Mayhem is the definition of an OG in the game. With over 20 years in the industry, he’s produced across a multitude of genres and even worked to define some. He was instrumental in the creation of (electronic) trap, blurring the lines between rap and electronic music going back as far as 2005. Earlier this year he released his debut album 2083, an amalgamation of trap, dubstep, future bass, rap, R&B and even shades of his drum and bass roots. It’s a boundary pushing affair that showcases just how talented and creative he truly is. Keeping his momentum going, Mayhem just connected with Flosstradamus & Waka Flocka for the trap anthem ‘Back Again.’ With a massive 2017 on the horizon we had to connect with Mayhem for an interview. We discussed his role in creating the trap genre, its evolution, life lessons from his 20+ year career, his goals as a label owner, 2083 and more. Check out the full conversation below.
When I spoke to HXV he mentioned that you two were integral in the creation of the (electronic) trap genre. Can you take us back to that time? What was your role in creating or building the genre?
We were instrumental in the creation of the electronic/dance version of “trap,” well before most of the prominent producers who championed the sound came into the arena. We’re talking 2005 when Ed Banger and the blog house movement was ripe and shaking up the way the industry approached releasing and distributing music. Back then HXV was known as DJMEGANFOXX and I was producing under the pseudonym Rrrump with two of my homies while Mayhem was almost exclusively a D&B brand. Taking cues from DJ Nappy’s Thugstep mixtapes as well as Sub.Mission and DJ Subliminal whom I lived with at the time. Both Nappy and Subliminal were both mixing rap records/acapellas into their dubstep mixes and it was a localized fresh perspective on the drum & bass music I had been producing almost exclusively leading up to this period. This is the time frame where I had started to itch to create something that transcended Dance Music and could live in a more mainstream space without being corny. I started to remix things like MJG x 8 Ball’s ’10 Toes Down,’ Boomman’s ‘Up In Here,’ amongst a lot of material that I never released publicly. HXV was vocal engineering T.I., Young L.A. and several other Grand Hustle artists. We started throwing parties around 2009 called Heavy and Haute Mess. These were the blueprint for what transpired after. We were mixing rap, dubstep and electro and the parties set the city on fire. We booked acts like Yellawolf, F.L.Y., 12th Planet, Sinden, and put an extremely diverse crowd into venues. Eventually we linked with FKi to produce ‘Transformers N The Hood’ with Diplo’s blessing. This is when shit got really interesting. FKi saw the same vision but really helped us put it into something tangible. Soon after acts like Flosstradamus, RL Grime, Baauer and UZ came along and shaped the genre in a very serious way.
There was a period where it stagnated and a lot of bandwagon producers wanted to jump on the trend, marginalizing the originality of the founders, but now that the hype has settled the dust has cleared for a new generation of producers…
How do you feel about the evolution of the genre over the past few years?
I think it’s continuing to evolve in a healthy way. There was a period where it stagnated and a lot of bandwagon producers wanted to jump on the trend, marginalizing the originality of the founders, but now that the hype has settled the dust has cleared for a new generation of producers like graves, Diskord, Ricky Remedy, QUIX, Hydroski, KRANE, etc. to push the genre to new heights.
You’be been making music for 20+ years. What’s the greatest lesson you’ve learned in that time?
Be yourself. Trust your gut. Don’t be afraid to make something you love but fear others may not understand. Own yourself and never apologize for it.
Can you tell us a little bit about SKRONG and what we can expect from the label?
I started SKRONG back in 2014 to release ‘Takeoff’ independently. I needed a vessel to push my music out to retailers without signing my rights away to someone else. You can expect a lot of different music to be released on SKRONG with a no frills attitude. When I launched the label, I didn’t dump a dollar into promoting or PRing it. I want its growth to be organic and its quality to speak for itself rather than building some fake sense of hype. BINKS is our first signing to the label. He’s formerly part of the duo Pyramid Juke whom always made some of the most played tunes in my set. When he launched this new alias I wanted to help him grow into the profile he deserves. I make a strong point to work with people who have their heart and head in the right place. No diva, fame addicted, pretentious type of vibes are allowed. I want to surround myself and the label with folks who are positive, humble and grateful for the opportunities we’re provided. In 2017 we’re going to ramp up the release schedule, and continue to build a healthy home for talented producers who want to push their unique vibe!
