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[weareliminal-blog]

Jakob Ogawa

Behind his cool and reserved demeanor, Jakob Ogawa seems like a typical millennial navigating through his early 20s–  except he’s actually one of Norway’s most popular “bedroom pop” artists, offering a warmer alternative to “cold Nordic” music. He has a natural inclination towards lo-fi textures, jazzy percussion, and delicate, hazy vocals to match; reminiscent of Jeff Buckley crossed with Blood Orange. Indicative of “bedroom pop,” his most recent five track EP Bedroom Tapes was recorded and mastered entirely in his Oslo bedroom. Despite the one month time period it took to complete and the raw, DIY nature, Bedroom Tapes is a multi-layered project, embodying all of your cotton candy dreams, sunbathing beneath palm trees next to your beaux.

Although Jakob is relatively new to the industry, his music emulates a sense of nostalgia and escapism from reality; a psychedelic lullaby unraveling his listeners’ minds. His performance of “Let It Pass” on A Colors Show last year was nothing short of chilling, and arguably the most angelic piece I’ve heard in a minute next to “You Might Be Sleeping” featuring Clairo. In addition to performing in several European cities, we’re anticipating Jakob’s upcoming performance at Lollapalooza in Argentina this Friday.  

Liminal got the chance to meet up with Jakob Ogawa in Echo Park, Los Angeles. Read the full interview below!

Interview done by Christina Neri, Chanelle Wang, and Willis Tiao.

How did you find yourself in this particular genre? I read in a previous interview that a few of your influences are Marvin Gaye and Prince.

I didn’t grow up with Norwegian music. I listened to a lot of Prince when I was a kid. I saw all his movies. My parents showed me a lot of music too. I listen to a lot of different stuff - a lot of Japanese music from the 80s, K-Pop, strange stuff. A lot of my inspiration comes from jazz, from Miles Davis to John Coltrane. Some classical. It’s all mixed together. I listen to a lot of Pavement when I started doing music. It’s an Indie rock band. I was partly influenced by that. I wouldn’t say that I listen to one certain type of music.

Is [Indie pop music] what organically came out from you?

Yeah, I feel like the new stuff I’m coming out with right now is a bit of a different style. It’s not the same vibe. It’s more R&B.

Are you nervous to share that with your fans?

Ah, it’s more me though. I feel like I’ve developed my style more -  the sound textures, production, everything. I’m excited about that.

When did you start making music?

I went to the ninth grade, and just started rapping, listening to Drake and stuff. Laughs I had an artist name, like a rapper name - JJ Stars. I did a Kendrick Lamar cover. I’m not proud of that. Suddenly, I found out that rapping is not my thing. I felt like I could have been a great rapper if I worked at it, but it’s not so personal for me. I discovered several types of music, especially jazz;  Frank Sinatra, Miles Davis really changed me.

From there I got inspiration to do more melodic stuff. I began listening to a lot of 80s music, and a lot of Blood Orange - his old stuff, Champagne Coast, Coastal Grooves. After one year, I started playing guitar, and I made “You’ll Be All Mine.” Then I played the drum tracks, and just started developing myself. I wrote lyrics inspired by early Beatles, that type of vibe; bitter sweet love songs.

It seems like you learned guitar by yourself. Did you teach yourself?

Yeah, I don’t know any theory. It’s all done by ear.

Who do you listen to currently?

I listen to a lot of rare soul. I found a label that re-released stuff from the 60s and 70s. It’s strange stuff, but super inspiring. Generally, I just rather take a trip to a vinyl shop, or go on the internet and get on some blogs.

I read somewhere that when you write, you have a waterproof notebook?

Yeah… it was a joke. Laughs. I was just fucking around on that interview. I didn’t relate to the question. I sat down with my friend, and we thought a waterproof notebook was cool.

Are you currently signed to a label?

Yeah, Playground Music Scandinavia. They just signed a friend of mine too. His sound is really cool, and we developed together; super original. You’ll hear some similarities between our music, but he’s very different too. I would say some of the best music I’ve ever heard.

Do a lot of your friends produce music?

My whole band, like my drummer makes music too  - Beach Boys inspired music. My bassist plays a lot of funky music. The keyboardist, my best friend, he makes music too.

Do you think the cold has affected your music?

No, not at all. I definitely don’t like that cold, Nordic sound. So much of Norwegian music is based around that sound. There are a few artists that don’t follow that trend, like Ivan Ave. Check it out. It’s like very greasy, soulful stuff.

Do you ever feel pressured by your fans to put out music? Have you ever just sat on a bunch of tracks and really thought about the transitions between them?

Well, the last EP was basically scraps. I just fixed the demos. The new stuff I’ve been working on it for a long time, like half a year.

That’s relatively short, but how long did it take you to finish Bedroom Tapes?

Maybe a month.

Did you always think that you’d grow up to be a musician? I read online that you want to study to become a lawyer.

Laughs. I was fucking around with that too.

