interview, Interviews

Bill Cosmiq Interview

At the turn of the millennium, alternative hip-hop label Def Jux was dropping some pretty avant garde shit. The game…

At the turn of the millennium, alternative hip-hop label Def Jux was dropping some pretty avant garde shit. The game was in a weird place – the golden era was over, and we weren’t as deep in the musical “cesspool” we’re engulfed in today. Artists like MF DOOM thrived in this particular pocket of time, as did the harlem duo Cannibal Ox. Rappers Vast Aire and Vordul Mega, over a sound bed provided by El-P (one half of Run the Jewels), released The Cold Vein in 2001, which was acclaimed as one of the best hip-hop albums of the preceding decade. Unfortunately, following a falling out with Def Jux, the duo all but disappeared. After a serious of empty promises of a awaited reunion, they emerged with a dope new album and a new sound. That sound belongs to New York-bred producer/rapper Bill Cosmiq.

I recently had an opportunity to chat with Bill about his music, his influences and how he became the go-to producer for one of hip-hop’s most acclaimed underground groups.


Can you start by introducing yourself to the people?

I’m a producer/emcee based out of New York City. I’m ½ of the group “The Quantum” and lead producer of Cannibal Ox’s Blade of the Ronin album.

How did you get into music?

I’ve made music for years, developing beats for friends and local artists. I never put pressure on myself to record albums in the past. I jumped into the scene in recent years because I wasn’t hearing a lot of music I enjoyed. I was compelled to make a contribution.

What/who were some of your influences?

I’m influenced by all great musicians. Countless people have made an impression on me from Lee “Scratch” Perry to producers like DJ Premier and Timbaland.

Growing up, I remember seeing Quincy Jone’s signature on the back of Chaka Khan albums, movie soundtracks and Michael Jackson’s Thriller album. Seeing those album credits drove my interest in developing music across genres.

How would you describe your sound?

I never put a label on my sound. Once I try to define it, I set an unnecessary boundary. I just try to keep it honest and inspired.

What’s your creative process like when you produce/write?

I try to get in a zone and allow my beats to naturally come together. Sometimes I have a seed of an idea before I sit down and work, but most times I work without an idea of what I want the outcome to be. Discovery is always part of my process.

While making a beat, lyrics start to come to me inspired by what I hear. The music always drives a mood or mindset.

How did The Quantum (Salvador and you) come together?

We’ve known each other for years. We worked on music because we have a similar vision of the records we want to make. The response people had to our collaboration helped to drive the formation of “The Quantum”. No gimmicks or forced music. The Quantum is the middle ground where our creative styles meet.

Can tell us a little about the Paragon EP?

The Paragon EP was an introduction to The Quantum’s sound. It’s a window into our mindset and what we are offering to the culture of Hip Hop and music community at large. I feel like we are bringing the spirit of the “golden era” with a future-forward approach. The EP also features Kenyattah Black, Taj Hotep and Vast Aire.

You are the main producer of the latest Can Ox project, how did that come about?

I linked up with Vast Aire years ago through a mutual friend, Taj Hotep. The first track we released was Royal Purple Bag off of Vast’s A Space Iliad EP. After that, Can Ox and I continued to connect and work on a number of records.

The team really responded to my beats which produced some inspired studio sessions. Ideas exchanged back and forth and the consistency of those sessions helped to fuel the energy behind Blade of the Ronin. It all comes down to chemistry in the lab.

What was the process of putting Blade Of The Ronin together?

I wanted the album to have a cohesive feeling all around. We didn’t rush the creative process. I let things come naturally and the compositions started developing an intense cinematic edge.

After we created “Gotham” in 2013, Cannibal Ox and I started to discuss Ox City and what that environment is like. We discussed the look, tone and feel of that city. Blade of the Ronin is like a soundtrack that illustrates a walk through that environment.

What is your fave song on the album, and why?

I look at the album as a whole. The whole listening experience of the album is favoured.

