Intr0beatz
We caught up with Intr0beatz about his production process, his views on gatekeeping track ID's and why he wouldn't change his past.
Intr0beatz aka Reykjavik Iceland native Arsaell Thor Ingvason is a beatmaker and producer with a lifelong love for the groove. From his earliest years delving into his father’s musical collecting and compositions, he first came to prominence as Intr0beatz back in the late ‘90s first as a turntablist, then as beat producer behind various Icelandic Hiphop groups but also producing few tracks for international rap artists.
He is now a staple in Iceland’s recent House music revival as well as playing and DJing in Canada, Europe, South Africa and Japan. After a recent paternity leave, he is now based in Berlin.
Intr0beatz's track 'Drawn 2 You' is available now on OTBD007
Could you tell us a bit about the process of making your track? How did it come about? Can you remember where you wrote it? What methods did you use to produce it?
I wrote that track in the studio space I rent from Carlo and Black Loops here in Berlin. I was actually just about to pack up and head home when I started listening to some random tunes on my computer. One of the tracks I sampled came on, and the moment I heard it, I knew I had to flip it.
If I remember correctly, I began by looping the sample and adjusting the timing to fit my vibe. I played around with EQs and some plugins to shape the sound the way I wanted. Normally, I’d start with drums, but in this case, they came after the sample—followed by the bassline.
I saved the project and rushed out to pick up my daughter from kindergarten, then sort of forgot about it for a few weeks. When I eventually came back to it, I did a rough arrangement and just kept building on it, piece by piece.
If you could go back in time and give guidance to your younger self, what would you say that would impact your career the most?
It’s kind of hard to say—there have been so many things that have changed the way I think about making music. Even now, I’m constantly learning new things that continue to shape my daily process.
But if I had to pick one turning point, it would be the decision to get an Akai MPC back in ’98 or ’99. I was making hip-hop at the time, and that piece of gear had a huge influence on how I still approach music today. It really trained my ears and shaped the sound I’ve become known for.
Even though I use Ableton a lot these days, the way I start my beats is still rooted in that MPC workflow—it’s a big part of how I dig for samples and sounds.
And honestly, I wouldn’t give my younger self any advice. All the bad music and questionable decisions I made along the way helped get me to where I am now, and I wouldn’t trade that journey for anything.
How is making a living from music affecting your creative output? Do you feel as free as when you started?
Well, I don’t make a living from music—though I’d love to one day. I’ve always treated it more as a passion or a hobby, while keeping a regular job to cover my day-to-day expenses.
That balance has actually worked in my favor, because it means I never feel pressured to create. I only work on music when I’m truly in the mood, and that keeps the process fun and fulfilling for me.
The common saying “ Starving Artist”, describes the all too common path of artists and their lack of commercial success. Yet, millions of new artists emerge every year, hoping to make a living from their art. In your opinion, is art compatible with money ? How do you stay authentic in your music when your livelihood depends on it?
Making money is always a good thing—and for most people, it’s a necessity. But when it comes to creating art, relying on it as your main source of income can be really tough and, at times, overwhelming. That pressure can weigh heavily, especially when you have children to support.
Of course, many artists manage to make it work—and I’m not saying it’s impossible. It definitely is possible. But for me personally, my music would suffer if I had to create just to pay the bills. I need to enjoy the process without that kind of pressure. That’s when I make my best work.
At Outboard, our aim is to establish a new way of remunerating music producers , fairly and transparently. Why did you choose to come on board?
If Brawther asks you to be a part of something, of course you say yes!
’m also fully behind new approaches to releasing music—especially ones that put artists first. Even though I can admit that I’ve been part of the problem at times, I really believe the current way music is released often overshadows the hard work artists put into their creations.
That’s why I’m genuinely honored to be invited to take part in something that’s trying to do things differently and make it better for artists.
How do you feel about music producers having to DJ in order to bring in an income? What would you need to be fully dedicated to music production? Do you think it’s still possible to make a living strictly from production?
It’s a tough subject, because record sales just don’t support artists the way they used to—especially now that most music is released digitally.
I actually started out as a DJ long before I ever thought about producing music, so for me, DJing has been the natural way to earn the little income I do make from music. But I think there's a real issue when new producers feel pressured to learn how to DJ just to generate income. That pressure has led to an overflow of DJs who may not have the passion—or the time—to truly develop the craft.
In my opinion, DJing isn’t just about playing a bunch of tracks. It’s about delivering music in a way that reflects who you are as an artist—making two records blend naturally, and guiding people on a journey from start to finish. And to me, that kind of artistry takes at least 10,000 hours of practice.
Gate keeping is one of the main obstacles for up and coming artists. Promoters book the same dj’s over and over, and labels are more receptive to established names, making it hard for lesser known artists to get a chance to shine. How long did it take you to breakthrough and what strategies would you recommend for up and coming producers?
I think gatekeeping has both its positives and negatives. Labels need to have a clear vision of what they want to represent, but at the same time, they should stay open to listening to demos from new and emerging artists.
When I first started making house music, I did what most people probably do—I sent my tracks to various labels and DJs. Eventually, I got some positive feedback, which led to my first official house release. From there, things started to slowly open up, with more DJs and labels getting in touch. At that point, it became about deciding whether each opportunity was the right fit.
Even today, I still get turned down by labels I really admire. That’s actually what pushed me to start self-releasing. But I’d still say having releases on respected labels is always a big plus. I’ve always followed one personal rule: if a label reaching out has less following or reach than I do, I’d rather release the music myself—and trust that better opportunities will come down the line.
Gatekeeping music in the DJ world, though—keeping tracks secret from other DJs or from listeners—is something I really don’t believe in. I always include a tracklist with my mixes because I think the best thing you can do for other artists is help people discover their work.
Do you have a ritual when composing music and how do you stay inspired after all these years?
I mess with music pretty much every day. Every now and then, I make something that feels like it should be released, but honestly, 95% of the time it’s just ideas that never see the light of day—but I always learn something from them.
I make a point to save everything I work on. Even if the drums are trash, maybe the chords or the way I chopped a sample will inspire me later. That stuff adds up.
In fact, my last six releases were all built from short ideas I had made between one and five years ago—things I wasn’t ready to finish at the time, but later came back to with fresh ears and finally saw through.
When producing, are you more in the box or do you use Outboard too? Could you share with us a single unit or tool that is a true game changer for you, and why?
I mostly use Ableton, but I also have a bunch of drum machines and samplers that I turn to when I get tired of staring at a screen. The older MPCs especially inspire me—sometimes just looking at them is enough to spark an idea or shift the way I approach a track.
Like I mentioned earlier, using old samplers and drum machines helps keep me grounded. DAWs are powerful, but the endless possibilities can sometimes be overwhelming. Those older machines bring me back to a more focused, hands-on way of producing.
If you could travel into the future and bring us back newfound wisdom that could help music producers make a sustainable living from their craft, what would you hope to experience?
That’s a tough question to answer, and I think only time will tell..
Intr0beatz's track 'Drawn 2 You' is available now on OTBD007