Did you ever consider another career?

Yeah, I’m into photography. I take a lot of analog photos. I want a Contax T2.

If there’s anyone you’d want to collaborate with, dead or alive, who would it be?

Tyler, the Creator actually hit me up on Twitter. I sent him some demos, but we’ll see where that goes. We’re playing the same festival in Argentina, so hopefully I get to meet him there. It would be cool to have a conversation with Johann Sebastian Bach, just talk to him. I’d love to collaborate with Brian Wilson from the Beach Boys, Marvin Gaye.

Do you ever feel like you were born in the wrong generation?

I used to, but the last few years I’ve started to accept how it is.

Do you have any advice to aspiring artists?

It’s important to be in touch with yourself. Be real, you know? Don’t do anything because someone tells you to do it. You have to do it for yourself. Be in touch with your feelings, and go from there. That’s where music comes from.

Your music deals a lot with love. Do your lyrics stem from any personal experiences in your love life?

Yeah, it’s always like that. There’s been a lot of heartbreaks.

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The introduction of streaming services combined with ephemeral consumer attention makes differentiating talent from trash a chore for the average person. That’s no concern for Philly raised producer and multi-instrumentalist, Swarvy, who’s found his sonic niche in Los Angeles. Swarvy is a natural taste maker –  a brazen audiophile distorting traditional hip-hop beats with jazz licks and nostalgic bits of his youth dabbling with psychedelic rock. His more notable projects like Elderberry and twothousandnine (debut album with Pink Siifu) go against the grain of mainstream music, especially in a generation that increasingly popularizes and over-commercializes electronic and dance music.

The windows are shut in his make-shift studio, Badu bumpin in the back – we elevate to another dimension and venture into his world of jazz, hip-hop, and everything in between.

Have you always gone by as Swarvy?

No, I used to play music in different bands. I went for a bunch of different names when I started making beats and producing for other people and myself. Ever since I’ve been putting out records, I’ve been Swarvy. Swarvy

I’m interested in what you used to make back then.

I used to be in a band called McKenzie. I was on guitar, and another dude was on the drums. We would do kind of like psychedelic music. It was a mixture of psychedelic rock music, weird shit –  a lot of improv stuff. I used to play in metal bands, rock bands, jazz; all kinds of stuff. I just started finding stuff that I really, really connected with when I started listening to jazz a lot.

What is the most challenging or satisfying part of making your own music? I know you make your own beats, but you also sample a lot of tracks.

What’s the most challenging? I don’t know. I don’t know what the most challenging is. Every project is a little different. I guess the most challenging part is to stay patient, and to try to stay fresh with the music. Some projects can take a week and some can take a year. I guess for me, putting it all together with visuals, videos, and just the business part is the most challenging part. Laughs

Are you making music every day?

More or less. It used to be a lot more compulsive, but I do something music related every day – either teaching or making music, mixing. I teach private lessons for music – piano, guitar, bass, drums. I’ve actually been teaching lessons in some form since I was 15. Now a lot of my students come for Ableton or production lessons, or just kind of like mentoring stuff. Some of my students still do just piano, and guitar.

You’ve collaborated with a lot of artists. What’s a determining factor when choosing an artist to work with?

We have to get along. I can get along with a lot of people, but we have to vibe a certain way. It’s a function of the relationship. Versis, Colin, we’ve been working on a record for over two years now. He just came to me to help him out with his other album, and we just kind of started vibing that way. It’s a kinship sort of thing. It makes sense to do it like that. Swarvy

With Siifu, we did the whole twothousandnine record, and we did that pretty fast. The whole thing was made in a few days. Two of the tracks were made ahead of the time, but the rest of it was made in a few days. It’s just the way we bonded as friends. He also writes really fast, and the way our styles work just complement each other.

You can make a song with anyone, you know? But to get a whole record done beginning to end just takes a certain amount of inspiration and energy.

Considering your laid-back nature and your performance at the Hi-Hat, you seem really comfortable on stage. Have you ever been nervous to perform before, and is there a more chaotic side to you that most people don’t see?

Sure. I think I get hyper in my most natural state. It probably doesn’t look like I’m hyper at this point, but when I was younger you used to see it a lot. I just don’t show it as much anymore. At the Hi-Hat I was really comfortable, because I had a studio on the stage.

I read on a previous interview that you got boo’d on stage back in the east coast.

Oh, yeah. That didn’t happen too many times, but I’ve played to some dead audiences and some really angry people before. That’s like receiving weird reception from people. I think failure is a process. These experiences give you more perspective on what failure and success is. You have to define it for yourself.

Would you have considered those moments failures?

I mean, it says something if they come up to me after a show and tell me it’s terrible. I don’t view that as a failure, because I think as long as you get hate or love, it’s okay – you did a good job. You want to have people feel something extreme. If they didn’t feel anything, then it was mediocre.  If they hate or love it, then I made them feel something. It just might not have been the right thing for them.  I view the whole spectrum of enjoying something as a circle instead of a line. Once you cross paths on how much you hate it, you start to love it, and all the mediocre shit is in the middle. Swarvy

How do you know when a track is done?

