Last year STFU burst onto the scene with the massive two track EP So Duh. Released on Slow Roast Records, the title track introduced us to their inventive sound, landing itself support from some of the world’s biggest DJs and a spot on our Top 100 Songs of 2015 list. It wasn’t long before STFU were popping up on remix EPs for the biggest artists in the game, from TWRK, to Keys N Krates and A-Trak. Each rework showcased their originality and served as a standout on every project. With an even bigger 2016 on the horizon, we caught up with Zak and Alex to get to know exactly who STFU really are.
Tell us a little bit about yourselves. What is your musical background? How did you get into producing?
A: My parents had me playing music when I was really young. I was playing violin when I was 3 years old at the conservatory in Toronto. I come from a family of several musicians, so I was listening to a lot of different music growing up. I started playing the guitar when I was 13, and then interning at recording studios and studying jazz when I was 16 or 17. There were amazing, talented bands and artists hanging out there, like MSTRKRFT and the Weeknd. I didn’t know much about production when I started, but I would hang out and help with different sessions. I picked up what I could along the way.
Z: My parents started me on instruments when I was young, drums and piano mainly. By the time I was 14, I was addicted to computers and producing beats in my garage for my friends. I played in jazz bands in high school and studied piano all through my childhood, falling in love with jazz, hip hop, sampling, and synthesizers. I produced a ton of shit. I threw parties for my friends, always creating music, melodies, and beats.
How did STFU come together?
Z: Derek, our manager, found me on YouTube imitating sounds and uploading synthesis tutorials online when I was 14. I would do wobble bass sounds, Dutch house saw leads, and weird EDM things like that. Anyway, Derek emailed me and essentially said, “Hey man, I think you’re really talented. I have an opportunity for a Chris Willis remix coming up and need someone to help me produce it.” That was it. I got to work. Everyone in my high school knew what was going on, and there was a lot of local support. I came up with the alias for STFU with a best friend after DJ’ing a party. That was the first release. Several years later, I met Alex at Berklee. I needed help on a production. Then many productions. Then the whole thing.
Sometimes I want to blow someone’s mind, other times I just want to make their day a little better.
What is your goal when creating music?
Z: For me, it’s obvious because it’s the same reason STFU came together. I’m constantly making music that excites me, and that I think will excite other people. Sometimes I want to blow someone’s mind, other times I just want to make their day a little better.
A: I agree with Zak. We want to play our music for people, inspire and give people a new experience, get away from all the bullshit. I want to contribute to the world of great music, and in the end, make music I love listening to.
Every one of your releases is unique. How do you ensure your sound stays innovative and different?
A: That’s not really something I actively focus on. We both tend to get excited about what we feel are new and interesting sounds. I might be inspired by a tune I’m studying or an artist I’m digging on. In the end, I look to create something that is a representation of where I am and what I’m interested in.
Z: It’s the only thing I can’t control. It’s different every time. It’s one of the things that makes me an ADHD kid.
Your music often doesn’t quite fit into predetermined genres. Is this done purposely? Do you think genre segmentation is still relevant in today’s musical landscape?
Z: I guess it’s not by accident. Genre segmentation is fine, and we like to be the ones to go against the grain. I love making music that surprises people. So yeah, it’s still relevant, and we’re aware of it. We try to experiment with everyone’s perception of where one genre ends and another begins.
You’ve released music on Dim Mak, Fool’s Gold, Mad Decent and Slow Roast Records. Is there a benefit to working with so many different labels?
Z: Definitely. We just want to work with as many people as we can, because we love this music. These are our heroes, role models, mentors, and peers. So in a way, we’re just trying to make a worthy contribution.
Last year you landed official remixes for Keys N Krates, TWRK & A-Trak. How did these opportunities come about? What was your favorite to work on?
A: They’ve been supporting our music for a while. A-Trak and Fool’s Gold, the guys at Mad Decent, TWRK, eSentrik and Benzi, and K&K. We got the Keys N Krates remix through Derek and our communication with the band on Twitter. They’ve been supporting us for a long time now, and we were really happy to be able to work with them on their latest project. We love Greg and the guys, kick it at their shows, and have a great fucking time. The A-Trak remix came about when were talking with him about some of our music he was playing at New York Fashion Week back in September. He happened to mention that he was doing remixes for his new single, ‘We All Fall Down’, and said if we put together something dope, he’d love to throw it on the EP.
Z: Benzi and eSentrik have been supporting our tracks for a while of radio shows and mixes. Derek asked for the stems, and I put that together in a couple days during the summer in California. TWRK loved it, and it became a new sound for STFU to fuck with.
The majority of your releases to date have been remixes. What are the benefits of working on remixes vs. originals? How have remixes contributed to your evolution as producers?
Z: Remixes are actually how STFU got started, because that’s where the opportunities were. Plus, it’s a way to put our stamp on things and get people recognizing our sound. We’re always inspired by what everyone else is doing, and we think it’s dope to be able to contribute to that.
You posted a few previews in January. When will be hearing new music from you?
A: We’re working on a ton of music right now with the labels and artists that have been supporting us. There’s so much that’s about to take off, so all we can really tell you is that you’ll be hearing a lot of new STFU this year.
Our eventual goal is to tour a massive live set with all of our instruments on stage: guitar, keyboards, turntables and microphones.
Are there any plans for a tour or live sets in the near future?
Z: Our eventual goal is to tour a massive live set with all of our instruments on stage: guitar, keyboards, turntables and microphones. But everyone wants us to stay inside and produce while we’re in school. We’ll be jumping on a few setlists this year, and you might catch us in some underground parties in Boston while were finishing exams.
What else is on the horizon for STFU in 2016?
Z: Multimedia stuff, collaborations, traveling, releases, more remixes, a move to NY, parties, and a backpacking trip in Vermont.