What’s next for Bill Cosmiq?

I’m focused on producing more quality music and presenting my creative ideas to listeners. The Quantum has a new project in the works and I’ve been collaborating with a diverse range of artists. I’m interested in working on a film score in the near future as well.

…Cannibal Ox and I are still in the shop working on new heat!

Any last words or shoutouts you’d like to leave our blog with?

Shout out to my IGC family and Above Average Hip Hop

Riley here — father, artist, videographer, professional writer and SERIOUS hip-hop head. I'm a member of the Universal Zulu Nation, and I think everything is better on vinyl. Add me on Twitter! @specialdesigns
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Still Ugly After All These Years: The Atmosphere Interview

“You should’ve seen the look on my face, when I was losing faith. Y’all got me in hesitation, embarrassment. I…

“You should’ve seen the look on my face, when I was losing faith. Y’all got me in hesitation, embarrassment. I might be the last generation of grandparents,” Slug raps on “Virgo,” the harrowing lead single from Atmosphere’s latest LP, Mi Vida Local.

Weeks following the release of “Virgo” – one of the most stripped-down and tense records in Atmosphere’s expansive catalog – the UN Intergovernmental Panel on Climate Change (IPCC) revealed the planet could reach a point of catastrophic effects from global warming by 2030.

Slug said Mi Vida Local, came from a place of “desperation” as a father worried about his children and future generations.

“I think all of that just really speaks to just fucking adulthood and fatherhood,” he said about the album’s tone. “Shit that you just kind of start to learn to confront and acknowledge inside of your fears and your thoughts. When you start to think about being responsible for more than just your own self.”

 

Mi Vida Local serves as the third of an accidental trilogy dating back to 2014’s Southsiders, when for the first time, Ant wasn’t in the studio working with Slug in Minnesota. For the past three records – Southsiders, Fishing Blues and Mi Vida Local – Ant has worked in California with studio musician G Koop, who has since landed production/writing credits on hits such as Migos’ “Bad and Boujee,” 2 Chainz’s “It’s a Vibe” and DJ Khaled’s “I Got the Keys.”

Slug said without having Ant in the studio with him, he wrote more autonomously and was able to explore deeper themes of death and mortality.

“I was kind of given this freedom to explore kind of what mortality meant to me,” the Minnesota emcee said. “So once I got into it and seeing what I was doing, I was like, well I like the three different approaches to mortality. The first approach is to see death as something you’re afraid of. And the second one is the exact opposite – to see death as something that you can embrace. And you go okay, then fuck it, I accept it. And then the third one is to see death as life. Death is living, and that’s this one, Mi Vida Local. Death is a living, actual almost organic being, an organism. As if death is personified as something that is alive. So it’s like death through life, or life through death. However you want to look at that.”

During a brief break in their hectic touring schedule, Slug spoke with Above Average Hip-Hop about the duo’s latest record, their recent reissues, Atmosphere’s legacy and how his songwriting has evolved over the years.

Still Ugly After All These Years: The Atmosphere Interview
 
Above Average Hip-Hop: You’re about to re-issue When Life Gives You Lemons, you re-packaged the Sad Clown Seasonal EPs earlier this year, and re-released Overcast! last year. When you guys re-release these records, do you ever go back and listen to them? And how do you feel revisiting these records after 10 and 20 years?

Slug: You know, I don’t really revisit the music too much, unless I’m intending to grab some of the songs for the show. Then I’ll go and revisit those songs just to see if I still remember the words, for starters, but also just to see what I can do to update the songs. You know, how I’m going to fit them into what we’re doing.

So with that said, I spend more time looking at the packaging and working on trying to figure out what I want this product to look like, or feel like. How I want that to affect how people take it. We’ve put effort into that with new releases or with reissues. We always like to the album – and when I say album I’m referring to the vinyl because that’s kind of all I care about, I don’t care about digital or CDs. I’m a collector, I collect vinyl, so I want my shit to feel good. I want to be able to feel solid when you hold it, when you look at it. And that’s kind of where I’m at with the reissues as well.