On the technical side, if I don’t hear anything I need to “fix” then it’s done. I’ll listen through it, and my mind just starts cataloging what needs to be changed, or if all those things are done, and it’s not technical, then it has to push you through from beginning to end smoothly.

So when you’re producing, do you make sure the tracts blend seamlessly like a story?

It’s like scenes of a movie or a comic book; it’s a sequential thing. The way it’s all sequenced, whether it’s an actual transition or not, is important. I actually spend a lot of time doing that. It’s a combination of those things.

What inspires you to continue doing this?

Everything. That’s just how it is. But you know, affecting people’s lives positively is good motivation. You can feel energy from that for sure. Also, seeing returns from it in all types of ways, whether it’s financial or energetic return. Even if nobody heard it or if I didn’t make money from it, I’d still be doing [music] to some degree. Doing this has given me a lot of freedom. That’s a huge reward alone. Swarvy.

Out of all your projects to date, which one is your favorite?

I’d say

twothousandnine

with

Pink Siifu

is probably my favorite, because it’s the clearest that I’ve been able to communicate certain feelings that I attempted to express through my music for years. It’s a good landmark in my discography in that sense.

Would you say you’re comfortable with where you’re at in regards to your production skills? Is there anything in your music that you feel is uniquely you?

I think I have a lot of tools at my disposal that I’m comfortable with using, but I enjoy discovering new ways to expand on them, and also searching for endless ways to flip that. A few things that might sound uniquely like me are the way I warp audio, play drums, mix, and my sense of rhythm.

You’re affiliated with a bunch of record labels, like Paxico Records, that pride themselves in putting out artists of your caliber and taste primarily on cassette.

However, in some ways I’d still consider you a SoundCloud/Bandcamp artist. How has the internet and streaming services played a roll in your development?

For sure. Same as a lot of other artists, the internet was the first platform where I was really able to be heard.

What’s the story behind Elderberry? Elderberries are used to cure chronic fatigue among other ailments. Are you implying that this album is a natural cure for music fatigue?

I like choosing titles for multiple reasons. There’s usually at least a handful of meanings that you could extract from the record titles that I choose and they’d all be applicable. I also like paying attention to how the juxtaposition of two or more words can feel like multiple ideas in harmony. In this case, “Elder” and “Berry”.  

For Due Rent with lojii, you guys focused on financial desperation. This record is sincere equally in the lyrics and the production. Are you projects always this intentional?

Of course. Even if it’s not intentional at first, if I plan on sharing an honest presentation of something, there’s a lot of deliberation, intention, and care that goes into it.

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In Cantonese “Sifu” is a title given to a master of a trade, according to Wikipedia. Whether you trust Wikipedia or not, it’s only fitting that Livingston Matthews decided to adopt the name Pink Siifu (yes, double i) as his musical persona. Siifu treads the threshold between conscious-activist rap, and pure love poetry; a guru of cloud rap, weaving through ethereal vocals and experimental jazz. At 25 he recognizes the masters of his craft, designing “something like if N*E*R*D’s Seeing Sounds and The Love Below by André 3000 had an album baby, with a little of Erykah Badu’s Mama’s Gun” for his next piece of work. It’s a bold statement for the young rapper, but I don’t doubt his dexterity and ability to finesse his way to the top.

I first met Pink Siifu at Back Beat LA, a monthly event that caters to the underground jazz and experimental hip-hop scene in Los Angeles. He slid across the back, skateboard at his side, and asked if he could grab something off the vegetable platter. Unbeknownst to me, he was part of the lineup. He approached the mic and let his raspy vocals and entrancing sing-rap reverberate throughout the Grand Star Jazz Club; a lo-fi dream, sobering and transcending at the same time.

We agreed to meet outside of Space 15 Twenty in Los Angeles for the interview – post Tape Meet LA, where independent labels like Stones Throw, Paxico Records, and Akashik Records gathered for a cassette exhibition. It’s not everyday I get to be among some of my favorite producers and DJs, but I digress. Pink Siifu greeted me with a big grin and arms wide-open before we talked about his move from Birmingham, to Cincinnati, and now LA; the effects of the internet on hip-hop; and his musical odyssey.

Did you already have connections out in LA?

Nah, I knew like a couple of niggas. I started going to shows and parties, and I went to Ringgo’s (Mndsgn) – one of Ringgo’s after parties. This was when him, Zeroh, Low Leaf, and Alima (Jennings) were staying in the same crib. I met Ahwlee there, and I even met Swarvy at Ringgo’s. I met mad niggas at Ringgo’s crib.

Yeah, I moved out here to do that. I moved out here with my ex, just because we fucked with the artists and production out here.

When you were younger did you see yourself moving out here?

