Wajatta Blog

June 4, 2019
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Casual High Technology. Music by Reggie Watts and John Tejada. We make music so you can dance to it.

Wajatta – the new group formed by beat-boxer/comedian/musician Reggie Watts and electronic music artist/DJ/producer John Tejada recently released its debut album, Casual High Technology. Presented as a cosmic collection of funk-infused techno, Casual High Technology is the culmination of decades’ worth of Watts and Tejada’s favorite electronic music shaped to fit a new dance sensibility. Wajatta (pronounced wa-Ha-ta), as the name suggests, is a mash-up of the artist’s last names. Having grown up with similar musical influences, Austrian-born Tejada and German-born Watts draw from their love of urban, electronic music. Exploring the intersection between influences and innovation, the two describe Wajatta’s music as “electronic dance music with its roots in Detroit techno, Chicago house, ’70s funk and New York hip hop.” Tejada’s deep, melodic production makes the perfect backing for Watt’s wide vocal range and live looping skills.

Credits to: Resident Advisor

Wajatta’s Wickedly Funky (And Fun!) Casual High Technology

As a way of potentially creating something genuinely new, or at least surprising, the time-honored but perhaps neglected artistic scheme of melding or juxtaposing multiple dissimilar aesthetic beliefs or conceptual visions in order to birth a third entity, independent of its parents’ genetics, might be the best way to describe the resonant thrills encoded within the grooves of Wajatta’s debut album.

Fascinating, funky, funny and just plain fun, the appropriately titled Casual High Technology is the knockout result of a fortuitous partnering of beat-boxer/comedian/musician Reggie Watts and electronic music artist/DJ/producer John Tejada, whose backgrounds and areas of expertise, on paper at least, wouldn’t immediately suggest logically fertile grounds for collaboration. German-born, L.A.-based Watts is familiar to TV watchers as the bandleader on CBS’s The Late Late Show with James Corden, and for his 2016 Netflix special, Spatial, numerous major festival appearances and as co-host of the IFC variety series Comedy Bang! Bang! He’s an improvising comic motormouth known for an excellently fresh use of an array of looping pedals to avalanche audiences with major loads of surreally humorous vocal and musical quixotics.

Meanwhile, Tejada is what you’d call a West Coast electronic legend, a reputation the Austria-born/L.A.-bred tonemeister earned for his consistently satisfying catalogue of uniquely (within the “genre”) melodic and subtly opulent arrangements on labels such as his own Palette, primo Koln imprimatur Kompakt, Pokerflat and Plug Research; a major draw on the Euro club and festival circuit, he’s also due big tips o’ the hat for what in retrospect are groundbreaking remixes for the likes of The Postal Service, Bomb the Bass, Kevin Saunderson, Gui Boratto and Simian Mobile Disco, among many others.
A wickedly funky branch off the techno tree — yes, it’s great for parties — Casual High Technology is on the one hand a tasty batch of undeniable dancefloor fodder. Dig a bit, though, and the set reveals a lot more than that, and this is where the aforementioned “third entity” thing comes into play: As heard on tracks like the gorgeously harmonized opener “We Know More (Than We Let On),” “The Solution,” “Je Wa Soto” and “Synchronize,” this super-choice compendium of the best of a few decades’ worth of Detroit techno, Chicago house, ’70s funk and East/West Coast hip-hop is, while not overly studied, rather educational. Whether boiled down and studio-enhanced and transmogrified via Tejada’s advanced melodic and harmonic gifts, or perhaps owing to Watts’ special brand of this-absurd-life humor, virtuosic vocal-style references (hear him channel EWF’s Philip Bailey throughout) and unfettered sense of sheer sonic possibility, if one pays the record the honor of listening to it more than once, that lucky one will hear these initially infectious but merely charming tracks blossom and bloom, transforming into musically thrilling entities.