The label likes to do the reissues because it gives them an opportunity to try and correct the shit they did wrong the first time, you know. They get like a second chance to make it cool, which I think for like an album like Overcast!, there’s a million reasons why that was important, or The Dynospectrum for example. But for Lemons, shit man, that was a pretty decent package the first time. So when they said they were going to reissue I was like, well I don’t know what the hell you’re going to make this better. But I’m pretty happy with what they come back with. They did the book for the full-size vinyl, which is kind of crazy.

 
Maybe it was because I was like 17 and 18 when those projects came out, but I always felt like Lemons and the Sad Clown EPs were among your best work or at least some of my personal favorites. Was there anything that stood out during those sessions, where it felt like you were just in a great creative zone?

Slug: No, we didn’t. And I can speak on behalf of both of us. We didn’t know what we were doing – just like every other album. We were just making what we enjoyed making at the time. You know it’s funny too because when the record came out, there were plenty of people that didn’t like it. There were plenty of people –even with the Sad Clowns – there were plenty of people that pushed back against it and said we want God Loves Ugly. We want Lucy Ford.

And so it’s interesting to hear you say that when you were 17 and that came out, you actually liked it for what it was. Most people don’t like our shit until it’s been out for a year. And then once it’s been out for like a year, people will be like oh yeah, that was good. Even with God Loves Ugly – man, when we put that record out, and I remember the reviews that came in on that album were very negative. And then now people are like that’s your classic or some shit.

But I kinda think that’s been part of why we’ve enjoyed the type of career we’ve enjoyed. It’s that maybe don’t make the kind of music that’s meant to be absorbed and appreciated in one listen, you know what I mean? Maybe that first listen is supposed to be like, “yeah I don’t know how I feel about it.” And then after you revisit a month later, or even a year later, you realize that it grew on you. Not because it’s amazing music but because it’s honest. And a lot of the stuff we use in the moment isn’t meant to be honest, it’s just meant to give us that quick gratification. And we don’t really make quick gratification music.

So that’s why I often watch people make their top 10 album lists of the year, and we don’t make those lists. But then, when I look at who did make that list in 2011, those artists aren’t even around anymore [laughs]. And I’ve come to accept that that’s kind of our place.

 
You said Ant was out in California for the last few projects, was he working with G Koop out there? Do they sit in a room together and work? I know you’ve been working with him since Southsiders, but in the last couple of years, he’s kind of blown up. He’s done stuff with the Migos and 21 Savage. Do you feel like you were kind of in early on this technique of having a musician create samples?

It’s hard to say. He’s been doing this a long time; way longer than us and the Migos. When he works with us, it’s different than when he works with 21 Savage. With us, you don’t have to worry about what the results are going to be [laughs]. You know what I mean? That worked, that didn’t work. We keep the mistakes. We’re not here to make polished shit. We’re not here to make music for people to like, man. We make music to challenge people.

Now granted, we don’t get to challenge the world. The world doesn’t give a fuck about us. But the people that do like us, I need to challenge them. We have to challenge them to like us. We have to make it difficult to like us. And I know that sounds stupid or corny. I don’t mean it to sound as corny as it sounds, but it’s like, otherwise I’d just make God Loves Ugly 2. But I feel like the point of [Atmosphere], is to go well, we have an audience, let’s see what we can do to force them to decide if they still like us.

When you play shows and talk to these kids afterward, do you feel like the new work is received as well as your older stuff?

I like how you said kids, that’s funny, cause there are no kids anymore. It’s all grown-ups with problems [laughs]. I say it like this – it depends on when you discover us. If you are 24 the first time you hear us, you’re going to gravitate towards the music I was making when I was that age. If you discovered us when you were 33, you’re going to like Lemons the most.