Hell nah, I just thought I would go back to Alabama, or Atlanta, or Florida. I still want to go back, but it’s boring as fuck.

The art scene (in Atlanta) is tight. It feels like Brooklyn. Everybody knows everybody. There’s so many different types of art. I went there, and the niggas that threw a gallery show, threw a rap show after. That shit was just tight as fuck. They made early SpaceGhostPurrp type of shit. It was super southern. It was dope.

Do you get the same feeling as you do at home?

It ain’t nothing like LA. LA has no season change. It’s neither hot nor cold. There’s no fall or spring. It’s either summer or a lazy winter. I need fall and spring for my sanity. That shit is weird. That’s the only thing I don’t fuck with.

I feel like Los Angeles is a bubble in that way. Do you agree?

Word. Maybe that’s true. Yeah, actually Cali has a lot of shit going. Cali just stays with Cali. I feel like y’all focus on London and New York. I know a lot of cats that know cats from London and NY. It’s tight. A lot of cats I fuck with are either from Philly or New York, so maybe that’s why.

Is it because of the type of hip-hop prevalent out here? I feel like East coast hip-hop and rap are more conscious, though. What is it about those artists that resonates with you more, as opposed to artists from Los Angeles?

Nah, nah. I fuck with artists from here. I fuck with both. Honestly, New York niggas sound like Atlanta niggas, ‘cause of the internet probably. I miss when I used to go down south and visit my family. Like the south would be playing certain types of music. Before everybody started fucking with Young Jeezy, only Atlanta and Alabama were playing Young Jeezy and Lil Boosie. We’d hear all the new music in the south first.

I fuck with artists from here though. Conscious niggas are definitely in Cali. Zeroh is one of my favorite rappers. Zeroh is from Long Beach; Kendrick from Compton.

I fuck with Brooklyn too, though. There ain’t nothing like a Brooklyn woman. A black Brooklyn woman is just so direct with your ass. I fuck with Brooklyn woman heavy – not even to date – like just admire them. Like a dude will do some shit on the train, and they’ll be like “what the fuck is wrong with you?” That shit is tight. I be on the train and I’m like “Yeah, you shouldn’t fuck with her dog.” Laughs. “She ain’t the one dog. Fuck around and get jawed.”

Do you think because you’re from the South your take on music is very unique or do you think you have a blended sound as well?

Blended, definitely, because I was raised in Ohio.

Then what genres do you think your music is a mix of? Hip-hop, obviously, but you definitely have some jazz influence.

It’s crazy, my jazz influence. I’m realizing this more as I grow up. I already knew that my pops used to play the Saxophone, and everyone told me he was a monster. My grandfather, his pops, he wasn’t the best dad but he was an artist, a jazz nigga. They say he was a big reason for the jazz movement in Nigeria. They say he used to play with Charlie Parker.

Hold up, you’re going on tour?

Me and Ahwlee are going on short, short tour. It’s not like these big nigga tours. We’re going to Oakland, Chicago, Brooklyn, and then Pennsylvania. I’m grateful! But I definitely want more dates. I wanted to hit Atlanta.

Did you see yourself going on tour 5 years ago?

Well, kind of. Hold up. He loses his train of thought. Shout out to Shoes for fucking this up. Laughs. Wait, I started doing music in 2011 seriously, but the jazz influence is from my pops and grandfather. Dungeon Family, Badu, Temptations, Jill Scott, Eddie Kendricks – bless his soul. I used to love Frank Sinatra.

Were they your inspiration for twothousandnine?

D’Angelo and Dwele were, sonically. We would listen to a lot of Slum Village, D’Angele, Dwele, and Dilla. We was watching D’Angelo live shows before we recorded some tracks. The title of it was because 2009 was lit. It was lit musically for me. I started listening to N*E*R*D heavy, Kid Cudi, and a lot of other indie rap shit – not just Lil’ Wayne and Outkast. I started listening to Blackstar too.

I told Swarvy we should name it that, and he said it was crazy because that’s when he started making music seriously and getting weird with it. We had the same view on 2009. Shit just started sonically changing for us.

It’s funny you mention Outkast. After the photo shoot, Julian (Essink) and I kept thinking that you remind us of André 3000. Do you get that a lot?

That’s my favorite artist of all time, like how Tyler loves Pharrell. That’s how I feel about André. I feel like he’s guiding a nigga every time I listen to him. The Love Below is the best album. There is no other album, especially rap album, that’s like that.

Is 3 Stacks your ideal end goal as a rapper?

No, because the game fucked him up. I feel like I know him; it’s super weird. The industry fucked him up, like he’s cool with the legacy he left.

Is that disappointing for you?

It’s not disappointing for me, but it’s disappointing for the rest of his fans that don’t get that he already gave us everything. We don’t even realize how good it was. He really doesn’t want to put up with the shit that goes with putting out an album. I support him in everything. As soon as he stopped making music, and started putting out movies. I was like, “Alright, fuck it! That’s my favorite actor now.”

