On Friday night, in
between a prolonged beat, Jai Wolf
stole my heart at The Showbox in downtown Seattle, and put his concert in my list of top 5 concerts.
The show opened with Ramzoid, an 18-year old from Canada, whose alternative electronic vibe was
refreshing. While electronic music is extremely common, his music pulled
everyone in. The second opening act was Jerry Folk, another person I had never heard of until that
night. I am glad to have heard him because his remixes were outstanding. This
one of Oh Wonder’s Lose It and Years & Years’ Desire was definitely one of my favorite moments of the
Ramzoid and Jerry Folk
played on either side of the main stage. Leaving the main stage for the main
act: Jai Wolf. By the time he came
on, we had been waiting for almost 2 hours, but his show was worth the wait.
Right of the bat, he pulled the entire crowd into his music as everyone jumped,
and danced—swaying as a giant crowd. And as I looked around, I saw a sea of
people whose face had the same goofy grin I am sure I wore too.
Standing behind that
beautifully constructed stage, and using the disco ball in the middle of the
room, Jai Wolf’s entire concert was one that pulled the audience in.
In the middle of his set,
Jai Wolf reminded us this was his first show since his EP Kindred Spirits had
dropped and he was beyond excited to play for us—and near the end, we as a
crowd could tell he was overwhelmed. Yet, his dominance was unwavering. For a
minute there, he let the beat go on a little longer than it was supposed to as
he got emotional, and left the stage soon after to regain his composure.
But he was back in no more
than a minute, closing the show magnificently. He played his most commonly
known and greatest hit Indian Summer where I am guessing the confetti was
supposed to burst but didn’t, and so he said “I am going to pull a Kanye and
replay that last one for you.”
In between the tiny
mishaps and the amazing set, in the midst of confetti, the show was over
leaving us with an abundant memories of a night well spent.
It’s 10 minutes before the interview and my phone rings to my dismay. The basement of Winkenwerder was not where I wanted to talk shop with one of my favorite musicians. But there I stood, with a piece of TP in one hand and a buzzing cell phone in the other.
“Shit,” I mutter – fully intending my pun as I answer the Texas caller ID.
“Hi, I’m calling for your interview with André. I know it’s not for another ten minutes but he’s ready now and we’d love to get started.”
“Of course!” I grin as it starts to feel real. Standing with my pants half-pulled up, I remember my situation. “Erm… Can I call you back in 5 minutes? I just need to get everything set up.”
“Yeah sure. I’ll call you then.” Click.
I fasten my belt, swing my pack over my shoulder and head out into the hallway – frantic to find a spot to sit in relative silence. Behind a giant stump that looks like it was cut from a forest a millennia ago, I slump over and attempt to set up my audio recording equipment before my phone rings again.
“Ready?” He asks.
“Ready as I’ll ever be,” I respond with slight hesitation as my recording fails to start. A familiar voice is heard on the line and some light indie rock can be heard in the background.
It’s about time Portland grew up
From his home studio in Portland, Oregon, André Anjos talks about the last six years of his life living in the eccentric city. “I feel like a local,” he states first off, “and I love it here.” He goes on to explain that the city has been changing “like crazy” just like the Bay Area and Seattle. Referencing a recent trend in real-estate listings, he laughs about seeing “No California”-stickers, “as if that would dissuade people from moving here.”
Photo courtesy of Ruth Fremson/The New York Times
“People are complaining,” he goes on to mention. “They’re saying that a lot of things that made Portland unique is getting lost.” Although he really has appreciated the “amazing food” and “interesting things” in the city, André wants Portland to grow up a bit. Hesitating, he puts off the rest of his answer – stating that he might have a better opinion in a couple of years.
Portland, prisons and college
“Everything post-college has been here in Portland,” André goes on to say. “Well, sort of. I spend more time at the airport than at home.” We laugh.
“A couple of friends moved here.” His buddy, Karl Kling, had a girlfriend out here in college and they had a place to move. Rent was “cheap” – at the time it was $500 a month. Coming from a life at Greenville College in Illinois, this was quite the change.
“Three thousand people in the town were prison inmates and they counted that as part of the population,” he laughs. “It was a very small town and a dry town!” He had never heard of something like that before, especially since coming from Portugal, where the drinking age is fourteen.