It’s not that electronic dance music has never seen real artistic depth before; it is fair to say however that the genre has rarely evinced the willingness or ability to venture there. And of course the wisdom behind great music of any type is how it rarely reveals its true nature, its resonance, its soul, till one has lived with it for an extended while. Owing mainly to Tejada’s wonderfully understated use of a gently progressive harmonic and textural palette, Casual High Technology’s tracks too do first come off as mildly engaging bits of danceable product — which apparently is about how high most other e-dance producers or DJs set their bars — so it is somewhat of a revelation to experience the flowering of these pieces into entities quite unlike what they at first appeared to be; “Get Down With Your Bad Self,” even, with Watts spouting deliberately wack-ironic “party” lingo, mutates in effect from eyeball-rolling tolerance to amused affection for the track.

Worth noting is the duo’s working process of conceiving and executing the album’s tracks: In what seems to have become the core element was the very idea of the quickness of action with which the tracks were generated, mixed and edited. This by now vintage idea of not letting the intellect interfere in the flow of creation — to not censor one’s self, to respond to one’s immediate environment and fellow musicians — was in Watt and Tejada’s hands/mouths a way of capturing an evanescent, spontaneous magic as if netting butterflys fluttering by.

There was a time when those hoary old new-wave types from the early ‘80s loudly proclaimed “Forget art, let’s dance!” Sure, but lately it’s become way clear that such simple dichotomizing between the two things is, well, it’s just not necessary. Casual High Technology offers the chance to chin-scratch-ponder a genuinely fine, high art sound, and shake your booty at the same time — should you so desire.

Credits to: Riot Material

Wajatta It shouldn’t be painful to have fun and make art

L.A.-based electronic duo Wajatta drop their debut album on May 11. They’re an unusual pair for sure — Reggie Watts is an acclaimed absurdist comedian, while John Tejada produces refined, melodic techno. Put it all together, and Wajatta make off-the-wall funk and hip-hop–inflected dance music by capturing, looping and layering Watts’ vocals over Tejada’s synth and drum arrangements.
Titled Casual High Technology, the album will be available initially as a digital release. The vinyl will be released June 29. The song “Slippin’” is getting regular play on KCRW, which recently hosted Wajatta on Morning Becomes Eclectic. “Runnin’” was released on 7-inch in March as a lead single, with a digital teaser first appearing in December.
Wajatta and their label, Comedy Dynamics, have kindly agreed to have L.A. Weekly premiere “Get Down (With Ya Bad Self).”

“‘Get Down’ started as a simple idea, which got totally transformed with the help of my frequent collaborator, Justin

Maxwell,” Tejada explains. “Justin took my linear idea, added the main vactrol bass pulse and spaced apart [Reggie’s] busy vocal into what is now the final version.”

Wajatta – the coming-together of electronic composer John Tejada and poet, musician and stand-up comedian Reggie Watts. Andy Hermannsat down with them in Los Angeles to dig into how this surprising duo works so well

John Tejada rises to greet the arrival of his friend and collaborator, Reggie Watts. “Do you remember?” he asks. “This is the spot of our first date.”

Reggie looks around. “Oh, right, that’s true,” he says, his ever-present smile widening.
They’re on the back patio of the Paramount Coffee Project in Los Angeles, a favorite hang of Reggie’s because it’s right down the street from CBS Studios, where five times a week he leads the house band on The Late Late Show with James Corden. After first meeting at one of John’s DJ gigs a little over a year ago, the two men reconvened here for a little coffee and conversation, bonding over shared passions — old-school hip-hop, 80s sci-fi flicks — and similar upbringings.

Long before they met, they were mutual fans: Reggie of John’s crisp, propulsive techno productions for labels like Kompakt and Poker Flat, John of Reggie’s surrealist comedy and improvisational vocal funk jams. Still, it took a while before John broached the subject of working together. “I didn’t want to force him into anything because I figure anyone who meets him is like, ‘Hey, do you wanna be in my thing?’ So we just hung out a bit.”

