Through talented turntablism comes Jayceeoh, a newcomer that has made waves in the trap scene, working with a plethora of artists in and around North America. With his show in Vancouver, we’ve sat down with him to discuss his journey into the now booming electronic/trap scene.
Your current tour schedule is pretty hectic with a couple of big dates including shows with 2-Chainz, Pusha T, multiple showcases at SXSW and a festival in Guatemala. Where else can we expect to see you in 2014?
This year has been non-stop so far. I am anticipating that things will be getting ever crazier as the year goes on. I have a lot of new music coming out and hope to break down some new doors in the production world. You can find me in an airport traveling somewhere new a few times a week.
Your consistent release of original records has been quite impressive with a new remix on Soundcloud almost every month. Your recent original output as well, “Till A Boy Get Kill,” your collaboration with Caked Up, and your latest on Fool’s Gold are all gaining wide traction. Any chance you can shed some light on any upcoming releases?
I have tried to stay consistent and release a ton of new material recently. Until I am a household name I feel like I have to stay in peoples ear with new music to keep their attention. I have a a big release coming out on Ultra Records in April. I did the official remix for the Bloody Beetroots song “The Beat” featuring the legendary Peter Frampton. I am also working on a handful of new collaborations with other producers and vocalists. There will be a lot of new material by me to absorb in 2014.
You’ve previously stated A-trak as one of your main influences. With the release of ‘Damn’ on Fool’s Gold Clubhouse series, can we expect to hear any future collabs between the two of you?
Putting out ‘Damn’ out on Fool’s Gold Records was a great experience. A-Trak has been one of my main inspirations throughout my career so to have a record on his label was an honor. A-Trak and I are homies now and ‘Damn’ was a successful record so collaborating with him and his label again is a strong possibility.
If you could collab with anyone in the Hip-Hop or Electronic world – who would it be?
There are so many amazing artists out there who I would love to collaborate with. I think my top hip-hop artist would be Kanye West. He is always thinking outside of the box with his music and I like to take chances creatively. In the EDM realm I would like to get down on a track with Diplo. He has a great ear for new and innovative music.
Your career has moved you all over the states – Pittsburgh, Boston, New York, and now LA – do you feel living in these different cities have had an impact on your creative direction?
100%…. Having lived for long periods of time in each of those cities exposed me to different cultures and ways of living/thinking. I try to absorb the best parts of each city and mold them into my own persona. This impacts how I carry myself day-to-day as well and my creative direction when producing and performing. I try and tap into everything I have experienced.
Prior to the Master of the Mix win, you occasionally toured with Wiz Khalifa - which I imagine got pretty wild. No need to drop names, but what would you say is your craziest story on these tours?
Not going into details here, but as you can imagine, lots of reefer was smoked.
Given your deep roots in Hip-Hop, it must have been interesting to see it blend with modern dance culture. The ‘Trap’ and ‘Twerk’ genres have now become industry mainstays. Any thoughts on what the next big sound will be?
I love how EDM has embraced Trap and Twerk music. I always try and incorporate elements of hip-hop into my sets, Trap and Twerk bridged the gap very nicely. I think they both will have a significant shelf life.
Finally, given your humble beginnings in almost every aspect of the DJ grind – to now having your music on a variety of mediums and becoming the face of Smirnoff – what advice do you have for aspiring DJ/Producers?
My best advice is to stay positive and chase your dreams. You have to work hard as fuck and it’s often a long hard road but quality and persistence will eventually get you there. It took me 15 years into my career to catch a”break”and I still feel like I have a ways to go. If you set a goal and reach it that’s great, but don’t be satisfied. Set a new goal immediately and chase that till you get it. Repeat this process til you die!
Drop by our Twitter to win tickets to his show tomorrow at The Queen’s Republic.
