An electronic music project from Aussie producer Chris Emerson (better known by his stage name Emoh Instead), What So Not was founded in 2011 as a duo consisting of Emerson and Harley Edward Streten, the latter of whom operates under the nom de plume Flume. The duo issued a debut EP, 7 Dollar Bill, shortly after forming, and also began releasing remixes of artists like Major Lazer, Peking Duk, and Tom Piper. The year 2013 saw the release of a second EP, The Quack, which featured a collaboration with American rapper Action Bronson. Later that year, the single “High You Are [Branchez Remix]” arrived, followed by 2014’s “Tell Me,” a collaboration with RL Grime. Flume left the project in 2015, shortly before the release of the Gemini EP. The EP included the eponymous hit single, which featured Sydney-based singer and producer Jessica Higgs, better known as George Maple.
Another single, “Lone,” dropped the following year. That track appeared on 2016’s Divide & Conquer EP, which included collaborations with Kimbra and Rome Fortune as well as Maple. Instead reunited with Maple for that October’s “Afterglow,” a single by Australian rapper Tkay Maidza that also featured production work by Djemba Djemba. In late 2016, What So Not and Skrillex teamed up with Grime on the single “Waiting.” After the release of the stand-alone single “Better” in 2017, What So Not began the rollout for his debut full-length. Arriving in early 2018, Not All the Beautiful Things featured appearances by familiar faces Skrillex (“Goh”) and Rome Fortune (“Demons”), as well as an inspired roster of additional guests including Daniel Johns (Silverchair, the Dissociatives), Slumberjack, San Holo, and Toto.
WHAT SO NOT AND SAN HOLO ANNOUNCE A NEW COLLABORATION IN THE WORKS
What So Not and San Holo have a new single in the works. The two previously collaborated on the former artist’s 2018 debut album Not All The Beautiful Things. The two producers took to Twitter to tease the collaboration, although the song itself its still under wraps.
At the time of writing, the song also does not have a release date. Although based on the context of San Holo’s post, it seems the song is nearly finished.
The producers’ initial collaboration “If You Only Knew” was well received, making a follow up track all the more logical. The high-energy future bass track complemented by guitar riffs from San Holo remains a highlight from What So Not’s debut album.
Stay tuned for more announcements to come surrounding this highly anticipated release from What So Not and San Holo. With all the excitement surrounding their announcement, we’re hoping it’ll arrive sooner than later.
What So Not Announces Debut Album ‘Not All The Beautiful Things’, Drops New Single
Aussie producer What So Not (real name Chris Emerson) has announced his long-awaited debut album, while revealing a new track from the record.
Not All The Beautiful Things will be released on 9th March, and it features a huge array of guests, including Skrillex, Rome Fortune, San Holo and Silverchair’s Daniel Johns, who featured on Emerson’s last single ‘Be Ok Again’.
Surprisingly, it also features iconic American rock band Toto, whose hit song ‘Africa’ has been a staple of Emerson’s live sets for years.
The album has come together over a period of three years, and is a complete artistic statement with everything from the music videos to Emerson’s live stage being designed to fit together cohesively.
Not All The Beautiful Things is preceded by the new single ‘Stuck In Orbit’, which features vocals from Sydney musician BUOY.
The song was born during a jam session with Jono Ma from Jagwar Ma, and expanded into something else once BUOY was added to the mix.
“The vocals began as a sketch of adlibs from BUOY with only two words, drawn out across the verse ‘I ov-er comp-en-sate’,” says Emerson about the process.
“That set the tone for the entire piece; each word delivered with much thought and consideration.”
“I wrote the next phase of the lyrics whilst ‘stuck in transit’. I had just reached a point of feeling settled in a special place with amazing people around me when (as usual) I had to pack up my life and jump from city to city for months on end.
“Things came full circle as on this very trip I ended up crossing paths with Jono multiple times, jamming further on ideas for the song and when I finally returned, brainstormed the final elements of the vocal with Winona Oak and BUOY.”
Stream ‘Stuck In Orbit’ below, and pre-order Not All The Beautiful Thing is right here.
In just the last year, 21-year-old Santa Cruz producer G Jones has captivated young audiences across North America with his playful and expansive take on broken beat dance music. His live show weaves an ever expanding catalog of heavy knocking hip hop beats, cross-genre experiments, and expansive melodic riffs in a way that illuminates and drives the dance floor.
With his irreverent attitude toward unimaginative EDM, this young producer pushes the envelope and blurs the lines between musical styles while maintaining a meticulous balance of minimal space and heavy bass. His latest release Eyes (available on Robox Neotech) is an audacious energy enhancer comprised of premium West Coast bass music, a swift collection of cross-genre experiments and dubbed-out sub bass monsters designed for the dance floor.