I started raving at 13 and have seen the American scene rise, fall and – like the symbol of Atlanta, the Phoenix – rise again from the ashes.
As a DJ and label owner, what makes you get behind a song or artist to show support?
I’m a fan first and foremost. I started playing music at 8 and listened to the tapes my parents bought me so much they wore out and had to be replaced. I started raving at 13 and have seen the American scene rise, fall and – like the symbol of Atlanta, the Phoenix – rise again from the ashes. I know the struggles of a fan and an artist so it’s a blessing to be in a position where I can not only support upcoming talent while acting as a role model for what this scene is really predicated on. If an artist makes incredible, unique music: I want to support that with everything I can muster, especially if their heart is in the music and culture.
In the past few years, music, especially electronic music, has been moving to a more single driven focus. What made you decide to craft a full length album vs. putting out singles or an EP?
I wanted to make a statement with my debut album. I put out a lot of singles over the years and tried making an album two times previously with only failure and a couple of singles as a result. As I felt my sound was stagnating and not incorporating new and exciting ideas, I did a lot of soul searching. I wanted to reform my purpose, find the inspiration I had been looking for, and create a work of art that was cohesive yet all over the place and above all definitively me. The album gave me the sense of freedom that I could do whatever I wanted to without fear of recourse. I’m absolutely in love with the process, will continue to buck the trend, and continue to produce larger format concept albums.
What would life be like when I’m 100 years old? To share is to live, so what better way for my art to transcend my existence than by burying a time capsule in the year 2017 with this album on it.
What is the significance of the title 2083?
I was born in 1983. As I searched for inspiration outside of myself, I realized the greatest inspiration of all was inside of me the whole time. Every movie, record, piece of art, person I met, love I gained, love I lost, all of that defined me. The anime I grew up on, the rock, rap, and dance music I decorated my ears with was the core of my existence. It was inside me, not on me. When I approached the concept for 2083, I wanted to paint that picture in an epic proportion. What would life be like when I’m 100 years old? To share is to live, so what better way for my art to transcend my existence than by burying a time capsule in the year 2017 with this album on it. The idea would be that 66 years later it would be unearthed, becoming the soundtrack for an intergalactic adventure in a future world. I’ve teased visions of what Atlanta, one of my biggest inspirations, would look like in that setting through the single artwork for ‘Amazon,’ ‘Artificial,’ and ‘Back Up.’ In a hit the lotto scenario, I would have coupled a 45 minute movie to go along with 2083 but for now that concept will be applied to a future album.
You had the chance to connect with another trap OG in UZ for ‘Amazon’. How did the collab come together?
I’ve always been a fan of UZ’s music, aesthetic and attitude. I had left the studio after working with 12th Planet on ‘Unheaven’ and returned to find UZ had pulled up. We started ‘Amazon,’ sent it back and forth over 2 years and finally finished it up to be included on 2083. I absolutely love working with him and his team at the Quality Goods imprint. Expect more from us in the future!
One of the album’s standouts has to be ‘Dad Hat’. There’s got to be a story behind the title and the track?
Probably not as complex as you may think. Oski and I have a bunch of stuff we started together but this one stood out immediately. We needed a pre-drop vocal so I hopped in the vocal booth. Matt was wearing a dad hat so I just yelled “NICE DAD HAT” and we both cried laughing so it had to stay.
The album was released on Spotify and Apple Music but not on SoundCloud. What prompted this decision? Do you see yourself continuing to move away from the platform?
I’ve seen a horrific decline in the interactions on my page. It was an amazing platform for a long time to get music into new ears. Lately it’s been dominated by repost groups, fake profiles, promoted songs, abuse and inflated plays. I’m not into that game. I don’t feel like blindly reposting songs from peers for the sake of them reposting just to get the appearance that a lot of people are listening. I want genuine listeners on the format where I’m at least getting some income from the streams. After rolling out several EP releases in the past, I felt like uploading an entire package in a short time frame was a waste of the hard work I put into the album. I plan on uploading at least one more record off 2083 before moving on to my next project but as HXV told me a long time ago “When they zig, you have to zag.”
Where do you see your music going from here?
I think ‘Artificial’ featuring Swazy is a good indication. More emphasis on chords, progressions, harmony and song structure. I’ve envisioned the rap & R&B of the future. Full fledged vocal records with all my inspirations mashed up into one.
Listen to 2083 below.