Surprise! Another amazing act from Australia has been making waves recently with their beautifully melancholic electronic music. The trio (originally named Commander Keen) have been making music since early 2011 but have now signed to the amazing Future Classics label which has garnered them the attention they deserve. Most of their new tracks feature the once solely instrumental groups use of distorted vocals and perfectly integrated electronic synths that create the immaculately layered sound that one would expect from anyone associated with the Australian music label. Seekae are set to release a third studio album later this year, but in the meantime they have a 3LP deluxe vinyl re-release of their first two albums, +Dome and The Sound Of Trees Falling On People. Only 500 are being made, so if want one, you have to act fast. They have also released Blood Bank for free download in celebration of the vinyl 3LP, you can get it below.
Sydney based music blog, Stoney Roads, has released their second compilation featuring a mixture of artists premiering unreleased tracks. Stoney Roads hand picks artists to fit a unique aesthetic of innovative tech-house acts. This sort of compilation is great and so important for artists as it displays the immense talent that Australia has to offer and puts lesser known artists onto a global scale, giving the hard working acts the credit they truly deserve. Although I would label the overall compilation as house you can expect tracks to incorporate anything from deep house to hints of nu-disco and some that are incredibly bass heavy. Each song brings an experimental element to the house genre, which makes for some really cool listening. All of the artists bring a certain uniqueness and have their own original style which produces a compilation with a completely layered sound. You can listen to Stoney Roads Volume Two below or download it for free here.
Saturated in 80’s r&b synths is Sunshine, using vocal samples from Babyface’s chorus in Jay-Z’s (Always Be My) Sunshine. With this rendition being completely different than the original, Sunshine makes you wanting more of these nostalgic rhythms.
Combining hip hop beats with lo-fi aesthetics is FADER ONE, bringing a blend of ambient instrumentals that soundtrack the concrete jungle he grew up in. Originally from Hong Kong, this Boston based artist uses alternative samples like Feist and Sigur Ros to make trip hop perfections. Download the EP for free here.
Young Quebec native, Royal, has been making waves recently with remixes of Of Monster & Men, JMSN, Kanye West & now Chris Brown. His soundcloud exemplifies a wide selection of hip-hop styles which is a very interesting thing to see from a single artist. Rather than sticking to one style he experiments with many, refixing and reworking different genres of music to create an innovative type of hip-hop. He manages to amalgamate hip-hop & future bass synths to create a completely round sound. He has also put out an 8-track album of originally produced hip-hop tracks featuring unique rappers & vocalists and it’s sure to impress. Check out some of my favorite tracks here:
Eloquent in the language of groove-driven beat production is Pomo, freshly added to the talented HW&W roster. With music being a part of his life from a young age, the musicality is prominent throughout his production abilities and versatility - shifting from hip hop beats like Die Like This or Gangdu to more familiar funk inspired songs like So Fine. In this exclusive interview, Pomo discusses his inspirations, his upcoming EP and how Kaytranada helped him get to where he is now.
What is Pomo and does it have a special meaning to you in anyway?
Pomo is short for Port Moody, the city I grew up in before I moved to Montreal. I decided on the name shortly after I moved.
Why did you move to Montreal and how do you feel the Montreal music scene differs from Vancouver?
I moved to Montreal with a band I used to play in. We were deciding between either there or Toronto and I’m definitely happy with our decision. Montreal has a great music scene going on for a bunch of different genres. Being here really feels like you’re in the centre of a lot of great music going on around you and a lot of big things happening. When I lived in Vancouver those types of things felt more distant and out of reach.
Many of your songs carry 80’s pop aesthetics and it’s more apparent in your other project Nouvel Âge. How do you try to differentiate Pomo and Nouvel Âge in terms of sound, or do you see it as an extension of an overall sound?
When we write music for Nouvel Âge we are really focusing on structure, different sections, production quality, lyrics, etc. We are trying to make more of a song in the pop music sense. Where as when I make stuff for Pomo, it’s more loose and free and I can do more whacky shit. I love both projects equally and I think in the future with more releases the difference in sound will be more clear.
