Omari has released Pressure Loop, a collaborative EP with Le Modo on Damian Lazarus’ Rebellion label. The title track is built around a hypnotic Shepard tone and tightly wound percussion, while “That’s Right” moves with a punchier, vocal-led groove. The project brings together Omari’s UK-rooted influences — garage, hip-hop, disco, rolling percussion, heavy basslines and vocal hooks — with Le Modo’s Detroit-influenced, rhythm-first approach. The result is a release whose sense of pressure comes from shared movement rather than overworked perfection.
Alongside the release, Omari spoke with Magnetic Magazine about how AI is reshaping the pressures producers face, particularly around confidence, patience and the temptation to measure unfinished work against instantly polished output. His position is clear: a producer who is creating primarily to compete on speed or volume has already lost the thread of what making music is for.
On the question of early-stage ideas, Omari is direct. He describes the rough stage as often the best part of the creative process — a point where the artist is least restricted and most able to push boundaries. Skipping that stage to reach a polished result faster, he argues, means skipping the learning opportunities that build long-term skill and taste. The rough idea is not a problem to solve quickly. It is where the work starts becoming personal.
When asked about polish versus purpose, Omari draws on his experience on the dancefloor. The tracks that have genuinely impacted him, he says, are often raw or unpolished — but the feeling or vibe they are trying to create comes through clearly. A record can sound complete and still not resonate, because polish alone cannot manufacture emotion or message.
On patience with unfinished work, he frames it simply as part of the journey. Going days, weeks or even months without an idea that materialises is normal, and pushing through that period leads to a stronger final result. He describes it as a straightforward case of quality over quantity.
Regarding AI specifically, Omari is not dismissive of it as a tool, but he is firm about what it cannot replace. Producers who become heavily reliant on it, he suggests, will eventually find themselves unable to create independently without it. He also points to wider society’s reception of AI in creative fields as a signal that a full takeover is unlikely. For Omari, the more durable answer is falling in love with the process itself — because if a producer genuinely enjoys being in the studio and working through ideas, no external pressure or tool can take that away from them.
Source: Magnetic Magazine
