EveryDejaVu Newsletter Issue #2: Interviews with Phoenix James & Jiles
And some favorite projects as of late from Cliff Notez & Dephrase, dANNY tRASH, and Mawa .Dzulo.
We (me and all of you intelligent readers) are back for the second issue! They say the third time’s a charm, but I think the second time can be just as good. I was happy to see the amount of views and subscribers the first issue got, as well as some responses saying they missed EveryDejaVu as a blog. Thanks for all of that! Before getting into this issue, I wanted to share some quick label updates.
There’s a new Borboleta single! “You Could Be My Lover” is the third single from the Rhode Island singer and the last before we enter into EP mode. It’s a song about the fuzzy feelings of a first date/potential new love. It’s cheeky, fun, and feels like summer love. You can watch the video here and stream the single here.
As well as that and on the same day (busy Bandcamp Day!), we worked with Satchy to release a new t-shirt with all proceeds being donated to The Black School.
"I wanted to give back to the community and people that inspired me and made me the person I am today. Without studying the history of African American arts, I wouldn't have found the inspiration to create as a artist. I chose to donate the funds to The Black School because I support their vision to educate the Black youth on their art and history. - Satchy
You can buy the shirt here, which also includes a download of five unreleased demos from the Pasadena-based artist.
Onward! I wanted to subtly insert a bit more of myself into this one solely in the form of where I’m from. I was born and raised in South Florida (specifically Pembroke Pines) and moved to Massachusetts (specifically Boston) over three years ago. I figured I’d interview an artist from each state who both recently released great projects, as well as put together a brief playlist of music from the two states (this was inspired by both of their responses about local artists that I wasn’t familiar with). Maybe I’ll update this one over time.
Interview with Phoenix James
Photo taken from Phoenix James’ Instagram account
I wrote very briefly about producer and singer Phoenix James’ album Aw(ful)some for the first newsletter, but I had only sat with the project for a short period of time and I really didn’t know anything about the Miami artist at the time. The album itself spans between the ranges of R&B, soul, house, and hip-hop. I did a triple take when I learned she was only 17 years old, especially hearing the way she cohesively webbed all of these sounds and approaches to production over just nine songs. After appreciating this album a bit more, I reached out to get a deeper dive into who she is, living in Miami and its music scene, her songwriting process, and the process behind Aw(ful)some.
Ryan: You're currently based out of Miami, right? How long have you been there and where are you from originally?
Phoenix James: Yes! I’ve been living in Miami for 15 years, but I was born in Birmingham, Alabama.
Oh wow, nice! I grew up in Broward and was there until I was 23. Do you like Miami? It seems like you collaborate with a lot of artists there. How's the music scene there in your opinion?
I love Miami. It’s one of the most exciting cities in the U.S.! The scene here is really dope, and there’s a lot of great artists here, but most eyes are on the scenes in LA, Atlanta and up north right now. I think we need to be making a lot more noise down here and put the city back on.
Who are some of those great artists that people from Miami might not know about?
People like Chuck Ba$$, ilikebloo, KOY, Swimmer, Pose Retals, Dylan Hall, Artlovetrap, TENDAYS, Aniyé Strachan, Kaiya Nyasha and INVT are all people outside of the oversaturated trap realm that have their own styles and are a fresh representation of the new Miami sound.
When did you start making music?
I started playing music at the age of 7. My first instrument was guitar, and then I started learning bass at 11. I started making my own music around 8th grade and releasing in high school.
What other instruments do you play?
I used to play cello, but I’m pretty sure I lost that one. I play a little piano too, but nothing too crazy.
What does the title to your album, Aw(ful)some, mean to you?
Aw(ful)some to me means accepting that not everything is going to be 100% great all of the time, but being fully present in those moments, whether good or bad, and learning from them instead of moving on so quickly.
Besides yourself, who did you work with in making Aw(ful)some?
Abner Dennis, who produced “Taxi.” KOY also appeared on “Taxi” with som guitar. Zander Zel, Ailan Feldner, and Jsted did some co-production for “Criminal,” which I am so pleased with. And RealLiveAnimals did the beautiful mix and master, which really made the album what it is. Everything else on the album was written and produced by myself.
According to the internet, this is your first album. When did you feel you were ready to create a body of work like this and when did it feel right to release it?
I still ask myself this question, but I think that I was becoming apart of so many other projects that weren’t mine, and I wanted something with my name at the forefront. I wanted something I could claim as mine and be proud of. I believe in my skill and my drive completely so it was just a matter of time and planning. It felt right to release it when I heard the final masters honestly. I had been working so hard everyday on the production and getting the vocals close enough to whatt I really wanted that the songs were just noise to me and I started to hate the entire project. So when I heard the final product, it was like hearing it for the first time and I fell in love with it again.
Your album borrows sounds from many genres and never gets stagnant in a singular sound. What artists influenced who you are as an artist and how would you say they specifically influence your songwriting techniques on this album?