When asked about his major, André couldn’t help but make a few jokes. “I got a music business degree, which is hilarious.” Greenville college was in the middle of nowhere and the Portugal native decided to learn about music from a bunch of old Illinoisans. “Maybe some basic knowledge came in handy,” he continues, trying to give some credit to his education. “But the music industry changes every year and you’re learning information that’s five years old in college.”
So, in school, he learned how the music industry used to work. “I guess you could say I earned a music business history major,” we laugh again.
The idea of RAC, what happened to the collective
“From the beginning, we wanted to be a group of people that all do remixes under one name,” he explained. “We could gather some talent and do it as a group as opposed to an individual person doing on your own.”
“How did that work out?” I asked, already knowing the answer.
“You know when you’re in a group project and you’re the one person doing it all?” He asked rhetorically. “Well, I was doing it all. A lot of people had jobs and real obligations – I was just in school.” So André took over the project and started doing everything under the same name, Remix Artist Collective.
“The name stuck and I kind of ignored it. When I started touring, I brought Karl who started DJing with me.” The definition of the name, he went on to explain had started changing during those tours until it stopped meaning anything. As he moved into producing original music, it ceased to make any sense but, “at one point,” he explains, “I decided that I spent six years of my life building this brand… I’m just gonna stick with it.”
“It’s called RAC,” he concludes. “It doesn’t mean anything – it doesn’t matter.”
Now that things have developed and he’s become a writer of original music, the name has unintentionally become a point of confusion. He’s now writing with other people, covering tracks with his wife and has even produced original music for the HBO series, Entourage.
Independence, album woes and staying relevant
"I feel like I put out a track every week,” André says. “A lot are remixes but… it’s just easier to focus on a song at a time and just put [that one] out.” Since recording his album in 2011 and having to wait three years for the record label to approve the content for legal and distribution reasons, RAC has taken a step back from the traditional record deal.
“After the album came out, I didn’t really feel like it was relevant to do that in 2015,” he says of the album’s long release schedule. As of June 2015, a month after getting out of his contract, André has been dropping music at least once a month with a staggered release schedule. From single tracks to lyric videos, these regular releases are his way of “keeping [his] head above the noise.”
“There’s a lot of amazing work, and a lot of mediocre work out there… [the internet] is so incredibly saturated [with it]. Fortunately, a thing I got used to with remixes is getting to do things very quickly.” Despite the constant work, André is satisfied with this new methodology as, “with a waiting period that was once three years is now two months at the most.”
When discussing the success of his album, he reminisced but responded contritely, “the music doesn’t represent who I am anymore. You have three years of built-up expectations and when they don’t go in [the way you want], it’s so frustrating.”
Making music, with new singles and successes
Last month’s single, “3AM feat. Katie Herzig” (embedded below) has been quite the success – garnering almost half a million plays in the weeks since its release. When I asked him how he felt about this, André answered estatically, “I feel like we’re gaining momentum and people are catching on to what we’re doing. We compare numbers a lot since we’re doing things independently. Keeping my eye on it [lets me] make sure things are going well. I think it’s been a very fun game to get into that that, [especially] in these last couple of tracks.”
With all the data analysis that he and his team had been doing, I followed up by asking why he still makes music. Despite a somewhat-programmatic release schedule and metrics to understand their success, RAC manages to keep the soul in the music.
“So who do you make music for then?” I asked, “Your numbers? Your fans? Yourself?”
“Myself,” André answered, “Absolutely.” Stating that he continues to make music “purely for [his] own entertainment,” the man just wants to be happy with what he does. As it turns out a big part of him being happy is making others happy!
“I’m not just stroking my beard, happily listening to my own music,” he says. “For one, I don’t have a beard and I see it as kind of a game and it’s my job and it’s something to have fun with.” His goal is to “keep going” as he’s noticed the music is “creating an outlet for this weird desire [to] ‘have to make music’ and want[ing] to keep that going.”
“Part of growth is being heard and having people listen to your music,” he says. For André it seems that this is the core of the game. “Artists that say it doesn’t affect them are lying,” he continues. “If a lot of people are stoked about your song, it really affects you.”
In regards to his fans, he said “it feels good when sometimes people will leave really kind messages like, ‘hey this helped me out during this time of my life’.” He hears me smile through the phone and continues, “I don’t sit down and write songs to help people in that way, but it’s a really nice validation.”
