![]() ![]() Anyone can release something on BitTorrent for free. These are all promotion avenues that put us all on the same level. While innovative, is this form of releasing music a reflection of the culture’s saturation? Are artists now forced to create unconventional distribution channels for their music to be heard? Is this hurtful or helpful for the industry? You recently released music via a BitTorrent package. There is obviously something lame about touring off music you didn’t make, on some Milli Vanilli shit, but that, too, has always happened and always will happen. I’ll personally do it again tomorrow-if the offer is right. ![]() It has always happened, and it always will happen. You’re a former ghost producer does the ghost producer business offer any benefits for the overall growth of electric music? I’m talking Bad Boy A&Rs, label heads, etc. I’d say 25 percent of them answered, which is insane when you think about it. ![]() I remember in 2005 buying an industry contact list on eBay, and then I emailed everyone on it, introduced myself and attached beats. Music is now in the hands of the artists, and while I’ve had luck earlier in my career, everything related to this new project has been possible because of technology and me being able to oversee everything, from creation to distribution. In your experience, in what ways has technology improved music culture? On the flip side, in what ways has technology deterred it? You’re from of a generation of artists who grew up with technology as part of your DNA. I want people to look forward to hearing a new ANGELZ song for all the intricacies I sprinkle throughout. Now, most of the times, I’m producing tracks for myself, and when I add vocals on it, I’m basically trying to replicate that process, but with this new sound. I still will always think about tracks in terms of “songs” instead of “drops.” I remember early on, what would get me excited the most was looking forward to the new tracks my favorite producers had made. In what ways is your love for both genres represented in your original music? You’re a hip-hop head producing electronic music today. A production whiz, his appreciation of all things technology will only help ensure ANGELZ’s place in the electronic stratosphere.Ī romp through the worlds of house and hip-hop, ANGELZ’s Metronome mix explores two distinct sounds in one unique style and erases the borders once dividing the two genres. The ANGELZ project is a full artistic convergence for the producer, a former Def Jam signee and a ghost producer behind many of your favorite chart-topping rap anthems. It’s no wonder, then, that ANGELZ has helped pioneer and progress the G-house movement, the perfect hybrid of electronic music and hip-hop. It’s his deep understanding of hip-hop and rap culture that’s led him to a string of recent successes and accolades, including “ Hey Girl,” the first official release from Tchami’s brand-new Confession imprint. His approach to house music is both playful and serious, with unorthodox samples of Gorillaz (“ Useless”), bootlegs of Lupe Fiasco x Jill Scott (“ Daydreamin”), and edits of Mac Miller x Pharrell (“ Onaroll”) providing the framework to his vision. ![]() As the presumed new kid on the producer block, ANGELZ has made a name for himself via his crafted blend of hip-hop ruggedness, G-house swagger, and a love for the low end of the bass spectrum. It takes listeners deep across a wide range of genres, movements, cultures, producers, artists and sounds that make up the diverse world of electronic music.Īn audio stroll through ANGELZ’s SoundCloud page is the IRL equivalent of walking into a ‘93 hip-hop backyard party with a house DJ in the selector role. Insomniac’s Metronome series features mixes from some of today’s fastest-rising electronic stars, as well as championed legends. ![]()
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