He sounds like your favorite uncle.

Deadass. I love him. He can do whatever. If he puts out shoes I’m gonna buy them. I swear. 3 Stacks is my favorite rapper. Dungeon Family is what I’m trying to make for myself, like Soulquarious. I also love rock shit. I love N*E*R*D.

In terms of rock, do you pull inspiration from your favorite bands? I’m asking mainly, because your music isn’t very mainstream. It’s not what you would typically hear on the radio, especially for a rapper. I feel like I appreciate your music more because of that.

I feel that. Well, with the rock shit I do have a lot of music that’s not out yet that’s inspired a lot by rock. I have a lot of music that niggas won’t expect, mostly because I haven’t put out my own album yet. I’ve got several different styles. I’ve only put out what people have produced for me.

So are you producing your own music?

Yeah, but I kind of don’t like making my own beats. I like working with other musicians. When I write, I’m kind of just like letting it flow.

Is it like stream of consciousness?

It’s mostly conversations I’ve had in my relationships and thoughts that I’ve had; things that have actually happened. Sometimes I make up shit, or I’ll combine different events in my life into one story.

How do you know when you have a finished product?

It’s just a feeling.

When you finish a track do you get overly excited to put it out or do you wait until you have a couple of songs ready, and then pick and choose?

I used to be super excited. When I’m working on an album, I’m never that excited, though. I just want to keep building, making it fire. But like now, I don’t give a fuck. I’m trying to get D’Angelo with it, like put an album out every five years.

I kind of just want to hold it. With BRWN, I was talking to three different women. I first started talking to a girl from Brooklyn, and then we ended. Then I was single and talking to different women, and then I ended up dating a girl for 8 months. After that, I started having a sexual relationship with one of my homegirls until I finished BRWN. I was living through this shit while making the album. It was weird and dope. It’s a woman appreciation album, especially a black woman. There are only female features in it.

There were dope life experiences in that album. That’s how the best albums get made.

When do you think you’re going to release your next album or EP?

Me and Ahwlee are working heavy. I can’t say when we’ll drop some new shit. The next thing I drop will probably be a B. Cool-Aid thing.

Should your listeners expect a similar outcome from you based on your previous work?

You should just watch my Instagram stories. My album is gonna be full of music like that. It’s gonna have the Blues, rap, jazz, rock. I want something like if N*E*R*D Seeing Sounds and The Love Below by André 3000 had an album baby, with a little of Erykah Badu’s Mama’s Gun. Sprinkle everything in there.

Niggas definitely might not fuck with it, but there are so many things I want to try. If they don’t fuck with that, then they’ll fuck with the next one. I want to be able to have different types of people that enjoy different genres of music at my show.

If there was one artist that you’d want to collaborate with, who would it be?

I’d want to work with Static Major or Dilla. If I had either of their beats on an album, that would be crazy. I would love to get some guitar from Hendrix, too, but only if he was still alive. Also Matt Martians, Homeshake, and that’s about it.

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Malik Sanders, better known as Malik Ninety Five, is the triple threat we’ve been waiting for. The New Orleans bred rapper, producer, and songwriter deviates from typical bounce music popularized in NOLA to achieve his unique “high energy and melody driven” sound. Nevertheless, the music lends an ear to traditional hip-hop fans, and nods towards 90s/early 2000s hip-hop with its syncopated beats and substantive lyrics. Malik stays true to the genre while playing around with elements of deep house. His latest release, the four track EP Playlist: 002 is comprised of clean raps and catchy melodic hooks that paint a vivid image of what it’s like to be a young, hustling artist.

Among the new faces we’ve observed in Los Angeles, Malik is definitely one that piques our interest. His impressive repertoire includes opening  for Yung Lean, Blackbear, and Sango and Montebooker, as well as performing at SXSW and Voodoo Festival – sharing the bill with several high-profile artists like Kendrick Lamar and Miguel. More recently, Malik’s single “Right Now” has been featured as #9 on Tidal’s “The Newest of New Orleans Hip-Hop,” placing the multi-faceted artist in the high ranks.

What’s the meaning behind Ninety Five?

Before I left New Orleans, I remember I had these songs and I didn’t know what to call myself.  I went to my mom’s room, looked on the TV and there was a quote. It was the wildest shit. It was literally a black screen, and it said “The two most important days in your life are the day you are born and the day you find out why.” It felt like I was meant to do music, so I chose the year I was born – ’95.

How would you characterize your sound? Are there any artists right now that you’re aiming to sound like?

I try to shy away from sounding like particular people. Of course, I have my influences; the Pharrells and the Kanyes that you look up to in the industry. You know –  the predecessors that you always think are cool. You wanna be in that, but at the same time those people are very original. You won’t make it anywhere trying to copy someone else’s shit.