Kaytranada played a huge role in you getting signed to HW&W. How did this come about and how does it feel being in such a tight-knit and talented collective?
When I first moved to Montreal I saw Kaytranada (Kaytradamus back then) play a show with another producer called B. Lewis. That was my first time hearing Kay and every beat he would play I was turning to my friend and going “duuuuuudeeeee” So I knew I had to reach out to him. Eventually we got to talking and I showed him some of my music which he started putting into his mixes. More and more people starting catching on to my music that way and eventually HW&W contacted me to release a couple records. It definitely feels great being on that label, I mean so many producers I am inspired by are on there and we all have freedom to make the music we want.
What should we expect from the collaborated song between you and Kaytranada?
Groove, synths, chords, fat bass. It really felt natural working on the song it kinda just flowed out so I hope that people feel that too.
And what can we expect from your upcoming EP?
While I was making tracks for the EP I was trying to constantly write as much as possible and then cut them down to make the EP. I was sitting down with some musician friends who I really trust to get there opinion on which song to cut. We eventually decided that the way the songs are it works as a 8 track release. You can expect different vibes, tempos, and styles, but I was very focused on the synths and grooves on pretty much every song. So there’s variety in the songs but all go together in certain ways.
(Before Pomo answered this question, we asked if NO POMO was going to be the title, as previously suggested in Bahwee’s interview with him. To that he said that Bahwee has successfully made his joke into a spreading reality around the internet. And to that we say good on you Bahwee)
We’re huge fans of your song with Panther - his style perfectly fits your sound. Do you plan on doing more collaborations in the future?
Thank you! That one was very fun to make. Panther is a good friend of mine and we’ve been working on music together for years. At the moment we are working on our own projects but I’m sure we will link up again soon.
You’re incredibly musically talented, not just relying on pre-recorded synths but recording your own instrumentals. What instruments do you play and what are your favourites?
I play keyboards, guitar, and a bit of drums. Drums are my favourite to play even though I don’t get to very often. My favourite thing to do is blast music, funk songs, Prince, Michael, whatever it may be and just drum along. I could do that for hours and hours.
And finally, what’s your favourite thing to do after dark?
Hmmmm well I feel like I make my best music late at night. So I’d say my favourite things to do after dark are create music or watch Tim and Eric clips.
On Tuesday February 18th, Vancouver is going to be incredibly lucky to have the very talented Soulection member ESTA performing at Fortune Sound Club. ESTA is an artist that has been piecing together amazing tracks and remixes for the past few years and has finally gained the recognition that he deserves. Being a producer that puts in a lot of work, he comes out with something new on a weekly basis, if not more. He also makes sure to incorporate a wide range of styles into his music, yet manages to keep his sound unique and consistent which is no easy feat. Although all of his newer tracks are recognized by a wide audience, I highly suggest you take a look at his older stuff to really see what an eclectic mixture of sounds he’s capable of. In my opinion his Bananas EP perfectly exemplifies this as he samples anything from Gwen Stefani to Carley Rae Jepson and even samples a song from the Broadway musical, Wicked. The way he is able to flip these songs into something completely different is nothing short of amazing. It is really great to see an artist experiment with so many different styles while being able to pull all of them off.
Buy tickets here or enter our Facebook and Twitter contest for a chance to win tickets!
Since first listening to Primat almost half a year ago, no one would have seen the potential that is now prevalent in their debut EP, Old World. While their first song Dry Land echoes a tribal aesthetic that match their name, other songs like Mandrill, Papionini and Journey intertwine alternative hip hop and french rap. What stands out in this release though is Kano, a mixture of crooning brassy sax melody and an equally more depressing piano riff, calling for a certain type of 30’s nostalgia. Grab Old World for free here.
From Mad Hop Records comes Ukraine-based producer Ganju. Appearing on Mad-Hop’s Vol. 7 compilation, Ganju creates an interesting pairing of tribal elements and hip hop rhythms that drift between the traditional and the experimental. Grab the compilation here.