the right things, and the bookings have been phenomenal. I feel very blessed to be coming up in this city and would not have it any other way. “The Right Swing” references your childhood golf training, which is an unex