For fans of gritty, girthy golden age SoundCloud trap, Aztek’s name is almost assuredly one that has come up frequently in conversation. Utilizing an immensely stylistic approach that guides you through experimental audible seas, his productions are delicacies for the ears and lighter fluid for the adrenal glands. He first caught our attention with his immensely vibey take on Son Lux’s ‘Easy‘ and most recently last year with ‘Hot Wheels‘, a debilitating collaboration with LSV. Just a few weeks ago he released Rise, a 10-track slugfest of an album that deserves 10x the love it’s garnered so far. Now, we’ve taken the opportunity to talk in-depth with him about his journey so far, the direction of his project overall, and what he has coming next. And to top it off, he’s blessed us with the 148th installment of our guest mix series. You can find the full interview and guest mix for yourself below!
With such an interesting tell-tale style that sits right on the border of trap and more experimental flavors, how has your sound developed over the years into what it is now?
I’ve always had a love for more rounded sounds, organic sounds, and eastern percussion. When most people listened to early electronic, they listened to Daft Punk, I listened to jungle, Either that or hip-hop at the time, which is technically electronic in its own right. But after being at it for a while I started to develop a different taste, due in part with being surrounded by techno heads, I was introduced to genres like kuduro, dancehall, zouk, etc. Genres I probably wouldn’t have dabbled in otherwise. Once really heavy dubstep had its heyday, and early trap music was making its way out, I really started thinking about the evolution of EDM and where it could go. It became about what I wanted to start hearing, and everything I’ve done since has pretty much just been my attempt at that.
I see you live in LA currently, but you were born in the Windy City (Chicago). Has the move been a big adjustment, and how would you compare the two citys’ cultures and scenes?
Chicago is pretty much a miniature version of NYC but with its own language and distinct sound. I loved it, it’s home, but my reason for leaving was due to the lack of “Beat Scenes” at the time, around 2015. It was too new or something? I really don’t know. But right around the time I dipped, Soulection started gaining momentum in the city, which if one thing leads to another, hello experimental trap music. Chicago is house music, that was the go-to. Techno was also big, considering Detroit was just a hop over the pond, and of course our beloved footwork. Though instead of moving straight west, I decided to spend some time in Salt Lake City. It’s where I finished Renegade, made Anwar, and Summit, so I really owe a lot to that city and its people as well.
It was actually the first time I didn’t base my creations on something visual.
You just put out Rise, a 10-track romp through your eccentric audible aesthetic. Can you give us a little insight into what went into making the project as a whole, and how it came together as a body of work?
It was actually the first time I didn’t base my creations on something visual. So that, in part with the pandemic was sort of the catalyst as to why there was a long gap for me between releases. A-motivational syndrome hit me pretty hard, all considered, so without feeling creative I started working on my mixdowns. So each track in this project was pretty much 2 or more combined tracks I started anywhere from 2016-2020.
Back in January, you hinted that you actually have a 2nd album practically ready to drop as well. Can you tell us a little about that today?
So this was probably the 75 and counting track playlist that I’ve built over the years. It’s sort of the “work in progress” playlist in my iTunes. That’s what my album, Recycled was. Only this time, it’s gotten so big that it’s an overwhelming thought to let it go. I just don’t feel comfortable with releasing half-finished work when I’ve progressed so much in the time being. Especially when that work consists of music that I started when I didn’t necessarily know what I was doing. It’s trying to revive the past. Though I know that if I really wanted to, I could go through that list and turn it into what it was meant to be. But that sounds like an emotional and logistical nightmare lol.
What are a few artists that have inspired your overall sound into what it is today?
Really hard to narrow it down, but I’m going to try as best as I possibly can here. (Not in any particular order) Flying Lotus, Cypress Hill, Four Tet, Burial, Machinedrum, Stagga, Bukez Finezt, Caspa, Great Dane, Busta Rhymes, Mobb Deep, Missy Elliot, Big Wild, Digital Mystiks, MIA, Mr. Carmack, Jorge Reyes, Synkro.
The entire audial spectrum has still yet to be tamed.
With such a blooming underground as of late, what are some smaller artists that you believe are truly changing the landscape of the community currently?
Honestly, I haven’t been exposed to anything that really struck a chord with me as of late. Not to say that I don’t love a grip of artists out there right now, but it seems as if the underground is about to see a split. I won’t get into it, but I guess I mean that I want to start hearing more poly-inspired beats. Different drum patterns with these “full-spectrum” riddim sounds. The entire audial spectrum has still yet to be tamed. Though I try not to dive in too deep with it because my fixating on proper sound isolation is something that will sort of inhibit my creativity. Yet, today’s sonic standards are crazy high!
Recently you tweeted that your dream collab would be with Missy Elliott or Santigold. Why would you specifically choose those 2 artists?
Dude, there’s something about a playful female voice that really hits home for me, especially when it comes with a little rasp and attitude. I think It’s those vocal yelps that Santigold and MIA blurt out in their songs. Almost sounds like a Hyena or a Jackal. They just sound so hype. But it’s also a versatility thing. Sonically, a woman’s vocal cords just sound better to me. And if they can spit like Missy?! Woof! Absolutely Sold.
Saving life and aesthetics makes me happy, so “renegade gardening” (vigilante landscaping) is something I’ve really been getting into lately.
What are some passions you have outside of music?
Gardening. It’s something I do pretty frequently nowadays. I’ve always had this deep affinity for plants and animals, but the feeling only grows as I age. Saving life and aesthetics makes me happy, so “renegade gardening” (vigilante landscaping) is something I’ve really been getting into lately. Skateboarding is another passion. It’s freeing af! I’m not as good as I once was, but just hauling ass, carving concrete is enough for me. Another big one would have to be music history. Specifically, the evolution of genres and genre development. I find it absolutely fascinating the slow progression of sound, and how every little change in a composition can shift to an entirely new direction or genre.
If you could pick the brain of any person from any time period, who would it be and why?
Hitler. Why did you do it man? You could have been an artist. Idk. Either that or the first Neanderthal, maybe Australopithecus, that would be a trip.
I want to travel and make beats for 6 months, once I get vaccinated.
What’s next on the horizon for you?
I want to travel and make beats for 6 months, once I get vaccinated.
You prepared a blistering guest mix for us today! Can you give our readers an inkling of what they should expect from it?
Airhorns, not many, but airhorns nonetheless.
Tracklist:
Aztek – Haley
Julo – Digital Hoodrats
Mudimbi & The Clerk – Supercallifrigida
Aztek – That’s a Dead Guy
Kenny Loggins – Playing With the Boys
Ivy Lab – Fidget
Aztek – YickYack
Aztek – Lisbon
Aztek – RP
Aztek – Uh Oh
Aztek – Confidence
Aztek – Summit
Tsuruda – Siege
UZ & Snowy – Suffering Suckatash
Aztek – Sushlord 4k
Aztek – King K. Rool
Aztek – Nae
Aztek – African Drone
Big Wild – Ayahuasca At Night
Aztek – Axe Body & Hair
Son Lux- Easy Lanterns (Aztek Remix)
Aztek – Sweet Tooth
Aztek – Stop
Aztek – Fuckus
Kromestar – 2012
