I stumbled upon Color Theory’s music a few years ago but never had a chance to talk to the man behind the music-Brian Hazard. Today he tells Sphere Music about his plans, the process of composing and other things.
I would define the music as electro pop which borders on the ethereal. It is so catchy but at the same time filled with sonic effects that will keep fans of Depeche Mode and Wolfsheim really engaged.
“For the most part, I mix and compose at the same time, so the two processes are intertwined. But yes,
I devote an inordinate amount of attention to the mixing process, because audio production is also my “day job.” I run a mastering house called
Resonance Mastering, so I’m always focused on getting the best possible sound.”
If you are looking for music that is energetic, intelligent but at the same time slick and smooth then Color Theory is your stuff. Check this interview out:
What are the big things you anticipate before the
year ends musically?
I’ve been remastering my entire catalog all summer,
and I plan to release it in its entirety on a USB key.
It’s looking like 216 tracks total, over 15 albums – 3
of them double albums. I’ve also got a new single
ready to go, but I’m waiting on artwork.
When I listen to you I feel good. There is that
overflowing of beauty in your melody and chord
structure. It feels like Sunday afternoon when I
listen to you. Is this intentional in your part?
I’d love to take credit for it! Very generous of you
to say. I certainly put a lot of thought and energy
into my melodies and chord progressions.
What are the things you bring with you in the
I’m fortunate that I run a mastering house as my day
job, so the tools are all here for me already.
Everything is pretty much in the computer, except a
tiny Korg microKEY controller, and a Roland FP-7 stage
piano for recording piano parts.
What is your songwriting process?
I maintain a text file full of song ideas, and usually
start from just a title. Maybe I’ll write a couple
pages of stream-of-consciousness prose based on the
title, and pair it with a little production snippet.
Then I’ll flesh out the melodies and chord
progressions, finalize the lyrics, and fill out the
arrangement. Of course, it can vary, but that’s
usually how it goes.
You mentioned that when your first album came out
in 1994, it was the first time you got together with a
Jazz drummer/sound engineer who showed you what mixing
can do to the vocal tracks and instrumentals. Do you
give the same meticulous thought to studio mixes the
way you do to compositions?
For the most part, I mix and compose at the same time,
so the two processes are intertwined. But yes, I
devote an inordinate amount of attention to the mixing
process, because audio production is also my “day
job.” I run a mastering house called Resonance
Mastering, so I’m always focused on getting the best
I am attracted to slick sounds and ‘atmosphere’
when it comes to recordings. This is evident in your
“Slip of a Finger ” single. The lyrics are also
life-affirming. Despite being emotional, I never heard
you hurl expletives. There seems to be a line drawn
between artists who this this and those who don’t.
What do you think?
I agree completely. Profanity is just not my style,
and the subject matter of my songs doesn’t lend itself
Who are the musicians you have in mind working with
in the future?
Actually, I don’t collaborate much! Since I spend my
days working on other peoples’ music, I prefer to keep
Color Theory a true solo project. That said, every
once in awhile an opportunity arises that is too good
If you are marooned in a tropical island. What the
the 10 things you should have with you?
Ten things is very generous! Usually I only get three.
Now I can afford to be practical. Okay, boring stuff:
food galore, an Olympic sized pool full of drinking
water, one of those big straw hats to protect me from
the sun, and a lifetime supply of toddler wipes. For
fun, fins and a towel so I can bodysurf, a solar USB
charger, my Kindle, iPhone, and in-ear headphones.