When they did finally begin working on the project they would eventually dub Wajatta — a portmanteau of their last names — their musical chemistry was immediate. Two of the tracks on their debut album, Casual High Technology, were recorded on their first day together in John’s home studio in Van Nuys, several miles north of Hollywood, where he lives on a quiet, tree-lined street that seems an unlikely source for his futuristic sounds.

“On Make Some Sense the first bit you hear was first-take Reggie,” John says, referring to the wordless scat singing that begins one of the album’s most classically four-on-the-floor tracks. “I work with a lot of people that are fast, but they need to hear it and write some lyrics and get the headphones and get used to it. [With] Reggie it was just like, I hit record and five seconds in, it’s what you hear on the record.”
“Yeah, it was pretty instantaneous,” says Reggie. “What he played me was really fun and awesome and it sparked a lot of possibilities in my head.”
Reggie is famous for working improvisationally, using vocal loops to build tracks from the ground up and then freestyling on top of them with an expressive, multi-octave voice that startles people who know him only for his comedy. It’s a style that seems at odds with John’s precision-tuned techno — but John, it turns out, likes to work quickly, too, rejecting the popular notion that producing electronic music has to be a laborious process.

“It shouldn’t be painful to have fun and make art,” he says. Once you’ve logged your
10,000 hours, you shouldn’t still be agonizing over getting the perfect kick drum sound. “This isn’t supposed to be a challenge. We both put 20-plus years into it. We should be able at this point to express ourselves without too much error.
“I agree with him 100%,” says Reggie. “I’m always looking for the fastest form of production. And it’s not about low quality — it’s about capturing the freshness. That’s the difficult thing. If you’re doing something long enough, what you’re expressing is not the thing you’re worried about. Like, I’m never worried about, urgh, will I have an idea?”

He says this matter-of-factly, not “tooting my own horn,” as he puts it. By his own estimate, he’s logged “about 15,000 hours of stage time,” most of it doing an entirely improvised mix of standup comedy and music constructed from vocal loops. “I’d say about nine or 10,000 of those hours — just into the ether. There’s no evidence of me having done it, no recording of it, nothing.” So when John asked him to collaborate, he was ready to tackle a project on which there would be a tangible, permanent record of his improvisations.

John, for his part, began producing techno in the mid-1990s and has become internationally renowned for a distinctively springy yet cerebral style, built almost entirely on analog synths. He’s never courted mainstream success by tailoring his sound to the trends of EDM, but his best-known tracks, including Sweat (on the Walls) and The End of It All, are the kind of underground classics that can fill any dance floor, from a dirty warehouse to a Vegas megaclub.

Both men are biracial and bicultural. Reggie was born in Germany in 1972 to a French mother and an African-American father serving in the US military; John came along a couple years later in Vienna, the son of an Austrian conductor and a Mexican-American opera singer. They both moved to the States at a young age; Reggie’s family settled in Montana, while John’s mother brought him back to Los Angeles’ San Fernando Valley, where he’s lived ever since.

“He was a little younger when he moved here, but some of that stuck in our heads,” John says of their similar backgrounds. Both men are hesitant to attribute too much of their creative identities to their upbringings, though Reggie does think it played a role in his ongoing fascination with language. “I love speaking in a way that sounds like a particular language,” he says. “When I toured Europe, I used to do fake Italian, fake Spanish, fake whatever.”

On Casual High Technology tracks like Je Wa Soto, Reggie strings nonsense syllables together in ways that sound like a lost African dialect, or possibly the patois of a particular Rio favela. “A lot of our improvisations, people say, oh, is that Brazilian? Portuguese? Which I kinda like, because that’s a beautiful, really sexy language.”

Their collaboration is an extension of their friendship. Everything is done together, in person — bouncing ideas back and forth in a studio, rather than over email. “You have to hang out,” says John. “You may have a bit of food, you have some beers, you make a tune.”
There’s an ease and warmth to the music on Casual High Technologythat makes sense once you know their process — and once you see the two of them sitting together at the very same table where they had their first “date,” sharing a slice of coffee cake and setting up the punchlines to one another’s jokes.

