Jeremy Olander went from sending demos to Eric Prydz to getting signed by his label to doing the first Essential Mix of 2015 with him. And while he’s garnered the support of Pryda fans, he’s been building his own legion of supporters at the same time.

But it wasn’t always like that.

In the mid 2000s, he was just another high school student sneaking into shows. It was at Stockholm’s Cocktail Club that he saw future mentor Prydz—as well as Sebastian Ingrosso, Axwell, Steve Angello and more—honing their DJ chops on the decks. With a 300-person capacity, the venue was not the Vegas-style mega-club that these artists now play, but an underground spot where scenesters went to hear music they couldn’t elsewhere.

A self-professed fanboy, Olander would send Prydz his music any chance he got. “Eventually, my music just started sounding good, so he picked up on it,” Olander says. “But in the beginning, it was just me going up to him and saying, ‘Hey, what’s up?’ Then after a while, he was like, ‘Oh, there’s you again!’”

Since then, Olander’s story has been one of firsts. He was the first artist to be signed to a multi-release deal on Pryda Friends and, with his 2014 Jackie EP, became the first artist other than Prydz to release music on Pryda Recordings. The two also collaborated on the first Essential Mix of 2015. It’s nothing less than an honor, especially considering that Prydz’s 2013 production was chosen as the 2013 Essential Mix of the Year.

Just like a child going away to college for the first time, however, now it’s time for Olander to firmly cement his own persona in the dance music world—sans Prydz. “As much as I appreciate him helping me out with my career,” Olander says, “it’s important that I establish myself as my own person. He definitely understands that.”

His set at Exchange LA earlier this month proves that he’s ready. Olander spent that entire Saturday working on new music at Prydz’s house in the hills of Los Angeles. Later that night, his mentor could be seen watching Olander’s set from the über-exclusive Sky Loft Lounge. What he saw was a student masterfully taking command, building up and riding out a set full of unreleased tracks saved just for live performances. While there were whispers of an Olander B2B Prydz set, the teacher knew it was Olander’s turn to take charge, and he did exactly that.

Olander firing up the crowd at Exchange LA.

His set at Exchange LA earlier this month proves that he’s ready. Olander spent that entire Saturday working on new music at Prydz’s house in the hills of Los Angeles. Later that night, his mentor could be seen watching Olander’s set from the über-exclusive Sky Loft Lounge. What he saw was a student masterfully taking command, building up and riding out a set full of unreleased tracks saved just for live performances. While there were whispers of an Olander B2B Prydz set, the teacher knew it was Olander’s turn to take charge, and he did exactly that.

Unknown to people grooving on the dancefloor, Olander’s Exchange LA show was his first designated four-hour set, a proposition that made him more than a little nervous. He remembers thinking, “Should I build it up to four hours, or should I build it up and bring it down and build it up again? So I was quite nervous.” If you were at Exchange LA that night, however, you would have never known.

Some people in that crowd had also trekked to New York last October and seen Olander open for Prydz’s EPIC 3.0 show at Madison Square Garden. From the hologram (the largest ever used indoors) to each individual laser to the animation custom-made for the show, everything about an EPIC performance is perfected to Prydz’s liking. The productions are as much a part of the Prydz identity as his tracks are.

When asked what a custom Olander production would look like, he pauses to think for a moment. It’s not because he’s never thought of the idea, but because he’s mulled it over extensively. While he’s careful not to give away many details (sorry, fans), his ultimate goal is to have two completely separate tours. One would be a full-blown mega-production, and the other would take things back to the basics. “I would do something that resembles what got me into dance music. It was just in a basement. There wasn’t any strobes or anything; it was just the music.”

Signing his name backstage at Exchange LA.

So, how did he get to this point? While some artists can pinpoint exact songs or moments that influenced their career, for Olander, the arc is more nuanced. His multicultural background definitely plays a part—though born in Fairfax, Virginia, his Indian mother and Swedish father raised him in Sweden. He recalls going to Indian weddings with his mother, listening to the music, and being immersed in the colorful environment. He also toured India last summer, seeing its blooming dance music scene firsthand. “I love playing there,” Olander says. “Having a lot of Indian relatives, it means a lot for me to go there as well, and it makes them really happy.”

Now, with Prydz’s support system behind him and his own aspirations in front, Olander has reached a pivotal point in his career. “Obviously, I’ve been quite strongly attached to Eric. But at the same time, I think people understand that I’m my own artist, and I make my own sound, and I’m developing into my own thing.”

Back in Stockholm through the end of February, he’s currently focused on creating new music. Of chief importance this year is the launching of his own label. “Have I said that a couple of times?” he asks, laughing. Then, he affirms with a completely serious expression, “This is the year I can do it.” The name has been picked. The demos have been listened to. The discussions with distributors have begun. If you’re looking to submit something, listen up: Olander’s drawn to the dark, drum-oriented stuff—unless, he says, “it’s a super special happy track.”

Of course, Olander is no stranger to submissions from motivated fans. After all, it’s worked out pretty well for him.

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