This playful EP illustrates the artist’s signature reverb style with bulbous basslines, pulverized vocals and unexpected adulterations of spaced-out sounds. G Jones has recently garnered attention from several highly acclaimed producers, with his beats appearing in mixes by Pretty Lights, Zeds Dead and DJ Shadow on BBC’s “Diplo and Friends” program. Touring heavily in Europe and hitting U.S. festivals from Coachella to Symbiosis Gathering this Summer, G Jones generates music dosed with an undeniable sense of freedom and fun.
Greg Jones, better known as G Jones, is a bass electronic music producer based out of the Bay Area.
G Jones started playing guitar at nine and first started getting into electronic music by recording himself playing drums and guitar then overlapping it after. He eventually got into electronic music instruments and started messing around with house and hip-hop like beats. It was not until 2008 when he first heard dubstep that G Jones transitioned into making bass music. He first went by the name Grizzly J. [Some of his biggest influences are Aphex Twin, EPROM, Rustie, and Doshy.
Jones graduated from UC Santa Cruz with a degree in Fine Arts. He attended Palo Alto High School.
G Jones went on his first national tour in 2014, opening up for Minnesota. They have both worked on tracks together.
G Jones has worked extensively with Bassnectar on both collaborating on music and opening for his shows. G Jones has been featured on Bassnectar’s albums Noise Vs Beauty, Into the Sun, Unlimited, and Reflective.
G Jones has performed at festivals and events across the country, including Burning Man, Electric Zoo, Mysteryland, Electric Forest, Shambhala Music Festival, etc. G Jones uses Ableton Live for production and performances.
In October 2018, he released his debut album The Ineffable Truth.
G Jones Breaks Down His Brain-Busting LP ‘The Ineffable Truth’: Exclusive
Time isn’t real. It’s a construct of mankind born from our need to make sense of our surroundings, growth and decay. Likewise, time is limber on Northern Californian producer G Jones’ assaultive 12-track album The Ineffable Truth. The project melts in and out of tempos and textures, bending the very fabric of space and sound as it pleases.
Percussion is the backbone of everything G Jones builds. Even the treble and bass hit in pulsing rumbles. It’s music so textural, you can just about feel it on your fingertips. If you’ve got even a half decent system, you’ll get lost exploring its layers.
There are highs and lows, breakneck speeds spat against introverted lulls. It’s fun and fantastical, massive and grimy, and there’s a sick live show on its way in support. Billboard Dance caught up with G Jones to get the backstory on each his albums.
“222/Unknowable” I wrote this song immediately after I wrote “Forgotten Dreams,” and together, they form book ends for the album (and actually play nicely into each other if you play the album again after “Forgotten Dreams” ends). The beginning is one of many moments on the album with no set tempo. The project bpm floats around a lot until the beat finally comes in, before melting away again at the end. To me, this song feels like beams of light and unexplainable bliss.
“Different Sound” This was the oldest demo I wrote that ended up on the album. I wrote this song some time in 2016 and held on to it, because I knew I wanted it on my album. Revised the mix and some elements of it in 2018, but the original demo was a staple in my sets since the Visions Tour era.
“Arbiter’s Theme” In the live show, this song’s vocals play with an RPG style dialogue box featuring a many-faced character and lyrics in a mysterious language. I don’t want to say too much beyond that.
“Understanding the Possibility” While writing this song, I started to understand the way I wanted the album to sound as a whole and how the songs would speak to one another. It was sort of (a) proof of concept for the sound world that became the setting for many of the other songs on the album, like “222/Unknowable,” “Forgotten Dreams,” etc.
“Soundtrack to the Machine” This one had the working title “confusion.” I don’t know how to describe this song at all, but it is one of my favorites to play live. Definitely the cheekiest and least serious song on the album, which is something I love about it.
“Everything All At Once” This is one of my favorite moments on the record, personally, and one of the only songs I’ve successfully written on a plane. The entire chord progression and vocal layer came together on a flight, and I added the acid synth, piano, shimmering sounds, etc., later in my studio. Hopefully, one day, I’ll be able to play this on piano.
“In Your Head” I have a special place in my heart for text to speech vocals. They feel like the sound of my childhood or something. I remember typing pages and pages of words or just random characters into text documents on my first computer and telling my old mac to read it to me. The end is one of my favorite moments. Totally raw, speaker-ripping noise.
“Time” This song came together in about three days and was originally significantly shorter (particularly the middle section with no drums), but I kept thinking “no, this can’t feel rushed, we should linger on this moment for as long as the song wants to be here.” Ultimately, it turned out to be one of my favorite songs I’ve written and plays seamlessly into “That Look In Your Eye.”
“That Look In Your Eye” I have rarely written music with vocals as a primary focus, but with this song, I built the whole structure around this vocal lead. The ending was one of the most time-consuming parts of the record to get right. The ending vocal “climax” strays from the tempo of the rest of the song, and I spent countless hours trying to figure out exactly how long each note should hold, how bright and loud to make each element, etc.
