You Love Loren Humphrey, You Just Don’t Know It Yet

Casual listeners and even many critics often give all the credit to the artist in front of the mic. They chalk up a stylistic shift to the boundless genius of a star or a favorite producer. But the most overlooked and essential figure in music is the studio engineer. Engineers are producers, musicians, writers, and technicians all at once, constantly adapting their ear to the needs of the artist they are working with. One of the most interesting modern engineers is a man whose music many of us have loved without even realizing his involvement. Did you check out the new record from Boyish and wonder how they were able to capture such a uniquely atmospheric sound? How about Cameron Winter’s intimate Heavy Metal? Or Lana Del Rey’s “Dealer” from Blue Banisters? If so, then you already know Loren Humphrey.

Humphrey has been working in and around music for nearly three decades, first moving to New York City with his band The Willowz as their drummer. According to a bio on his management site, after the group disbanded he became a “drummer by calling, producer by accident.” While touring with massive acts like Tame Impala and Florence and the Machine, he began helping friends and other well-known artists with engineering and session work. That mix of casually lending a hand while playing with some of the biggest bands in indie rock cemented him as someone motivated by more than just a paycheck. He is one of dozens of underappreciated figures in music who use their skills to push sound forward.

Take Lana Del Rey’s “Dealer” and “Thunder,” where Humphrey contributed drumming and additional production. The drums carry a classic seventies AM swing, especially on “Dealer,” forming the backbone of the track and slotting perfectly into her world. Humphrey is not there to completely change up an artist’s sound, but more so to provide an old school cool that is indispensable. Cameron Winter’s Heavy Metal was fully co-produced by him, and his touch shows not just in the drums but in the sobering organs, plinky pianos, and playful shakers scattered throughout the record.

Cults, Lana Del Rey, Geese, Arctic Monkeys, Florence and the Machine – on its own this is already an impressive résumé. But his latest work with the aforementioned Doomer sleaze duo Boyish is some of his catchiest and most cinematic yet. The duo, who have opened for King Princess and been spotted alongside Chappell Roan, are already in the orbit of popular breakout acts. Their new album Gun, produced entirely with Humphrey, spans 11 songs of tasteful artistic rock. There are heavy, blown out guitars and sharp drumwork on “BIG,” serene, shoegaze tinged ballads like “There She Goes,” and post punk synth pop on “Funeral Synths.” Strong production and engineering are what separate bland indie rockers from those with true potential, and alongside Humphrey I can see Boyish pushing much further. The same goes for Geese and Cameron Winter, acts that balance uniqueness with familiarity, the sweet spot listeners always come back to.

Engineers like Humphrey, and the effort they put into their work, are why all these different artists and genres can blend so seamlessly. His skill is to season and enhance the ideas bands bring to the table, whether it is a longtime friend or Alex Turner. What makes him stand out is the consistency of his approach. He brings the same care and discipline to a band just finding its footing as he does to a global headliner. He has played in bands, mastered an instrument, and understands not only the technical elements that make music infectious but also the creative spark that keeps it alive.