London-born producer, DJ, and songwriter Made By Pete opens the world around Rosebank, his debut album released through his own label, Life In Colour.
Named after the road where he lives and recorded in his home studio, Rosebank marks a wider shift from club-function singles into a fuller album language. The project keeps the warmth, depth, and melodic pressure that have shaped records like Horizon Red, Fires, and In My Head, but gives those instincts more room to move beyond the dancefloor.
New single I Remember brings that expansion into sharper focus. Built from a Moog Matriarch chord idea, a breakbeat groove, Blindsmyth’s production input, and Kyozo’s instantly memorable vocal, the track carries a warmer, more open energy than much of Made By Pete’s catalogue without losing the tension that defines his sound.
Following the international breakthrough of Horizon Red, support from names including Pete Tong, DJ Mag, Black Coffee, Damian Lazarus, Moodymann, Sasha, and Danny Tenaglia, plus a fan-funded Kickstarter campaign that raised over $10,000, Rosebank arrives as both a personal milestone and a controlled independent system.
For this FM PRO 10Q, Made By Pete digs into collaboration, hardware accidents, home-studio instinct, fan ownership, self-releasing through Life In Colour, and the long game behind turning a club-focused career into a lasting catalogue.
I love making music with hardware. The physical connection between my hands and the instrument changes the way I design sound. DAW’s are amazing and sometimes if I need ultimate precision I will work in the box.
Q1.I Rememberarrives as the third single from your debut albumRosebank. Why did this track feel like the right next window into the album?
It’s quite different to my usual sound. It’s the only record on the album that I would describe as ‘happy’. That’s not the adjective I would normally use to describe my music.I like beauty in music, but it needs to be balanced with some tension. I Remember was made in three stages. The main chord structure came first during a studio session with Blindsmyth.
I added the breakbeat and bass groove shortly after then the vocal from Kyozo came last. When he sent me the vocal, the combination of his tone and the chords made the hairs on the back my neck stand up. It felt instantly memorable to me and within a few days my 8 year old daughter was singing it. Those were enough signals for me to believe it was the right candidate for the third single from the album.
Q2.The single carries a warmer, more uplifting energy than people might usually expect from your catalogue. What did that emotional shift unlock for you?
I wouldn’t say that it unlocked anything. It was more the result of collaboration. I rarely collaborate with other producers. I find that quite hard. I usually collaborate with people who have a different skillset to me like a singer or a musician. The session with Blindsmyth that produced the first chords for I Remember was just a jam.
He was visiting me to film a live version of our previous release Run With Me. It wasn’t a planned session so there was no pressure or pre-determined goal, we were just having fun…maybe that’s why the record sounds fun.
Q3.Rosebankis namedafter the road you live on andwas recordedin your home studio. How much did that physical space shape the identity of the album?
That’s a good question. I’m not entirely sure. The oldest record on the album Stories From TV was made the year we moved to Rosebank. It was a big change. New home, new studio, new sound. I made something very different, it’s an Indie/rock record. That was the spark that encouraged me to continue making music that could live outside of a club environment.
Even though I didn’t know it yet, it was the beginning of the album. My studio is obviously a big part of my workflow but I don’t get the feeling that it shapes my sound. Having it at home one my doorstep does allow me to develop an idea quickly when inspiration strikes.
Q4.You have described the album as something you have wanted to deliver for years. What changed after your 2023 breakthrough as an international touring artist that made the timing finally feel right?
I had finally found an audience. I have been releasing music for 20 years. My first release as Made By Pete came in 2014 so it’s been a long journey. I had releases on big labels with big remixers but it was Horizon Red that finally cut though the noise and opened me up to an international audience. It gave me the confidence to continue my journey and trust my instincts.
Q5.You are known for club-focused singles likeHorizon Red,Fires, andIn My Head. What did the album format allow you to express that a single release could not?
The freedom to create music that isn’t built for a club dancefloor. As a touring DJ my singles needed to fit that mould to make sense. I’ve always made club music and I love it but some days in the studio I would come up with idea that didn’t fit that mould. I would often try to direct it down a path that it was never meant to follow and the magic would get a bit lost.