I feel like the music we’re making right now, if you’re 24, I do believe you can find a way to appreciate this, but in time you may really appreciate it more when it starts to address the shit that’s going on in your world. I feel like that’s kind of the beauty of this shit. It’s not really timeless like they say. Art is not as timeless as we like to pretend. It captures a moment in time. Like, if you were 16, and you said your favorite record by Atmosphere was Fishing Blues, that would make me nervous. Cause it would be like, what are you relating to on that as a 16-year-old? What kind of trauma did you experience that allows you to relate to some of the songs that are on there, you know what I mean?

It really kind of depends on who you are, what you’re thinking, and what you are when you discover the shit that we’re doing. And I feel like it usually makes full sense to me. The people that are like, yo my favorite shit by you is Overcast!. And I’m like you’re fucking 19, that should be your favorite shit. Holler at me in 15 years, and tell me what your favorite shit is then, you know?

 
The writing on this album feels a lot denser and metaphor-heavy than your last couple albums. It reminds me a lot of the early Atmosphere days, was this style of writing something that you were pushing yourself to do?

I don’t even know. I can’t call it. To me, all this shit is metaphor heavy. I’ve never made a record that’s not metaphor-heavy, in my world. But at the same time, I guess when I look at a song like “Chasing New York,” off the last album, it probably just sounds like an East Coast beat, circa 1997 underground rap type shit. That’s probably what it is, but in my world, no that shit’s a fucking huge metaphor for something.

My experiences with these songs are way different from anybody else’s. To me, it’s all very dense, all of it’s very heavy. Because it’s all my shit, it’s all my experiences. It’s all the things that have formed me into who I am. So sometimes I think I might be standing too close it, to answer a question like that, you know what I mean? I can’t be held accountable for, or even begin to understand what people are getting out of this shit.

So you don’t think you’ve ever tried to – for a lack of a better phrase – dumb down your lyrics to get a message through?

I’ve definitely had times where I’ve been like, okay, what I want to communicate in this song? I don’t want people to misinterpret it. So I might make sure I nail a line or two that I put some stuff in there, usually a starter line. Or make sure the important points of the song is easy to interpret, just because in the past I’ve definitely had moments where I regretted not doing that.

I got songs that people have misinterpreted to the point where it was, I thought, detrimental to my relationship with those people. Especially some of the earlier shit that people took as super negative. People thought I’ve had lots of drug problems. There are certain things that people have taken from my music where I’m like, yo that was never something I wanted you to take. But then again, as I said, I can’t be responsible for what you interpret, but I can be responsible for what I allow you to have.

I would never say that I’ve tried to dumb down because that’s a fucking shitty way to see your audience. I don’t think the audience is dumb, so I don’t have to dumb down to talk to them. If anything, I think they look harder, they look too deep into my shit sometimes. And that’s why I’ve sometimes been more careful to make sure to be direct. Not because I gotta be dumb for them, but because if I’m not extra direct, they’re going to be like, this is about this.

 
In a recent interview, you referred to Atmosphere as a legacy act, in the sense that you’re really only competing with yourself at this point. How do you think the new album fits within your legacy?

I mean, I don’t know how to answer that. It’s perfect in the sense that it’s the exact thing that needs to occur between the last album and the next album. Every single step is exactly what it’s supposed to be – for better or for worse. And so if this album is horrible – that’s okay because that’s what it’s supposed to be in order to get us to our failure that we have to get to. Or maybe this album is amazing, and that’s okay because that’s what it’s supposed to be in order to get us to our success.

How do you feel like the last couple of records sit next to the rest of your catalog?

Here, we’ll take Fishing Blues for example. I think Fishing Blues was a really great album to me, the way that Seven’s Travels was. It’s not one of my favorite projects that I’ve done, but what it did was, it was almost like the kitchen sink. Seven’s Travels was like what else, what else can we put on here? And that’s how we approached it. Fishing Blues had a version of that, but it was way more stitched together from a conceptual standpoint. Whereas Seven’s Travels, all of that conceptual shit, we stitched that together last minute. That wasn’t really there, we made the shit. When we made Seven’s Travels… that was the height of the of people trying to fill the CD up with 80 minutes of music. So we were trying to fill it with 80 minutes without getting boring, you know.