I’d describe my music as high energy, melody driven with a lot of lyrical influence. I listen to different genres too. It could be anything from any time period. If it inspires me, then it eventually spills over into my music.

Is the slow music progression in NOLA the reason why you moved out?

Yeah, it was love out there. It was for sure love, but there’s only so far you can go.

So you just dipped.

Yeah, it was crazy. I was out in London for all of August, and then I got back. I was planning on moving out to LA. I walked out of my house and I looked out on the street, and I saw nothing. There was nothing. Keep in mind, I’m coming back from all these life experiences. I get back home and I don’t see anything – empty. That was the coolest part, because I had the possibility of changing it. So I changed it.

Since you’ve moved to LA have things been moving at the pace you expected them to?

Way faster. We came out here and I already had a few shows set up. It’s something we had to prep for, because we didn’t expect to move so fast. I want to stop a little bit, and focus more on making the music.

Are you working on a new project? Is it similar to Playlist: 002?

I wanna say yeah. Listeners should definitely expect a story told within the my next project. I did [Playlist: 002] all by myself, and I really tested my and my abilities. So this will be an even bigger test, because I know exactly what I want to create. I don’t want to be stagnant.

Are there any producers or DJs that you want to collaborate with?

I look for people like sessions players. If I had someone on call that plays piano or guitar, I’d punch out like ten songs a day. Half the battle is creating something inspiring. All you really need is something people can sing along to.

Considering what you just said, do you think that a song needs to be catchy for it to be considered good?

It depends what you want to create, and where you want to go career-wise. I just know that we want to have the biggest in whatever we do. We ain’t brushing that shit off. If anybody says they don’t want to make it big, then they’re lying. Legit.

I heard that you have a schedule set up on your phone that includes piano lessons. Can you tell me more about that?

Laughs. I haven’t actually done any of the lessons yet. I’m trying. It’s just hard waking up everyday and forcing myself to do it, especially when I know people that can do it. I know so many talented people that can play.

I know you started making music when you were 14. During that time, what were you using to teach yourself production?

Well, we used to record shit in my room until my mom kicked us out. I used to record on this program called Mixcraft, and I took my little brother’s computer. He was five or six at the time; he didn’t need no fucking computer. Anyway, I took it and downloaded the software. I taught myself on that. I didn’t know any techniques, but I knew how to make it sound good specific to me and my homies’ voices.

Has it always been music?

Always. It’s just been instilled in me. It’s what was always cool to me. There aren’t too many ways to impact people’s lives, and this is how I want to do it. This one track could change your entire day. Especially in America, people always wonder why entertainers and athletes get paid so well. They’re some impactful mother fuckers.

Do you think as you climb up and receive more attention you’ll still maintain this level of humility?

Where we at you can tell the real from the fake shit. I’m definitely gonna be the same, and look out for the people that have been there from the go. There’s always gonna be new people coming along, but you can tell which ones are genuine.

[weareliminal-blog]

Earry Hall is a modern day renaissance man transforming the way we build our community and how we experience music. After several years of working in corporate as a designer, he realized  “how much power we have as individuals to shape our own destiny.” This allowed Earry to pave the way for See You Soon; the culmination of years of designing and his desire to unite people with a shared interest in music and fashion.

Now approaching its second year, See You Soon provides events each week including, my personal favorite, TGIM (Thank God It’s Monday) at El Dorado Bar in Downtown LA. What distinguishes these events from the rest is the lack of “VIP sections and bottle service,” which “is no way to build a community, especially for me,” Earry humbly stated as he shook his head. Often times you’ll find yourself dancing alongside celebrities and strangers alike, forgetting the invisible (and literal) barrier society places between the elite and the rest of the world. Even more impressive, the evolving platform anticipates to expand its horizons by collaborating with media giants like Red Bull Music Academy.

Earry credits much of his success not only to being driven, but to his community of friends and family. One of the more prominent influences in his life is his girlfriend and muse, Myra Hasson; graphic designer for Tamara Mellon and DJ. Power couple, am I right or am I right? Moreover, the couple emanates an inexplicable sense of warmth and belonging, which sets the tone for all their events. It’s no wonder why building a “tribe” is the foundation for See You Soon.

What got you into producing/DJing?

My mentor, Ray, is a 70 year old designer, published author, and all around creative. He designed BMWs for 30 years. I remember I told him, “I’m tired of designing bro, you know? I’m jaded.” He said, “Well, you should walk away from design for a little, and try something new.” So I gave myself the freedom to create and learn for myself, and that’s when I started DJing.

Lately I’ve been working on remixes first, like a remix tape. It’ll probably be released in December. I’m also working on a Flying Lotus, Dilla typa’ thing. It’s trappy, soul, Gospel chords, trap percussion, super soulful bass, Pharrell sounds. A lot of what I’ve been making is really colorful, with deep percussion. It’s interesting how it feels.

So you were designing before you got into music?