“Iridescent Leaves Floating Downstream” This song is named after a spontaneous vision I once had during a difficult time in my life a few years ago. I don’t really want to say too much about the experience, but it was an intensely life affirming and reassuring moment that I will never forget. This song is dedicated to that moment and feeling.
“Forgotten Dreams” To me, this song feels like a dream, and the feeling of almost being able to grasp some abstract idea or vision, but it feeling like sand slipping through my fingers. The finale is one of my favorite moments on the record.
G Jones Is ‘Understanding The Possibility’ of Bass Like None Other: Exclusive
You know the intro to the old black-and-white TV show The Outer Limits? All that about controlling the vertical and horizontal, focus and volume? Or entering The Twiglight Zone, opening a door with the key of imagination to a new dimension of sound and sight, shadow and substance?
That’s what listening to G Jones will do. It’s a mental minefield of sudden drops and stutters, bass lines that open holes under your feet and send you shooting sideways to some warped mystery land.
It’s pretty awesome, and it’s earned him collaborations with experimental juggernauts Bassnectar, DJ Shadow and Eprom. Aphex Twin plays his tunes, which should give you some idea of what to expect, though his track “UNDERSTANDING THE POSSIBILITY,” the lead single from his forthcoming debut LP, hopes to shatter your assumptions. “UNDERSTANDING THE POSSIBILITY” is surprisingly beautiful. It showcases Jones’ signature complexity through a softer, more sensitive lens. It’s only when the song hits its brightest peak that the switch flips toward manic chaos.
The layers make Jones’ work really exciting, and “UNDERSTANDING THE POSSIBILITY” is rich and full. It’s got us really stoked for the full LP.
The mind-warping single was out Friday, June 15,2018.
G Jones’ tour smartly combines visuals and sound – By EVELYN YEH
February 15, Evelyn traveled to Philadelphia to see G Jones on tour for his debut album The Ineffable Truth. She had seen G Jones live three times prior to this show, but this would be my first time seeing him headlining. She had been anticipating it for months.
She arrived at the venue early enough to catch sets by openers Brainrack, Chee and Tsuruda, who all played hard-hitting experimental bass music as the sold-out show slowly packed in a dense crowd. She stayed on the rail of the balcony to maintain my view of the stage, armed with the knowledge that G Jones’ visual production for The Ineffable Truth was a part of the experience that was nearly as important as the music itself.
After the lights dimmed for the introduction to his set, G Jones slowly unveiled each element of his production. Self-curated visuals, a circular platform with strobes around the perimeter on which he and his equipment stood, pillars of rotating lights on the sides and more helped transport us into his black and white world of powerful bass lines and intricate melodies. Throughout the set, G Jones himself controlled the visuals on stage. His crew meticulously arranged and timed all aspects of his production to accompany even the most subtle details of his music. For instance, spiraling strobes and visuals signalled the arrival of “Helix,” and flashing lasers during certain synths of “Soundtrack to a Machine” incited an uproar from the crowd. G Jones and his crew had spent over a year creating the visuals and designing the lighting elements for the tour. This show put their impressive efforts on full, breathtaking display.
Since Evelyn seen G Jones three times before The Ineffable Truth and she can recognize a decent amount of his discography, the music he played was no surprise to her. Along with playing songs from the album, he included many un-released tracks and older ones from the Visions and Acid Disk EPs. Seeing him live again felt like stepping into a familiar home — except this home contained experimental bass that pounded through my body.
Highlights of the set included the interludes of “Everything All at Once” and “That Look in Your Eye,” which decelerated the aggressive bass lines and reminded the audience that the show was meant to be an artistic spectacle rather than a head-banging contest. Despite the frequent tempo shifts within his songs, G Jones demonstrated his mixing expertise with seamless transitions. His clever addition of production chops from “Fuck What You Heard” to “Helix” left me speechless. Going to a G Jones show is an entirely different experience from listening to his music on headphones or speakers at home. The visual production is the biggest factor in this, but experimental bass artists like G Jones and his frequent collaborator Eprom undoubtedly put on the heaviest shows I have ever attended. Experiencing the live glitches, sounds and edits they skillfully infuse into their sets is unlike anything else.
The most interesting aspect of electronic music is that you can sample, synthesize and alter literally any sound that you want. While many producers stick to conventional sounds and arrangements to write radio-friendly music, some artists tap deeply into their personal artistic visions and create tracks that truly push the boundaries of what is understood as music.
With this understanding, The Ineffable Truth was without a doubt my favorite album of 2018. In my experience as a listener, the innovation of G Jones’ sound design on the album is unparalleled. His songwriting and compositions are masterful. The album takes me on a journey through his world of distorted bass textures and shimmering melodies that I never want to leave.
