A Quick Chat with Rayhab
Congrats on the release of your debut EP ‘Residue’! How does it feel to finally have this out?
Thank you so much! It was a long time coming, but I’m so happy it’s out in the world! As much as I am proud of the work and artistry, I can’t help but feel a sense of relief. I was so hands-on with this body of work, and at the same time very much in my learning phase of production and audio engineering. The process continuously shifted and refined as my skills grew. A lot of it meant acquiring the skill set to match my vision, which was always going to take time, and required a continual reminder of “that’s okay.”
As a perfectionist and someone who’s often hard on themselves, it’s really cool to reflect not only on the fuelled lyrical content, but also on the entire production/recording/mix process. These skills I acquired working on this project and various other projects during that time helped me land jobs producing and engineering in the biggest recording studios in the Southern Hemisphere.
Can you tell us a bit more about the EP’s focus track ‘Dormant Life’?
I started writing Dormant Life on the tram on the way into Melbourne CBD. I never actually thought I’d do anything with it, as it felt like esoteric ramblings. It wasn’t until I visited my family in Sydney that my brother and I had our first-ever jam. He came up with the guitar hook, and it was the first time I saw potential in the track.
It was the song that took the longest to land. I re-wrote sections, constantly reflecting and asking myself, “Cool… but what are you actually trying to say?” It wasn’t until I recorded live drums that it really came together for me; until that point, I was still ready to scrap it. A lot of engineers and artists will give you the advice to “move on to a different song,” but as the artist, you often realise the vision before anyone else does. Sometimes it’s worth exploring a concept before shutting the door on it.
You produced, mixed and engineered ‘Residue’ - are there any special production or light bulb moments that stand out to you?
So many, throughout the entire process! But one memorable moment that comes to mind was having the privilege of running my music past Simon Cohen (Genesis Owusu, Justin Bieber). Simon became somewhat of a mentor to me during my employment at 301.
It was at this point I really soaked up pop concepts and the power of leaning right into repetitious hooks, fastidiousness, and the proper treatment of vocals—which cannot be obtained exclusively through plugin chains.
Which album/s do you have on repeat right now?
Currently on repeat: Maribou State – Hallucinating Love and Adam Newling – Half Cut and Dangerous. The latter because (you’re hearing it first) I’m gearing up to play keys for him in his live band :)
What show are you bingeing at the moment?
My boyfriend and I are trying to go back and watch the entire Marvel Defenders saga. It’s proving to be a difficult feat with the amount of music-based projects on our plate, haha.
What was the first gig you ever went to?
The first gig I went to was in 2013 at the Enmore Theatre to see Foals. Listening to their Total Life Forever album in the midst of writing this... Soo good!!
What are your plans for the rest of 2025?
I’ll be spending a lot of my time in the studio for both my project and other artists’ projects. It’s a real season of leveling up again, and I’m super excited to share new RAYHAB tracks. It’s going to be more refined, mature, a little darker, and more groove-focused.