I’ll say it like this, Seven’s Travels might be my least favorite Atmosphere album of all time, and Fishing Blues might be my favorite Atmosphere album of all time. But not because the songs are good or bad, but because Fishing Blues is an artistically successful attempt at what Seven’s Travels failed at. And I wasn’t trying to create an artistically successful Seven’s Travels, that was just something I saw in hindsight when it was all over with. But Fishing Blues was everything but the kitchen sink, yet it stitched together naturally. It just worked. We didn’t have to put stupid little interludes in between the songs in order to tie them together. It all just made sense to me as a piece. Whereas Seven’s Travels, to this day I’m like, man why did we put that on there? Why did we do that? Why would we put this song next to that song?

“Lifter Puller” should’ve been on God Loves Ugly. I had the song when we made God Loves Ugly, why didn’t we put that on God Loves Ugly, you know what I mean? Seven’s Travels is full of mistakes, whereas Fishing Blues just organically came together the way it was supposed to. We were recording that while Anthony was going through a lot of life stuff, brand new life stuff for him. So I’ll always have an attachment to Fishing Blues for that because it’s always going to be a snapshot of this time in our life.

 
What keeps you driven to continue touring and making new music? Do you ever think that inspiration will run out?

I don’t know about that. To me, it’s about the fun. If I ever stop having fun doing this stuff, I’m not gonna do it. I’ve been fortunate enough to work myself into a position where there are other streams of income and there are other things in my world that I can do, and so I’m not dependent on music the way that I was 10-12 years ago. So now, it’s really like, fun. And that’s the funny thing. Now that I don’t necessarily need to get on TV and convince people to buy my music, that’s when people go, why are you still doing it?

Like now, the relationship I have with my music is way purer than it was when I needed you to buy it. Now I’m able to write a song without considering or giving a fuck about if anybody’s ever going to like it. Like for real, for real. As an artist, we would always say things like, I make my music for me. I don’t care if anybody likes it. That’s a lie. You want people to like it, so they will buy it, so they will buy t-shirts so that you can pay your phone bill. Well now that’s no longer the problem, you get to re-evaluate your relationship with your music. And that’s what I’ve gotten to do since Family Sign.

Family Sign was when I finally realized like, what a minute, like the records are still selling, but it’s okay if they stop. We’ll be okay. So now I can really get free. I can really write a song about wanting to fuck my wife, without worrying about anybody being like, “this is a stupid song. Why would anybody listen to this?”

Photos by: Dan Monick

This interview was edited for length and clarity.

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J French Tells His Story In New Album “OGB 1.5”

Jamal French works his ass off. Born and raised in Oklahoma City, rapper, multi-instrumentalist, and producer better known as J…

Jamal French works his ass off. Born and raised in Oklahoma City, rapper, multi-instrumentalist, and producer better known as J French has completed what seems like a lifetime’s music industry experience. Since writing his first rhyme to Devin The Dude’s “Don’t Wait” at the age of 12, he has started his own publishing company, he has worked with several rappers in Oklahoma-Texas scene and Los Angeles scene including RC & The Gritz, Erykah Badu’s official band, and members of TDE. Despite it all, J French is as level-headed as can be. He strictly adheres to a self-imposed requirement to make music from the soul. “I’m so determined to be heard,” says French. “[Music] is so spiritual, it’s connected with our soul and I want people to feel good. I’m going to share with the world what God gave me.”

J French Tells His Story In New Album "OGB 1.5"

This year, French proved he’s diligently working on his musical growth. Earlier this year in January, he released his self-produced sophomore album, OGB (Only Gets Better). Earlier this month, he dropped OGB 1.5, a complete overhaul of the original opus, with brand new previously unreleased songs, and remixes of fan favorites. Recently, I got the chance to speak with the rapper about everything he has done musically, his new album, and how having a speech impediment began his career.