You wouldn’t call Casual High Technology a comedy album, even though it was released on a label called Comedy Dynamics that’s best-known for stand-up albums from the likes of Bill Hicks and Patton Oswalt. But it’s filled with a playful back and forth, as Reggie’s vocalese loops ping-pong between the snaps and clicks of John’s drum machines. Often, as on the subtly insistent mid-tempo groove of Slippin’, the sounds bleed together until you can’t tell where the vocals end and the synths begin. “A lot of the percussion, even though it’s not super-obvious, it’s his mouth,” John reveals.

Their chemistry peaks on Runnin’, which achieves a kind of weightlessness in its lush blend of layered, soulful vocals, jazzy keys and high-BPM techno gallop. It’s the embodiment of their philosophy of working quickly and keeping it fresh — 20-plus years of experience distilled down into five minutes of dance music as graceful and seemingly effortless as a ballet dancer’s grand jeté.

Things get ruined fast for us if it’s like, no, it’s not right, try it like this, try it like that,” says John. “Then it’s like, you know what? This song’s not gonna work.”

“Exactly,” Reggie says, laughing.

To perform live as Wajatta presents new challenges for them both. Reggie has to learn how to rein in his improvisations and recreate, at least in part, the melodies and phrases of the original album tracks. John has to learn to follow Reggie’s lead and embellish on the fly when inspiration strikes his partner, which it frequently does. “We’ve almost built these signals,” John says. “There’s certain things I do — like if I pull the beat out, he knows, here’s a change coming. And we just like … right?”

Reggie nods in agreement. “Eventually I hope John and I will have a portion of the show or moments in the show where we’re just kind of jamming together,” he says. “I’ll have a synth on stage and I’ll loop and he’ll be doing beats.”

At the time of our interview, they’ve done five live shows, including radio and TV appearances. In two nights, they’ll be doing a sixth, an album release concert at the Teragram Ballroom in downtown L.A. “I’m curious what we’ll be doing,” John says with a chuckle.
“I am, too!” says Reggie.

The show is a triumph. Once each track has achieved liftoff, propelled by John’s Roland TR-909 beats and Reggie’s vocal loops, Reggie steps to the front of the stage to work the crowd, unleashing his inner house diva with soulful shouts and a soaring falsetto. He’s clearly having a blast, bobbing his top-knot in time to the beat. Even the often stoic John moves to the sinewy rhythms, a shy half-smile etched across his face.

“This is a tune off our fourth album,” Reggie jokes at one point. “I hope you guys like it. It’s a song about love, loss and regeneration. Enjoy.” Then, unexpectedly and much to the audience’s delight, they launch into John’s biggest underground hit, Sweat (on the Walls), with Reggie paraphrasing the track’s original, spoken-word vocals in a deadpan, vaguely British accent: “Have you ever been a party where there was just sweat, dripping down? Dripping down from the walls?”

For the encore, they improvise. John builds a drum track on the 909, one element at a time. Reggie adds some vocal percussion effects, then loops the phrase “Get some.” John adds more synths. Reggie adds a keyboard part. He sings a falsetto lead, something that sounds like, “I know we should be able to know,” though it could also be the half-formed words of a made-up language. He looks back at John and they exchange grins.

It’s a moment no one will ever experience again. And like everything Wajatta does, it sounds effortless.

Credits to: Wepresent


BLOG What So Not

What So Not Blog

May 31, 2019


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.

Credits to:



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.

Credits to: EDM


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.

Credits to:

What So Not returns to Reno on July 6th, 2019 at 1Up.
ENVI • RECESS (51-Fifty and Kwaby)
10pm | 21+


BLOG G Jones

G-Jones Blog

May 29, 2019

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.

Credit to: Discotech


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.

Credits to: Everipedia

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.

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.

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.

Credits to: Billboard

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.

Credits to: Billboard

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.

Credits to: The John Hopkins New-Letters

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?

Lots of dope ones that I can’t announce yet!

Credits to: YourEDM