Missy Elliot and Pharrell’s unique styles have always motivated me to stay true to my own style. Thom Yorke and Frank Ocean’s flows have influenced the way I approach a song. They’re never afraid to leave a moment of silence in between lines, letting the phrase linger, or choosing where to emphasize a phrase. I also listen to rappers when looking for a new approach to flow. Andre 3000 was a big one for me along with Drake and his debatably “problematic” approach to different genres and styles.
What's your current songwriting process? Do you start with writing lyrics or does the instrumentation/production side of things come first?
It really depends every time. Sometimes, I’ll have a 8-bar loop and just write out the lyrics for the entire song right there. Sometimes, I’ll produce the entire song first and then write, which is what I did for “Criminal,” or I’ll write along as the production progresses. It’s really about what I’m feeling or what I have to say in that moment.
What was your favorite song to make on the project and why?
My favorite song to make was “Criminal.” First time diving into a new genre is always an exciting adventure for me, and bringing it to Zander and Eddy was a super fun moment. The energy the song puts out is infectious.
Outside of music, what else are you interested in?
I feel like I don’t have a certain niche outside of music yet, but I love architecture and history, anything to do with water sports, and dance/dancers. I make music for them on the low.
What should we be expecting from Phoenix James next?
I’m already working on a new project, but for now I’ll be dropping a few singles and visuals along with those, so I can properly introduce myself to the world as an artist. Keep your eye out for those!
Interview with Jiles
Photo taken by Marika Belamarich
I was late to the party on discovering the Van Buren Boys/Records, a collective and record label based out of Brockton, Massachusetts. But it was a refreshing discovery that led to a waterfall of talented artists, infectious chemistry, and pristine presentation. You could easily take a ride in that waterfall by jumping around their YouTube channels going from watching an infectious, car ride anthem with Lord Felix’s “Nothing,” hear Saint Lyor tackle a melodic piano and 808s with an arsenal of vocal flows and melodies on “Gossip”, or catch a Van Buren Boys track that has the whole group rapping backstage of a venue in Cambridge with “Live @ The Oberon.” No matter what route you go, the chemistry is apparent (solo work or group work, the entire group shows up) and the quality is consistent and high quality. Jiles is one of the founders of Van Buren Boys/Records and he recently released a phenomenal EP titled It's Not Much, But It's Mine? that showcases his unique, gritty vocal style over hard-hitting, dark production, as well as a window into who he is. I spoke with him about his EP, his collaborators and the Massachusetts rap scene, and Van Buren.
Ryan: How have you been holding up during COVID? Has it affected your creativity or any other facets of yourself as an artist?
Jiles: Nah, it hasn’t affected it one bit. I’ve been cooling it during COVID. I’ve had more time than ever. Just been writing more and just honestly relaxing. Feels somewhat good not having a set schedule day to day.
What inspired the title of your newest EP, It's Not Much, But It's Mine?
All my life I always loved that phrase. It resonated with me in so many ways, but with COVID happening and people losing their lives or jobs, it really struck something with me emotionally. So I felt now more than ever was the best time to call the project that.
The project is very concise at 11 minutes. Was this intentional or did it just end up that way? Was there more to the project at some point before?
I knew I was going to drop an EP because it’s been a year prior to my last release and I felt like I owed my fans new music. I’m really concise with my music, so I had several records that I took off the project because it didn’t fit the sound I wanted to go. I’m gon’ put those songs on the deluxe.
You have a really unique style that works perfectly with your choice of gritty production. Where do you draw these influences artistically for these sounds?
Prior to Fuck Jiles, my first project, I didn’t release a record for over a year and that was because I wanted to work on my skills, find my flow, work cadences out and stuff like that. I’ve just been a fan of music so long that I know what works for me. I wouldn’t say I have an influence I just know what I like.
How do you choose your production? Who did you work with on this project?
I just know my sound honestly, so I always tap in with Ricky Felix. He’s VB. Him, tee-waTT, and M.ali did “Stones.” The other two producers, Damian and NiklãvZ, I found online and they just had that gritty hard sound I needed.
What are your thoughts about Massachusetts rap and the music community right now?
Mass scene is doing great right now. I feel like artist are taking music more serious then ever out here. So many dope artists who just need a bigger platform and infrastructure to showcase there talents on a national level.
Who are some of those artists you mention that are doing great things in Mass?
Man there’s so many artist to name, but a couple artist outside of VB I’ve been listening to are Big Super, Garrett, $ean Wire, Kadeem, BoriRock. Just to name a few.
How has Brockton influenced you as a person and an artist?
My raps are Brockton. I’m telling my stories growing up in Brockton. It’s literally my biggest influence.
Have you lived in Brockton your whole life? And what about Brockton makes it your biggest influence?
Brockton born and raised! I mean, shit, it’s all I know, you know ? I rap what I know and this all I know. I can tell you thousands of stories of Brockton. My music always been about my story and my life and Brockton is the setting.
It seems like the Van Buren Boys are full steam ahead and not stopping. Can you tell me a little bit about you and your collective/label and when you guys started this?
We’re best friends who love music. Me and a homie came up with the name, but besides that everyone is as equal as the next person in VB. We started VB Records like 2017, and since then, many artists have came and went and I think that was just faith because now we got the right people in it and there’s no turning back.