By trade I’m a designer. I’ve been one for 8-9 years for a several  brands. I started this marketing and design firm when I was in college called Urban Anatomy. It was a dope lesson in terms of betting on myself. It gave me the courage and ability to move to New York with a portfolio, and the ability  to get clients. I kind of put that away after I got that entrepreneurial experience, and I built a career in corporate, working for companies like Nike, Beats by Dre, and Apple.

Now I have all this knowledge of how Fortune 50 companies run. It’s just dope because when I started See You Soon it was right when I met Myra. We were still friends.  She was there for all of it. It’s dope to see what choosing the right companion can do for you. You know, for me it seemed like the perfect storm of support and resources.

What was the inspiration behind See You Soon?

When I lived in New York I had this beautiful community full of creatives, bosses, hustlers, and you know lovers and friends. LA’s social moves so differently than New York’s; LA is huge. Everyone in LA is in their car – like moving boxes. So when I moved here I wasn’t really meeting my community.

So I started a case study called See You Soon three years ago. I started this research about health benefits of having a community, a tribe. I thought, How do we design moments that help people build their community, their tribe? People that live the longest have a close knit community.

I kind of created this formula. I got really good at accumulating value aesthetically through designing and marketing a brand that  communicated friendship,  coolness. We wanted people to be in a room that are cool, that have taste. Not that they have taste, because taste is our personal definition of beauty, but guess I wanted our definitions to be similar.

Like a collective idea?

Exactly. I wanted people with a common thread to have that same standard of what cool and having taste is. Marketing the event was about Hey, if people think this is dope, then probably a whole bunch of people are thinking the same thing. I officially launched See You Soon 19 months ago, and since then I’ve grown to have a following of 30,000 people.

That’s insane. When we first met I remember you telling me that your following was about 25,000. In a matter of six months it’s grown by 5,000.

Yeah, crazy. I get DMs from people with stories. “I met this guy at your party. We started dating, and we’d go out to your guys’ parties just to dance. We fell in love. We have a son. We talk about you guys all the time.” You know, stories like that. People are meeting their spouse, building their communities, changing their lives by being in a space that’s comfortable for them.

For me it’s all about branding; how you create value around a product. You know, these shoes are ugly, but they’re so valuable – gesturing to his Wolf Grey Nike Air Yeezy 2s. (We interviewed and took photos on different days.) It’s all about branding.

So if you think they’re ugly then why do you rock them? Just because other people place a high value on it monetarily?

Well, they’re valuable culturally, and for me it’s about having a piece of history.

It’s intriguing to me how people place values to things; how it makes them feel. That’s pretty much what pushes any great business. It’s not about how fly that LV belt is. It’s about what it means to wear it, what it represents.  I’m a fan of that part. There is an art in storytelling, and you’re telling a story about that object in a way that turns it into a necessity.

My design process isn’t about how it looks. It’s always about how it feels. As a creative in general, the most beautiful art comes from feeling. It’s like when you look at something, how does it make you feel?

I love that you’re all about community, and I know that you don’t like the whole idea of VIP sections. How are you going to prevent that kind of elitist culture from forming within your own community?

Two things: First, I believe that your marketing communicates a very specific language. It’s partially marketing. You never see that frat boy, blow money, I’ll buy you a drink type of person at our functions. Those places exist in LA; that’s because those people get the marketing and identify with it. The tone and music, marketing, and spaces that we occupy all tie into it. Second, we curate our staff so that you feel like you’re at home and welcomed at all times. That’s what I want to try to create consistently for everyone that comes to our parties.

You’re an extremely accomplished person. At any point were you afraid of failure?

Absolutely, but that’s how you know you’re going in the right direction.  If you’re not scared, there’s no risk. It’s scary to leave home for the first time, but you have to. It’s only because of comfort that you’re afraid. There’s a point where the initial fear is there, but you can choose to focus on the fear or the adventure. Fear is a choice, actually. Danger isn’t a choice; it’s a reality. Choose wisely what to be afraid of.

That being said, I owe what I have right now to quitting the right things. In addition, the key to success for anything is being vulnerable. If you write an article up, there’s a level of vulnerability to put something out there that’s yours.

How do you get past the mentality that being vulnerable translates into being weak? Because I’m definitely going through that process right now.

Take risks.

We’re taught that vulnerability is weakness, but it’s immense strength. I learned this as I grew older. I’m a 6’4 black guy. In media I’m portrayed, and I see this as well, as dangerous sometimes. In reality, I’m the most loving guy. I could be that guy portrayed in media, but there’s no strength in that.

What does the future look like for See You Soon?

We really just want to turn into a global family. First year is building a base community in a major city. Right now it’s Los Angeles, and that’s the center of the creative conversation. Next is inspiring one-on-one connection through a dinner initiative we’re launching this year. We’re also going to get residencies in other cities, and then launch our first moving festival in the summer.