After a while I decided to stop doing that and just let things flow. I picked up old projects that I had started years ago but didn’t understand how to complete. That’s when it all just came together. I picked three singles and was able to remix them myself for my club sets. This was the full package.
Q6. FM PRO TECH Q:I Rememberstarted from a Moog Matriarch chord idea, with its paraphonic voicing creating unexpected movement. How important are those accidental hardware moments in your production process?
Very important. I love making music with hardware. The physical connection between my hands and the instrument changes the way I design sound. DAW’s are amazing and sometimes if I need ultimate precision I will work in the box. When I work with hardware it feels like more of a performance and those ‘happy accidents’ appear much more frequently.
Q7.The track brings together your signature warmth, Blindsmyth’s production language, and Kyozo’s vocal tone. What did each collaborator add that you could not have reached alone?
With the production it was the collaboration that we mentioned earlier. I could have come up with that chord sequence but maybe I would have done something different. It just happened I the moment without thinking. Blindsmyth played the chords while I tweaked the synth voicings and modulations.
That required 4 hands. With Kyozo, he’s a great song writer and singer. I am neither of those things. My voice has ended up on three tracks on this album(House of Sanskara, Human, Call On Me)but I’m not a singer in the traditional sense and I don’t write lyrics down. I’m a bit more spontaneous in my process.
Q8.The idea sat dormant for over a year beforeKyozo’svocalbrought it into focus. How do you know when a track needs time away rather than more work?
Ahhh such a good question. Really it comes down to gut feeling. Those days when something amazing happens and it all becomes clear are a rare occurrence. To find them you must be present for all the other days when it doesn’t quite click. Great music needs a few great ingredients rather than loads of good ones.
Understanding that and identifying them is key. If I’m working on something and I can’t find that next ‘great ingredient’ I stop. It might come to me a week later or a year later. That’s okay. It’s always there in the back of my mind somewhere, waiting for me (or a collaborator) to find that missing ingredient.
Q9.You fundedRosebankthrough a Kickstarter campaign, with fans pledging over $10,000 to help bring the album to life. What did that direct support teach you about the relationship you have built with your audience?
It taught me that a small dedicated fanbase can enable a long career. Our industry is very data lead now so huge streaming figures and social media reach do matter on the surface level. Once big track can 10 X my monthly listeners on Spotify and suddenly I get more DJ bookings. That’s great but it’s also temporary. When that buzz fades what’s left?
Relying on hit record after hit record isn’t sustainable for 99% of artists. Doing the Kickstarter was hard work and I really had to focus to make it work but it showed that if you interact with your fanbase in an authentic way and give them the chance to support you they will.
Now I have a ‘backstage members’ pass on my website which people can join for free. I send my members free stuff, exclusive 1stlistens to releases, behind the scenes videos and early access to gigs. This helps to nurture the relationship with my fanbase and I believe it’s the key factor in having longer career.
Q10. FM PRO TECH Q:WithRosebankself-released through your own labelLife In Colour, how are you thinking about the full system around the album—versions, DJ functionality, streaming, touring, fan ownership, and long-term catalogue value?
The choice to self-release on my own record label was a tough one but I’m pleased I did it. Running a label is hard. There’s always more to be done, but having full control of the schedule and the catalogue are two major bonuses. I made the decision to do it in early August 2025 and the album is being released on the 31stJuly. So almost a year to the day.
In that time I’ve had to find funding by running the Kickstarter, finish writing, producing and mixing the album, co-ordinate the mastering, decipher a release schedule for the singles, design the artwork, get the vinyl pressed, deliver all the assets to the distributor, make content, run Meta ads and…the list goes on. It’s been difficult…but rewarding.
I’ve had support from my management team and raising the budget has allowed me to hire the right people for social media marketing and traditional press. I’m learning lots. Only time will tell if I made the right decision but I’m enjoying the process so that’s the most important thing!
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You can catch Made By Pete on the following dates:
20 JUN Sable Miami, Florida
11 JUL Blue Marlin Ibiza, Spain
16 AUG Santosha Beach Club Croatia
29 AUG Blue Marlin Ibiza, Spain