jahlil beats talk creative process of making beats

Work in the real world to the best of your ability.

Work (as in work the system to your advantage) SoundCloud to the best of your ability. The important thing is to get your music out there, and you can pursue that aim conventionally or non conventionally, with the use of social media. Others just make do with Twitter and Facebook. Some people invest in themselves and get managers and marketing and PR people, which is a perfectly acceptable and very responsible, businesswise. Which is the most important skill to preserve for an artist?īesides being as good of a music maker, which I believe is paramount, I’d say connecting with your audience however you can. I shouldn’t say I don’t pursue, I do, quite often and quite tenaciously, however, I believe the primary pursuit is excellence in one’s craft and not the approval of others. Attracting opportunities rather than pursuing them has been my mode of operation.

It’s all pretty much just been me making cool stuff and people responding positively to it. I’ve never consciously made an attempt to network lol. It’s not a common problem though, people are usually very chill.ĭid you even do like… marketing networking to get into your position or is your creative career the product of an awful lot of lucky coincidences? When people try to use personal forms of communication as promotional outlets, I try to make it as clear as possible that I’m not receptive to that. Very often, I DO find people who make music and are also just chill, and that’s always great.

The music connections I make are on a musical level. It’s not hard at all because I don’t make an intense effort to make connections. But you dont even have a Facebook fanpage, despite all the buzz. How hard is it to seperate your personal communication from your, lets say, producer PR communication? Or don’t you differentiate at all? Every artist has is own self-doubts about his or her social skills and lack thereof. This openness and honesty seems to bring you into those crazy opportunities regular producers would dream off. Your public statements about your alleged lack of social skills confuse many people, especially those who regard your image as a beatmaker prodigy. Mainly because that kind of fame and success is very short lived, but also because as I said earlier, people change up (I don’t hang out with anyone though, so. I wouldn’t mind gaining notoriety with my beatmaking, but I’m definitely not in a rush to procure absurd amounts of fame in really short periods of time. I hate to think about what someone like oshi goes through, having to have so many people who want to be around you and having trouble discerning which ones are around because they like you and which ones are around because they want something from you. And then some of it is just maintaining a natural separation between a musical persona and my actual, real world life, which I think is perfectly healthy.

Part of it is just branding (I can’t wait to play with the idea of ‘whereisalex’ when I start playing nationwide shows). I don’t think people should perceive certain gaps between my producer persona and who I am as an attempt to cultivate mystery. I didn’t want to intentionally create any sort of mystery around my producer alias, despite the obvious implications that my name has lol. Can you imagine to become a beatmaker shooting star like Metro Boomin, Jahlil Beats or Lex Luger? Why not? After a guest appearance on Goldlink’s AATWDT, one of the most hyped future rap albums, a heavy career on Film Noir and you taking down your personal Soundcloud, people imagine all kinds of mysteries about your producer persona.īut its also understandable that you want to protect your privacy against future beat fanboys.

Jahlil beats talk creative process of making beats