Building Blocks To The Sky With DMY

A remote but solid contributor to the footwork community all over the world and best known for his extensive knowledge in both analog/digital music production and working on tracks every moment he can. With a heavy heart in music, he delivers a creative variety in all his sounds. We now get to hear about his journey into music, what keeps his motivation and inspiration flowing. Take notes.

How would you define your style?

Footwork, juke, hip-hop, house and experimental electronic


How long have you been in the music game and what brought you to it?

Over 20 years tracking and performing. My pops got me into music at a young age. It was all go from there. As far as the game goes, I’m not really in it. I don’t do music to pay bills or climb social ladders, so the game part of it a'int shit to me. I do what I want when I want and have no one to tell me otherwise.


How did you find your way into the juke/footwork scene?

2012, I found it when I was on Soundcloud just checking out the different features of the site. Tag caught my eye so I clicked on it and it brought up a list of artists with the footwork tag. First track was a DJ Elmoe joint followed by one from EQ Why. After hearing those two tracks I knew that I had some listening to do to find out more about this genre. I was ignorant to the dance and the culture at that point but I knew I wanted to hear more of the music. It reminded me of the first time I heard Jungle and Acid House back in the early 90’s. It consumed me. I needed to hear more, know more, try for myself and talk to those who made it. So I did, and now I am where I am. And, I’m gonna continue to learn and grow with it. But if it weren’t for Juke Bounce Werk, Teklife and Tekk DJz I wouldn’t have had the exposure I currently have and I’m grateful for their endorsements and continued friendships and collaborations.


You would be considered a producer and a DJ. What do you prefer putting more time into and why?

Production. The majority of my musical life has been closed off in a room writing and experimenting. I like to compose and I love to document all of it. Shit or not. It has to be recorded. It is a frame of reference. A building block. I have months and months if not years of music on floppy disc, cd-r, tape, and digital. I have this fascination with documenting my life through audio. It is never enough. There is always so much more to accomplish. So many ways to grow as an audio artist. So many moods, experiments to log, and it’s just a lot of fucking fun to be creative with it all. Mixing is dope too but I am way late to it (started in '14) and I have no intentions at this point really to take it to the level I have with production. But I do practice cause i’m not tryna be a chump. I do get out n mix so fuck sucking. I want the blends to be top and the selections to slap.


How do you find the balance between family, life and being a kick ass producer? You produce music so fast, with such quality, and variety; how do you pull it off?

It can be hard sometimes. I been practicing balance for a lot of years. When everyone in the house is passed out I head into my studio, smoke loud and work on tracks for a few hours. I sacrifice some sleep basically. When they are up, I refrain. That’s it.


How would you explain your views on the culture, how you would like to see it progress, and any advice you might have for other producers, both young/old?

Not my place to speak on the culture. I’d like for the progression, however, to stay the path of pushing the sonic and dance boundaries as well as keeping an open mind and continued inclusion of likeminded passionate producers, djs and dancers. The only advice I have to young/old is to be yourself, be honest with yourself and everyone at all times. Otherwise, bag it up.      


What other types of music have influenced you over time? and who contributes to your creativity now?

Death Grips. Death Grips.


What would you consider important elements in making a mix, or producing a track?

I will speak on the production element and for me it is to be relaxed. That is most important. I don’t go in with preconception. I sit down and things happen, so I have to be relaxed to achieve anything worthwhile. Loud helps set that. I think having a functional workflow is equally important. When I first started using Ableton it was a sloppy mess of composition, file structure and everything else. It was paramount for me to quell my fucked systems and quickly. You can’t be relaxed when you don’t know where shit is or how to set it up quickly. Think another key element is to be unique with it all. Once the understanding of a DAW is in place, the ability to be free and individual certainly exists. Just takes a bit of time. So expecting a newcomer to a genre or DAW to be any of the above initially is a far reach. There are exceptions however. Pushing oneself to organize and understand will foster the ability to be creatively unique I think.


Have you got any new material coming out or tour dates etc?

Putting together some joints for Juke Bounce Werk family and just sent off a remix of one of Comoc’s trax. Other than that, I’m sittin on a bunch of drafts and unfinished shit as well as a ton of trax I need to mix better. Planning on heading back out to LA in January for a minute. Hit the Rocksteady weekly and maybe do a couple other things.

DMY would like to encourage artists to link up via email at and to thank everybody around the world for their continued support, feedback and friendship. Stay up!



Written/Edited by: JamFransisco