Diplo: the man who brought Usher to Climax

Diplo has produced what could be one of the year's biggest smashes - Usher's new single, Climax

Read an interview with Usher in tomorrow's Guardian Guide
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Diplo. Photograph: Marc Stamas/Getty

When did you know Climax was going to be amazing?

The song was one of the first ideas we worked on, but we finished two other ideas before we got into the mood.

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The concept was built first and then it took a few melody lines and the song was written in about one hour. I knew the concept was very strong and Usher loved it but I think once Usher started to lay down his vocal ideas we couldn't stop. After the first demo, people were so hyped on it and even though we continued to work on it over the next two months, very little changed with the production. It all felt right even though it was made so spontaneously.

How did the song take shape? did you have the track first or did Usher come to you with the idea?

It started as just as a concept I had. Usher liked to talk to me from the start about the concept of each record. With this one I had explained to him about a moment I had with a girl where I felt like I could die with her and be content, but I didn't and life moved on, and that point in my life was over. It was a sad feeling but it was beautiful. He was relating with me about the idea and how many times you think things are perfect and feel that way but they can pass. I remember I was tryin' to explain a Portuguese word "saudade" to him when we were just writing the lyrics; it's the feeling of nostalgia, but it's hard to make sense of in English. These were all ideas and feelings and then Usher put it into perspective for himself and took the control and feeling of the record to another level. He's very honest and direct. Every idea we had, we discussed how the song would relate to Usher's life and then I just tried to help realise these lyrics and feelings.

I think Usher is a bonafide superstar because he's very honest in his songs and people can relate to that especially in the feelings and textures of his voice. He is one of the best. The production actually started as a house thing with a chord progression that I wrote, but with some time in the studio alone I was making a sort of "wildfire" beat out of it. The idea of pushing cut-off on a synth used so much in progressive house music but pulling back. I was making something like a minimal techno record with Atlanta strip clubs in mind.

Who was in charge in the studio?

It's very much a collaborative feeling. We worked in LA, NYC and in Atlanta. Atlanta had a lot of distractions but we managed to make another amazing record there. His concept was that he wanted to "take the strip club to the stadium". That might have been the best direction I've ever been given.

You're one of many producers on this, along with Max Martin, Luke Steele, Swedish House Mafia and so on. Is there a strong vision to this album, or is it just a load of songs that sound good independently of each other?

Usher came in here with a very clear idea that he wanted to work on a new pop sound and he wanted to push it further with the styles and the depth of the tracks. Him and his entire crew, like his A&R and band member Natural, are all very, very in touch with what is happening in music. They put me on to Monsters Of Folk or Grizzly Bear being influences from the start. Usher knew about my first album on Ninja Tune, Florida. I was so surprised about how much these guys are into music beyond their normal lane. That is something that makes it very easy to work with him. Usher has the power to take a record into any lane. He's that big. He brought house music to the R&B crowds in America, and with Yeah! he brought synths to Atlanta hip-hop. I think he wasn't going to these producers for their sounds ... We all know what they do. Usher is a smart man, he has been doing this for long enough. He's using the producers instead of the other way around.

Do you separate the work you do for Usher, Beyoncé, Justin Bieber and so on from your work with less 'pop' artists?

Man, the only thing that's important is what is due tomorrow. I don't care what it is as long as it's good.

Do you feel pressure from your peers to separate your work, though?

I never became a producer to go to parties or wear nice clothes or put sales figures on my Wiki page. I've only been doing this to fuck things up, so I'm not even sure how I ended up doing these kind of records, but if it all fell through tomorrow I would be happy putting out my rap demos on SoundCloud and starting over again. All that matters is that the music we make is great and that it's confusing to people a little bit. It's funny - some producers ask me, 'Man, how do you work on a Bieber record? That would kill my career.' I can work on any record there is as long as they are good records and you're pushing things forward. I've always worked toward breaking down the walls between genres and status and pop versus underground. If you just stick around and stay in one place or work to keep people in their comfort zones, it's counter-productive.

Is there anyone you'd draw the line at?

I'd work with anyone, man. As a producer it's really up to me to bring the songs out. For instance what Snoop wanted to do with us is gonna blow people's minds. These kinds of records couldn't have happened five years ago but we are in a place now where fans don't have conviction to one sound.

Did Usher have a man to comb his beard for him when you were with him?

Usher's beard did get very wild at one point in the sessions, but he did have a shape-up occasionally. He also has very good shoes.

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Diplo. Photograph: Marc Stamas/Getty