When I was 30, I was thinking about what I wanted my legacy to be. I realized that my legacy shouldn’t be about me. It should be about connecting people. I remember this quote by Tupac, “I’m not saying I’m gonna change the world, but I guarantee that I will spark the brain that will change the world.” I love that, because I feel that way.

[weareliminal-blog]

The Los Angeles native, North Hollywood to be exact, is establishing her presence in the music industry with her rich, sultry vocals that seamlessly fuse elements of R&B and Neo-Soul together. In addition to her waxy vocals, Nyallah’s lyrics and entire persona suggest that she’s wise beyond her years. At the ripe age of 19, she exudes a level of self-assurance and consciousness; openly speaking about past relationships, BLM, and vulnerability as a guiding force in her creative process.

However, don’t let her confidence and contagious smile fool you. “It can get very hectic sometimes – having to balance my academics while simultaneously manifesting the early stages of my musical career,” she confessed during our interview. Now in her third year of university at USC, Nyallah thoughtfully reflects on her progress balancing academics while simultaneously manifesting the early stages of her musical career. With so much packed into one womxn, we’re excited to see what her debut project has in store for us.

Read the interview below to find out how Nyallah manages to navigate young adulthood, her views on the creative community in Los Angeles, and her aspirations as a musician.

How does it feel to get more attention?

It’s something that I’m still adjusting to, but it’s a really cool feeling. I’m extremely thankful for all that I’m experiencing right now. It’s dope to be out supporting a friend and having someone recognize me from a performance or an event I’ve curated. I am actively and (un)consciously creating my own place within the art community here. I am learning as I go, gaining pointers here and there from folx, taking my time through this process; reminding myself the importance of holding space for myself, and remembering why I do this to begin with also makes it a lil’ easier.

Did you anticipate becoming a musician growing up?

I always knew I would be some sort of artist. I grew up doing writing, visual art, dance, theater, etc. Music was the one that stuck though. I remember growing up and trying to force myself into believing I wanted to be a doctor or a lawyer (that’s what everyone else wanted) and thinking how that wasn’t me. But my family/others would discourage me at times, reminding me how thousands of people have a similar dream + how dreams are not always attainable.

However, I was raised knowing that the only limits in place are the ones that we set ourselves, so any and everything was up for grabs. I remember being unsure I could do this, I was always told that you couldn’t pursue art in academia. But then I enrolled in a performance arts high school and realized that wasn’t the case, soon after I found out the Popular Music program at USC and realized that this was something not only possible, but essential to my being.

Music has gotten me through a lot of shit; it is such a healing entity though we are often unable to explain its power. Music inspires, music brings folx together, and that’s all I want in this lifetime really: aspire to inspire, while bringing folx together. That’s all this is really about.

Does the creative community in LA seem a lot smaller now that you’re an active part of it?

Not at all! It feels like it’s growing now more than ever. I love how much everyone is connected. I love finding out the full extent of connections and relationships in this community. I’m always amazed when I go out and I find out folx across the board know each other. It goes to show how much of an extended family the creative community in LA is – like other communities, there are many layers and aspects to us that make us who we are.

I remember being in high school and wondering where the art community was in LA; seeing how creative communities on the east coast and in other areas had built their own “scenes” with their unique spaces, styles, and fashions that made them their own. I found later that it was always there, it just took some time to find it.

Are you currently working on an EP/album?

Yes! I’m currently working on my debut project. I’m hella excited to share this piece of me with the world. I’ve been writing for a minute and I’m super excited to share it with everyone.

What should listeners expect from your new releases?

Vulnerability – a lot of vulnerability, and honesty. The project is titled Reflections, and it is a symphonic documentation of the growth and development I experienced within the last year. 2017 has been a year of growth, of better understanding myself and my light; the year I finally put my foot down and held my own, even when met with opposition. So much knowledge has been obtained on this journey, and this is its soundtrack –  a raw, true reflection.

Are you producing your own beats as well? If not, who?

My producer for the project is alecBe unless otherwise stated. He is a rapper, producer, writer, musician, visionary. Very insightful. That’s my brother right there. I write my lyrics and most of my melodies.

If you had to pick two artists that you most identify with, who would you choose?

Lalah Hathaway and Erykah Badu. That’s the combo at the moment.

You are/were a proud member and activist for BLM (Black Lives Matter). Has this affected your approach to music? In what ways?

I actually am not an active member of BLM anymore, but I can answer this question on organizing/activism in a general sense.

The more knowledge I gain about the movement and the systems in place to marginalize minorities, the more I am encouraged to write and create work about/for the movement. As an artist it’s important that we create work that acknowledges and critiques our current world/society. It is our job to address matters that are impacting us, whether we like them or not.

Tell me something most people don’t know about you/don’t question, but heavily impacts your songwriting process?

Hmm… everything I write about I experienced, or thought about, or was something I observed in others and then within myself. But it’s all from a very personal, vulnerable place. Writing has showed me strength in being vulnerable. Now that I know how to channel that within myself, I’m able to communicate and share that strength with others.