Building a synth and making some music
In addition to his solo work as RAC, André still finds time to record music with his wife, Liz. “There was this goal on the surface to release [them] as a free track to celebrate when we hit milestones on social media,” he says of the covers (check them out on soundcloud). “There’s obviously a selfish side of it and it’s a fun project.” Aside from the benefits of recording for fun, he also has been grateful for the opportunity to be creative in a way he hadn’t tried before. “Working with Liz is also really fun,” he sums up, “even though we live together, we rarely collaborate.”
In his home studio in Portland, the electronic musician mostly uses physical instruments, “whether that’s a synth, drum machine, guitar, bass… I have a lot of toys and I just work [here],” he says. “It’s a really nice balance with the touring and, when I’m not touring, it’s good to be home.”
When it comes to his own production, André just “feels more comfortable” playing an instrument rather than programming music on the computer. “You can create exclusive items that you just can’t make on a computer since most people don’t have [the same] instrument,” he explains. “You create a unique sound that’s impossible to replicate.”
“The problem is that I can’t work when I’m travelling,” he continues. “I can’t fix a mix or something when I’m on the road, which can be frustrating.” Despite his long time spent on the road, the remix artist still finds time to come home and write original music on his modular synthesizer. “I’m a building a modular synth,” he says excitedly. “It started with one box and now I have five. It’s so much fun and it’s so nerdy!”
Yet the synthesizer has been more than a toy in André’s creative process. With it’s inspirational aesthetic and pleasantly unique sound, the modular synth has become a “magical machine”:
You turn the lights on and it’s blinking. It gets really heady sometimes when I have to think about every wire. But it creates a situation where a lot of unexpected things can happen. Most of the time they’re very positive things, like happy accidents – you can stumble upon a sound. It’s a magical machine. There’s so much potential that sometimes it’s too much… but it’s great because of that.
After geeking out about gear, it’s easy to become existential in describing the sound of an instrument. So André concludes, “I’m very into the studio and that whole process. I’d say I probably enjoy recording music just as much as I do writing it.”
Inspiration and dedication, some advice for new artists
The PR rep’s voice came over the line, “Hey guys. We’re running kind of behind so this could be the last question or so.” Looking at my notes, I grew excited as I read, “Which relatively new musicians have you been listening to or enjoying lately?”
Immediately, André answered, “A decent amount of people know Pomo. He’s a guy from Montreal and it’s just a breath of fresh air compared to the EDM, droning military march stuff. I really like it. His remixes are really top notch and I always check them out and add them to our set.”
I followed up by asking what advice he could give new electronic artists. He answered:
I think it’s important to learn how a lot of these sounds are created, specifically for electronic artists. If you learn the basics and understand synthesis, it’s going to go a long way. You can’t do the production tricks if you don’t know it. Learn the basics of recording and avoid presets. They are an easy way to get a specific sound that sounds good but then there’s everybody else and they’re using the same thing. If you can distance yourself from that and try creating sounds from scratch, [you’ll find] you’ll especially know what you’re doing.
Another line could be heard coming into the phone call and André began to quickly finish up. “Musicians need to beat themselves,“ he said. "You don’t want to be somebody else since they already exist. You can be inspired by other people, but try to do something that, personally, you’d be.”
This last week I hopped on a bus and headed to Capitol Hill to see Giraffage play at Neumos. I had seen Giraffage once before when he played a free show at UC Berkeley, and even with a pathetic sound system he still rocked it.
I had never been to Neumos before, but I was happy with the layout. It was a small enough venue to provide an intimate concert experience while still being large enough for everyone to have room to dance.There was a fairly large balcony area for those who were 21 or older in addition to the large area of floorspace for all ages to dance.
We arrived hella early, I’m not sure why, but when we got there the very first opener was still on. He was a short kid who refused to put his hat fully on his head named DJ HoJo. He was not bad I suppose; we only saw about ten minutes of his set so its hard to assess his talent. He played mainly electronic, bass heavy PLUR music. For those who are unaware what PLUR is, it’s basically just a thing that raver kids say, although in reality it stands for Peace, Love, Unity, and Respect. PLUR music can be defined by artists such as Porter Robinson and Zeds Dead.
When DJ HoJo got off the stage, Spazzkid came on, looking very hipster with his thick-rimmed glasses and perfectly sculpted manbun (please make this trend stop people). Spazzkid’s set consisted mainly of somewhat slow, dancey electro stuff. I wasn’t a huge fan of this set mainly because most of the songs he played were hard to dance to. There was usually no steady rhythm with which you could move to. Additionally, about halfway through his set he turned into some sort of radio host. He said distracting stuff into the microphone between each song. “New shit,” “Shout out to Porter Robinson,” “Shout out to Ta-Ku,” “New stuff right here.” I swear he must have sent a shout out to each least seven different artists. He did do some random singing that I found went well with the tracks he was playing and was fairly entertaining. However, all in all, I was not heartbroken to see him leave the stage.