Growing up in Oklahoma City, music played a big part in his life. Being that his father, Brother Num, is a two-time Grammy Award-winning musician, the apple didn’t fall far from the tree. French started playing instruments at an early age and wasn’t until the age of 12 he discovered his God-given talent. He had a bad speech impediment where he couldn’t say a sentence without stuttering. In speech therapy classes, he wrote rhymes/poetry to remember it word by word. In school he started reciting the rhymes.

“I did it in school and didn’t stutter through the whole thing not once,” notes French. “I just didn’t want to stop doing it because it cured my stuttering problem. One day I said, ‘I can rap.’ By the age of 15 it was attached to me.” Rapping became apart of his everyday life.

French is known to be a one-man-show with his music. He raps, produces, and engineers a countless number of records. One of the records he co-produced on OGB 1.5 is, “A Song For Kanye” featuring Los The Greatest. “This is a song defending Kanye,” notes French. “Society beats people up for being different. It’s almost like the weakest people are becoming the bullies to the strongest people. They don’t care why he wore it [MAGA hat], they just look at the fact he wore it.” French touches on many things in the new project including writing a letter to the late rapper, Tupac, on “God Given” to sharing his testimony on the album’s intro, “Only Gets Better”. “I shed tears writing the intro,” says French. “I talk about the stuff I went through and piecing the puzzle together.”

Towards the end of our conversation, we started talking about the state of hip-hop and how talent is one of the main keys to survive in this game for the long run. “Talent is something you can’t knockoff,” he says. “The way to separate yourself from others is being talented and working hard.” French knows he has the talent, drive, and knowledge on the music business to make a change in the rap game. “I am apart of the growing age of hip-hop. People who are above average hip-hop are winning because they’re authentic and everything they do means something [impacts the world].”

“Any last words?” I asked. “OGB 1.5 is the best album of this year that was done by one person,” he says with assertiveness. “I say my only competition this year is J.Cole.” After finishing this interview, one thing I learned for sure is that J French has confidence and pure talent. Make sure you check out OGB 1.5 and let us know what you think.

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El Da Sensei Talks Longevity & “XL” LP With Sadat X

He also reveals four albums on deck.

When it comes to career longevity without selling out the original vision — and ultimately the core integrity — of your brand, no OG rappers have managed to continue rocking shit the way that way Sadat X (a third of Brand Nubian) and El Da Sensei of The Artifacts have. Longtime fixtures on the European scene, the two have been peers for years, but it wasn’t until three years ago that the two decided to bless longtime fans and deep-rooted Hip Hop heads with a joint LP titled XL.

 
“I’ve known X since the 90s and been a fan since day one,” El Da Sensei tells AAHH. “We have mutual friends as well … they all said ‘hey why don’t Y’all do an LP together that would be crazy.’ We agreed.“

With well over two decades in the game, El explains it’s his love of the sport of Hip Hop that keeps him dedicated to his craft. “I think we show longevity working with new producers and keeping a fresh sound; we’re not compromising to fit in,” he says of this collaboration. “We try to set trends rather than follow,” he adds.

“That keeps the fans inspired. We still love it and its also a job….gotta love what you do right?”

Their love is evident. A peruse of either of the rappers Instagram illustrates them living their best lives; from wine to merch, they’ve been able to endure through countless eras and trends since first rising to prominence with their respective crews.

 
“You have to love the craft and be a participant cant sit on the sidelines warming the bench,” he explains. “We have merch out there, continuous releases … you have to be working even more than before. There are so many outlets to use now. We can sell ourselves more than ever.”

“You have to be yourself … nobody can be me and X. So we push that still!”

When it came the delayed (but worth the wait) LP, El notes that every verse they laid made the cut. “Every song made it except for the one we leaked, ‘We Must Stand’ prod by 9th Wonder. We have a song on deck ready for the next single as a bonus, but everything made the final version,” he says.

