Grammy-winning producer Denis Kosiak discusses life in the LA music industry so far, from working with Frank Ocean to breaking the internet with Barbie.

In the vibrant world of R&B and pop, Grammy Award-winning producer, engineer, and mixer Denis Kosiak is a trailblazer inspiring the next generation of music producers. Originally from Fort Wayne, Indiana, Denis carved out his niche in the industry at the iconic Record Plant studio, where he honed his skills working with legends like Frank Ocean and Beyoncé.

 

After a pivotal collaboration with Khalid, facilitated by Marshmello, his career took off, leading to countless hit records and critical acclaim. Denis’s impressive portfolio boasts 14 multi-platform singles, a 2x platinum album, and a Grammy nomination for Khalid’s ‘Talk’. His recent Grammy win for ‘Silver Platter’, featured in the Barbie soundtrack, highlights his continued influence in the industry. Known for his work with a diverse array of artists, including Alicia Keys and The Kid Laroi, Denis Kosiak’s ever-expanding production wonderland is a beacon for both emerging talents and established stars. Get to know the musical polymath below now…

Do you remember the moment you fell in love with music?

I feel like I’ve experienced multiple instances of this! My childhood moments were very emotionally charged and mostly internal moments. These days I tend to fall in love with different types of music based on what I’m experiencing externally. I’m a very outdoor adventure-based person, so any music that can be a companion to my experience ends up being how I fall in love with the particular music.

Looking back, how did your early experiences at Record Plant shape your approach to music production and engineering, especially in the R&B and pop genres?

Record Plant was very cut throat and intense. The studio was an epicentre for R&B/Pop pretty much around the clock, with early Alicia Keys sessions starting sometimes at 9 am and late-night sessions [with artists] ending at 6 am. There was pretty much a constant stream of high level musicians entering and exiting the building at all hours. I had a lot of direct exposure to the engineers and musicians within various camps and was able to sponge a lot of technics from them during the sessions and after-hours. I had a small cheap room in a Glendale condo for something like $700/mo, so I took every chance to get out of my place and stick around in the studio. I used a lot of downtime in the studios to practice too, which was a perk of working there, and spent a lot of time sleeping on couches in corners of the building so I could catch the next opportunity.

Can you share some insights or memorable moments from your experiences working with iconic artists like Frank Ocean and Beyoncé?

I was fortunate enough to assistant engineer Frank for a few months and it was really eye-opening to creative processes. He would sleep in the studio and completely immerse himself in the experience with art books and instruments, and would bring in other creatives from across the world to give him some inspiration. He was always very direct with how he was feeling or what he wanted, no mysteries with him in real life. I really valued the dedication he had for his craft and experiences in the studio. He’s a real artist, not just a performer. There’s multiple perspectives and layers to what he’s creating, and it really opened my eyes to what you can go into a studio and push yourself to create and to think far more 3D.

Winning a Grammy for Khalid’s ‘Silver Platter’ must have been a significant milestone. How did you approach the production and mixing of that track, and what was your reaction to its success? What do you think makes your creative partnership with him so effective?

Yeah the Barbie album winning a Grammy was a significant milestone for so many reasons, particularly for the cultural and social impact. The song started out as a rough track idea and I was able to fully develop the idea with everyone and deliver something that Mark Ronson and Greta Gerwig thought was a perfect fit for the soundtrack. The reaction was right in line with the intention of the song which was pretty funny. The idea was for the song to come up at an intimate moment with Ken and Barbie where Ken seemingly wants a chance with Barbie, and the reaction from critics was “Wait why are MEN on this album?!”, which was funny because inevitably the movie came after the soundtrack and the plot ended up involving men/Ken instead, so it played the necessary part of broadening the spectrum for the soundtrack.

With the new Khalid album on the horizon, can you give us a sneak peek into what listeners can expect in terms of sound and style? How does this project differ from your previous collaborations with him?

His latest album, Sincere, is completely written by himself. I think his first two albums were great, but this one is the first based on real-life experiences he was having. He took a longer time to write this album because he was coming off of the major wave of success he was having, and wanted to experience his life as a real person and not a “celebrity” or somebody who was looking through a lens of inauthentic experiences. He wanted specifically to be dark, moody, and melancholic. Previously, he wanted to reach new heights of energy and play on how R&B could be flipped or reinterpreted into something new, and on this album he was much more focused on what felt cohesive to where he was coming from and what he had experienced. More drama, more pain, more letting go.

You’ve worked with a diverse range of artists, from emerging talents like Alicia Creti to established names like Alicia Keys and Zayn. How do you adapt your production and mixing style to suit such a wide variety of voices and genres?

I think having a strong foundation of fundamental understanding for art and music carries me through understanding them. There’s really zero compromise on what the artist’s vision is, so being able to adapt in roles for what you’re needed for is the key. Some days, the artist really doesn’t give a fuck about what you think, point blank. Other days, the artist is having their first day without their ex-girlfriend in their life. I think genres all have underlying feelings and emotions that want to be emphasized. As their co-pilot you really need to care about their music at an equal level, so you can’t skip the emotional intensity.

As someone who has inspired the next generation of producers, what advice would you give to young producers looking to make their mark in the industry?

Work ethic and consistency outperforms talent. I wouldn’t consider myself the most talented musician in a room, hardly ever, but by showing up and giving it 100% more often than those who quit, I was able to create opportunity. Comparison is the thief of joy, so do your best to be authentic to yourself and understand that life’s journey is never linear.

How do you balance your roles as a producer, engineer, and mixer? Do you approach projects differently depending on the role you’re taking on?

These days, I tend to be producing and mixing the most. My background is from engineering so I put those concepts into practice through my everyday work mixing and producing. I tend to take on more responsibility as I get older. I think it’s the natural progression working in music to move into more responsible roles as time goes on. I think each project is treated individually, and my favourite thing to do is to call friends who I know will do a great job and bring them in to work on certain aspects.

The music industry is constantly evolving. What are some trends or innovations in music production and mixing that excite you, and how do you incorporate them into your work?

The recent developments in AI and software has been really liberating for creatives, and as controversial as it is, it will continue to blend in as a tool rather than a threat to the creative process. Most trends I tend to see are more at the forefront of the industry like the usage of social media and the marketing aspects, but behind the scenes the trends tend to be subtle and rooted in the local scene of music makers. The valley and east side of Los Angeles is home to seemingly 98% of the popular music industry.

Beyond the upcoming Khalid album, are there any other projects or artists you’re particularly excited about working with in the near future? What are your long-term goals in the music industry?

I’ve been doing a lot of work recently with Julia Michaels, who I’ve known since I started working in Los Angeles, she’s amazing. I’m also taking most of this summer to get inspired for the next creative long haul. I wanted to make sure I spent time in the sun and had fun before I started the next wave. Currently learning to surf, there’s a lot of dope music around surf culture that I never explored until recently. Long term, I see myself following in similar footsteps of other greats in the industry who are able to genre bend and deliver hits through decades of hard work. I’d love to move into oversight at a record label or to build my own label. I also think that there are impactful changes coming to the licensing of music and how we pay for and use music. I’m really inspired by what Jimmy Iovine did over the length of his career and could see myself helping innovate music in a similar capacity.