Then Giraffage took the stage. He was humble as hell, speaking really quietly into the microphone: “hi guys….” pause for applause, “my name is Giraffage” another pause for applause, “I’m gonna play some music for you” and then he got into it. I, as well as many others in the crowd, was very happy to hear him play a lot of his older tracks, most of which were off of the “Comfort” album. Thankfully he did not follow in Spazzkid’s footsteps and blurt random crap into the microphone; he let the music do the talking. His set had enough groovy songs to get people dancing, only ever interrupted by build ups and drops. He played a couple of really old EDM tracks that were popular like seven years ago. I wasn’t super into this but I guess other people were. I have to admit that the bass was definitely not loud enough on the speakers, or perhaps the treble was too loud, but either way there were some sounds that were just too abrasive and some drops that just didn’t slap hard enough.
His set ended after about an hour, and then after leaving the stage momentarily, he was summoned by the crowd for an encore, which he utilized to play his Janet Jackson remix of “Someone to Call My Lover”. This is my favorite Giraffage track so naturally I was pretty stoked when he played it. After the song ended he received another well-deserved round of applause and the show was over. I enjoyed myself, and it seemed that other people did as well. I would see him again if given the chance.
Music can be related from all over the world. From the south-eastern shores of Brazil to the Pacific Northwest, artists are always coming up with new forms of expression – especially in the realm of electronic. This week, two musicians have released the perfect example of a such a connection.
Brazilian dream-pop experimentalist, Kid from Amazon put out a tape last weekend that’s done nothing but displace my concept of reality. As I walk the streets of Budapest, soviet trams passing by, Musgo Vibes breaks through the monotony with its nu-disco beats and ambient vocalizations. Check out the stream (and download it for free) in the BandCamp player below:
Slow and relaxed at first, the tracks begin to build off of with one another between waves of enchanting synths and samples. As one becomes comfortable with the constant state of disassociation, a state of comfort is pursued through tracks like “Shy” and “Lugares”. Yet, as “Summer Haze” breaks and fades, the album returns to its Brazilian trance – birds chirping between cracks in the rhythm.
As my weekend came to a close, the Kid From Amazon was kicked off my “Now Playing” list by Jaapur’s latest release, the first of many continuous mixes of all his previous albums. This Oregon native provided the perfect contrast to the dream-state that MusgoVibes, had put me under. Check out Tension below (free download):
Glitchy and poppy, the mix does nothing but keep my head bobbing. And as the tracks meld into one another, the album has become my new playlist for any dark and gloomy day.
Both musicians, though thousands of miles away from one another and myself, have managed to make this freezing cold how-can-this-still-be-fall weather feel a little more like summer with every bass-line, synth-riff, and break-beat. Check out their respective BandCamps here and here.
Jazzy and slow, Jesse Romo, starts off his latest track, “The Beauty of One” with a casual collection of guitar and drums. As the vocals begin, a wave of relaxation washes through all the instruments at once. Although the music isn’t technically difficult, it does challenge the listener to take in the message that Jesse strives to convey. “It is about feeling lost and alone, having a spiritual experience, and coming to find connectedness with the Universe,” the artist shares in the description of the song’s music video:
A compilation of various Yosemite and Joshua Tree time lapses accompany the song as it drifts through various states of calamity. Check out the music video on Facebook or in the stream above.
This track is decidedly different than the music that can be found in Romo’s previous releases. While mixtapes like Listen, Love (Epilogue) and Afterthoughtsrely heavily on sample-based production around jazz and hip-hop, other projects like happykidッ vibes out like old school Nintendo. This single ushers the first time that Jesse’s voice has appeared on a track – needless to say, I am glad to hear it.
To explain the inspiration behind the song, Romo states:
“I started writing this song last summer, during a difficult couple of months in my life. Facing trials and tribulations again recently, but now with a greater sense of hope, I felt it was time to complete the song.”
There’s plenty of more beauty to be found in this artist’s work on Bandcamp and Soundcloud. Feel free to stream and download anything as he has gladly offered it all up for free!