What's next for VB? Like short term as in any new members joining and long term as in where do you see VB in a few years from now?
As far as rappers, I think we good on that. But if we were to get a rapper, it’ll prolly be a woman. Def more producers. We’re always looking for more producers. Short term, just more music from everyone to finish of this year. Long term, just expanding the brand nationally and globally.
The members of VB seem to collaborate often and you've guys released a handful of singles and videos. Will we get a compilation album eventually?
VB project is something everyone is asking for and we’re aware. But there’s five rappers with five different visions and personalities. We easily have twenty records in the vault though, so it can be done. It’s going to happen. Trust me. It’s just a matter of when and having everyone fully invested in it.
You said on Twitter that you're already working on your next project. Do you have a goal in mind when making new music and anything you've learned from your last two projects that will influence your next one?
The goal is to always make a better project than the last. This next project, I’m pulling the layers on topics I’ve discussed in the past and going more in depth. Letting you inside my feelings. I’m excited for this next project. Biggest takeaway is I can always do better. These last two projects are dope, but I know I get better by the months, so I can’t leave any stones unturned with this one.
Lastly, I've noticed you're a Celtics fan. How far do you think they can go in the bubble?
Our starting five is as good as any team in the bubble, but our second unit and bigs are suspect at best. We can come out the east easily, but we’d need to cut our rotation to 7 or 8 guys and have Hayward play with the second unit more.
Cool Music I’m Listening To
Cliff Notez & Dephrase - Social Absence
On the topic of music out of Massachusetts, Cliff Notez and producer Dephrase come together to drop an EP called Social Abstence via a collaboration between Somerville record label and music store Union Sound and Ontrck. This EP doesn’t even clock in at 10 minutes, but it feels like a journey due to the arsenal of styles thanks to Dephrase’s genre-bending groovy production and Cliff Notez versatile vocal styles and flow. Even within three minutes on “Spiral,” the first half feels like a hyperactive juke fest with a layer of stream of conscious lyricism while the second half slows down and lays out luscious, encapsulating production and auto-tuned vocals (Is that auto-tune? What do I know?). You can grab the EP on very limited edition vinyl over at Music Space.
dANNY tRASH - Danielstonerocks II
dANNY tRASH is a South London producer and singer who I’m ashamed that I’m just discovering (okay, my friend Fate showed me his music). At the end of July, he released the follow-up, or the second episode, to his EP DANIELSTONEROCKS. dANNY tRASH has a captivating voice and continues the story of a character (possibly influenced by himself) and their journey through sex and drugs. But the production steals the show for me. There’s so many layers of instrumentation, background vocals, and interesting effects and textures that brings the listener into dANNY’s world. I highly recommend scrolling through his entire Bandcamp that has releases going back to 2016, as well as reading this great interview with Artefact Magazine that talks about his influences and creative process.
Mawa .Dzulo - Black Gold
“Encountering Mawa .Dzulo’s beats often feels like you’re vaguely remembering a dream that feels far too familiar to be just that.” That’s what is written as the first line in the Black Gold’s release description and it felt apt to include because not only does this description come close to the meaning of deja vu (like EveryDejaVu - ha!), it’s exactly the headspace I’m taken to with these four beats by producer Mawa .Dzulo. The beats on this project definitely are chill and moody at times, but they’re not entirely the type you study to. Maybe the type you study, especially if you’re a producer, for its intricacies: uniquely patterned drums, intruiging vocal samples that create a whimsical atmosphere, pattern sequencing that carries and transforms the mood, etc. I wish I knew more about Mawa .Dzulo, but Black Gold was released on South African label Lilies Records and all proceeds made on this record over the next three months will be given to the Women’s Economic Empowerment Project based in Zambia.
The Video Reel
redveil - “badnews”
This is the video for the latest track from the 16-year-old Maryland rapper. He’s garnered some attention lately and it’s definitely warranted for his effortless flow and ear for soulful production. I’ve had his last song, “Traffic,” on repeat a bit and I’m really excited for his upcoming album niagra dropping on the 25th of this month.
Pink Navel - “Apartment Arc”
I interviewed Pink Navel a little over two years ago after they released their album Born on the Stairs, and I still make sure to revisit that on a constant basis, especially the track “Brittle Fingers.” With that being said, I’m really excited for their upcoming album Giraffe Track dropping through record label Ruby Yacht. Here’s the first taste from that album that comes in the form of a crafty video that blends edited clips of Pink Navel exploring the world through the scope of a fisheye lens.
AJ Suede - “Suede Yacht” ft. R.A.P. Ferreira
While we’re talking about Ruby Yacht, R.A.P. Ferreira joins forces with Seattle’s AJ Suede in the form of clay in the video for “Suede Yacht,” a single off of AJ Suede’s latest album Knowwhatimean? The video has the clay figures traveling the world and some while the two rappers float on an airy beat, which is also produced by the Seattle artist.
Hope you all enjoyed the second newsletter. Subscribe by clicking the button below, so you can get the newsletter sent straight to your inbox and be the first to see when I start getting guest writers who can really write about music (I said this last time, but I mean it this time).