G Jones crafted the live show for this album just as meticulously as he wrote and produced the songs on the album. Every motion of light had a purpose during the set, just as every sound on the album was thought out and precisely arranged. Among the many shows she have attended, the creative brilliance of G Jones’ music combined with the experience of his live show is only matched by Porter Robinson’s Virtual Self. Ironically, G Jones himself was inspired by Porter Robinson’s Worlds tour in 2014 to develop his own show with an equally cohesive and well-defined vision. Four years later, he succeeded with The Ineffable Truth.
A new wave of genre bending bass music has started to take over the underground scene in Northern California.
It’s glitchy, it’s dubby, it’s trappy, and it’s been driving people absolutely wild. One of the most prominent artists responsible for driving this movement forward with his amazingly creative and hard hitting music is G Jones. Since 2012, this Santa Cruz native has been shaking up the underground scene something fierce, and in no time at all has risen to become one of the Bay areas hottest artists. Recently, his latest album Eyes, along with uniquely diverse collabs with Bleep Bloop, Grimblee, Mad Zach, & the Widdler have been receiving massive support from big names like Zeds Dead, Dj Shadow, Nastynasty, & Pretty Lights. When he plays live, no G Jones show is ever the same, his on the fly remixes and breakdowns of his own music keeps the crowd on their toes and begging for more long after he’s done.This is one artist that you will definitely be hearing a lot of in 2014 and beyond as his relentless rise to stardom continues at a startling pace. We recently had a chance to sit down with G Jones and ask him a few questions about his music and blossoming career. Check out the interview and some of his latest tunes below. Don’t sleep on this wildly unique new artist!
How long have you been making music? What got you started?
I started making music by writing songs on guitar when I was like 9, and then started making music with a computer when I was 13 by recording myself playing guitar and drums on Garageband. I got into music because my brother was into alternative rock music and played guitar, and I thought that was really cool. I started making ‘purely’ electronic music (just using software synths and drum samples) when I was 15 or so.
What do you use to produce & perform?
I use Ableton Live for both. I use almost solely Ableton’s built in synths/effects in my productions. My live setup is a sort of DJ-style set, in that I mainly mix using 2 audio channels and then have several more channels of acapellas, drum loops, risers, 1 shots, drum samples, etc.
Describe your music in one sentence.
Trippy, broken beat bass music.
You’ve become known for being uniquely genre defying, do you have any advice for artists who are trying to break out of the mold?
I think it’s a good idea to just make the kind of music that you enjoy most and that comes naturally to you. For a long time I worked mostly within genres (ie: making nothing but 140bpm dubstep for a few years). As I got tired of only producing/playing/hearing that style of music I started branching out more and taking influence from other styles I liked, like juke and hip hop. Now I try to take the ideas from all styles of music I like and use it all as inspiration to make something that is unique and maybe a bit bizarre, but also hard hitting and dance floor oriented. I guess my only advice is just to be open to making tunes that are a bit out of your ‘comfort zone’ and not be afraid to try something new.
How long does it usually take you to make a track?
Not very long. When I have time to produce music I usually write at least 1-2 songs in a day, and go back later to decide which ones are really worth fine tuning and releasing. Usually my songwriting process involves messing around with random sounds until I get some kind of inspired moment, usually discovering a cool melody or hook or drum pattern or something, and from that point I can usually write the overall progression and song structure within 2-3 hours. After that it can take as long as a few weeks or as short as another hour or two to get all the details (transitions, mix down, etc) cleaned up, and then it’s done.
Who/What inspires you to make your music?
I’m mostly inspired to make music because music makes me really happy, and producing beats is pretty much my favorite thing to do. I’m inspired by all kinds of music, from stuff my friends make to stuff I grew up listening to. Recently I’ve been really inspired by the sounds of UK Grime.
If given the opportunity who would you like to collaborate with in the future? So many artists… a few at the top of my list would definitely be DJ Shadow, Mr. Carmack and Rude Kid.
What do you like to do when you’re not in the studio?
If I’m not making music I’m probably either playing shows/traveling, in school, or chilling with my girlfriend. I’m a senior at UCSC right now so it’s a bit chaotic juggling finishing college with touring and writing new music, but in a few months I will have a ton more time to work on music and hopefully some free time so I don’t always feel super busy.
You had the opportunity to play at Burning Man in 2013, tell us a little about that experience.
I’m part of Camp Questionmark at Burning Man, and this was my 3rd year going with them. Camp Questionmark at the burn is probably my favorite place to play music ever. We bring an insanely huge PK sound rig and build a huge scaffolding fortress that basically looks like an epic bass castle on the playa. I played there twice this year, once on Thursday night by myself and then again on burn night as a vs set with Minnesota, which was definitely one of my favorite sets I’ve ever played.
Do you have any specific plans for this festival season?