Fans who have come expect feverish release schedules from the duo (individually) have lots to look forward to — in addition to a tour of the USA and one in Europe kicking off March 2019. “We definitely working on the next XL project immediately,” El says with a laugh. “I have about 4 albums ready to go on deck for the next 2 years … I’ve been busy.”

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Rising Malaysian Star Zamaera Is Poised For Greatness

Z chats Malaysian Hip Hop culture, her new project, and much more.

Photo credit: Kanya Iwana

23-year-old Malaysian MC Zamaera has been slowly bubbling onto many radars as of late. After appearing on a viral installment of Yo! MTV Rap Asia’s Rap Cypher, knocking out her first festival appearance, and dropping a buzzing new single titled “Z vs Z” ahead of the upcoming EP of the same name, she is primed and ready to take things to the next level.

Hip Hop in Malaysia has grown exponentially throughout 30 plus years,” she explains to AAHH, indulging our ignorance of the regional scene. “I didn’t live through the early stages of this groundbreaking period in the Malaysian music industry, but one characteristic of Hip Hop is its continuous evolution in sound, style, and swagger.

“It doesn’t matter if you jump on the Hip Hop bandwagon in the 80s or 2000s; if you have something to say — visually, lyrically or sonically — you’re a part of the culture,” she adds.

 
As Z explains, Malaysian society’s reaction towards Hip Hop has been somewhat of a gradual appreciation. She fell in love with the culture in her late teens. “Love, heartbreak and all the sweet sins of adolescence brought me to Hip Hop; and now I’m in it for life.”

https://www.instagram.com/p/BkMzNXzALI-/

She’s accomplished a lot — considering her debut video dropped just over a year and a half ago. This year, she was blessed with the opportunity to journey to the US to develop and focus her craft, and her career. It was here that Z vs. Z was born.

“It was a very reflective period for me,” she notes of the experience. “I did all of the creative work while I was there. I worked with the amazing producer Floyd “Timeless” Thomas, writing the lyrics. I also teamed up with the ever so talented creative director — Kanya Iwana — and the most brilliant ALL FEMALE TEAM, Savannah Chonis, Francesca Martin, Nawel Abdelaziz, and Shaina Santos for the album artwork.

 
“The experience was humbling, overwhelming and stimulating,” she adds. I was given a chance by Lakefront Records, which resulted in the recording of this EP in the United States [specifically, Chicago]. It was overwhelming because I was in a foreign place, where EVERYONE is trying to make it. Stimulating, because of the work ethic that I managed to experience. The entertainment industry is no joke, and that motivated me to do more for myself as an artist.”

The new EP, as she explains, is the essence of her as an artist, stemming from reflection and acceptance — two things she describes as dominant themes in her writing. “It took about two months for the idea to be translated into the entire project,” she reveals.

During her recent appearance at the Good Vibes Festival in Selangor, Malaysia, she had a chance to debut her two-month labor of love in front of a receptive audience — an experience she doesn’t take for granted.

“That was a day of many firsts. The first time I performed at a festival, first time I used in-ear monitors, first time performing with dancers, first time I played the entire EP LIVE,” she exclaims proudly. “I’ve learned to let go of the things I don’t have control over — but all in all, it was an adventure of a lifetime.”

https://www.instagram.com/p/Blj5L7lgxJD/

With a dizzying 2018 thus far — and an even more jarring 2019 ahead — Zamaera’s current mood is focusing on her mind, body, and soul. With an endorsement deal with Nike Malaysia, her project, and (if it all pans out the right way) a tour, you can hardly blame her for cherishing a little downtime.

“Follow me on my social media,” she says as our interview draws to a close, “because I will be announcing something extremely exciting very soon.”

https://www.instagram.com/p/Bn9ChNxg2Sq/

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Laya LaRoche Interview

"Do what you want kitties! Live your life and don't let anyone tell you how to live it!" —Laya LaRoche...

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