Describe your sound.
My sound is basically me. If you know me well, it makes perfect sense. It’s everything I like. You can hear New York in there, but you can also hear Miami. You can hear the clubs I like and the producers that have influenced me and you can hear a lot of things I have seen and done.
While you’ve released a few collaborations (Bassanovva, your EP with Udachi) and remixes, you’ve been rather patient with getting solo material out there. Were you honing your craft through the collaborations and remixes beforehand, or were you working on these tracks for maximum impact?
It took me a really long time to make solo stuff because of everything in the above answer. I just wanted my own sound. I wanted people to say, “This sounds like Jubilee.” When you collaborate it’s a lot easier, you don’t think about those things. It just comes together and you bounce off one another. With remixes too, you have someone else’s ideas to guide you. I’m not really in a hurry either. I never want to rush anything, so I just took my time. I also obviously learned a lot from Udachi and Grahmzilla because they are wizards.
How did the Nightshifters label (which you run alongside Jason Forrest), come about? What inspired you two to form the label?
I met Jason in Berlin a few years back and we kept in touch. We had known a bunch of producers that we couldn’t believe weren’t signed, so we decided to put them out.
How did your collaborations with Grahmzilla come to frution?
I have known Zilla forever. We have DJ’ed together a few times over the years and we have sent each other a lot of music. We get along really well and have similar music taste. I was up in Toronto after a Canada tour and we decided to make some songs while I was there. We were really excited when Sinden wanted to put them on Grizzly. We were lucky enough to get some great remixes on that record too.
There’s a very prominent Miami Bass influence heard throughout the Pop It! EP, but there’s also traces of Juke, Ghettotech and current foward-thinking club music to be found, especially in ‘Overtown’ and the title track. How does living in two different cities affect and influence your music? What is the scene like in Miami compared to Brooklyn?
Brooklyn and Miami are so different. The two cities are so inspiring in their own way. Miami is really good for the beach and the city and the air and it has its own feel. I LOVE driving around Miami - it really helped me with making music. Electric Pickle always brings great acts that don’t even start until 3AM and that is perfect for me, and the vibe is so real. The art scene [in Miami] is amazing. I wish there was more going on regularly music-wise though (there’s plenty of Jersey Shore fist-pumping music - no thanks).
Sweat Records does a lot of cool stuff in Miami too and have created their own little independent community that I really like. Honestly, you are just so spoiled in Brooklyn. There is something to do every single night - sometimes two or three things going on. Brooklyn is very forward thinking, whereas in Miami it is very difficult to bring in new things. I love both cities for different reasons.
What plans do you have for the rest of 2012?
Some new music, some new collabs, some traveling, anything can happen. I don’t like to talk about things until they are completely finished.
Lastly, what are your five favourite booty bass tracks?
Oh man, this is gonna be tough. FIVE? Hmmmm… I will try:
Luke - Scarred (First song with Trick Daddy in it.)
95 South - Wet n’ Wild
DJ Uncle Al - The Uncle Al Song
Duice - Dazzey Dukes
Posted on 12 June 2012
Splack Pack - Scrub the Ground
Tags: #Interviews #Jubilee #Bassanovva #Mixpak
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