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“It’s a beautiful time to be alive and making music”: Friendzone on their debut album and confounding expectations

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  • published
    3 Sep 2013
  • interviewed by
    Chris Kelly
  • photographed by
    Brandon Tauszik
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“It’s a beautiful time to be alive and making music”: Friendzone on their debut album and confounding expectations

Friendzone have helped define the sound of “cloud rap” by producing hazy beats for the likes of Main Attrakionz, A$AP Rocky, and more. As they prepare to release their debut album, the Bay Area duo have created their most ambitious project yet.

The 12-track DX (out soon) finds Friendzone expanding the scope of their sound and sharpening their songwriting. Whether that means referencing forebearers like Aphex Twin (‘RETAILXTAL’), pulling from gentle R&B balladry (‘LUV YOU MORE THAN ANYTHING’), or embracing rhythmic excess (‘POLY’), it’s all done with a sense of melody that borders on the orchestral.

Ever prolific, the duo has also produced the entirety of Main Attrakionz’ forthcoming 808s and Dark Grapes III. FACT spoke with Friendzone’s James Laurence and Dylan Reznick via Skype about the album, the ease of working with Main Attrakionz, and who is the bigger Aphex Twin nut.


How did you two first connect?

JL: We are both from the Bay Area, grew up here. We met back in 2005 when I was doing this noise project called “doe” and Dylan was in the band Robin Williams on Fire. I was invited to play a show at his house. Later, we were in a band called Destroy Tokyo.

DR: We grew up in neighboring towns and both had pretty similar approaches to music, so naturally, we started working together on miscellaneous projects.

What were you listening to at the time?

DR: When we started playing together, we were both into… I wouldn’t call it “pop” music but we were very interested in a melodic approach.

JL: I was listening to a lot of Xiu Xiu and The Smiths [when we met].

DR: Pictureplane, Perfume, Daniel Lopatin’s stuff, Boredoms’ later stuff. We actually listened to rap more than any of that but at that time we hadn’t thought of actually making it. Lil B was probably the most inspiring artist to me at the time though.

 

“A lot of barriers were broken, all at once, really rapidly.”

 

JL: He’d just came out with ‘B.O.R.’ and I remember watching that with Dylan and we were both set back so much, like, “damn.” It was really jarring for a lot of people, actually.

DR: That time was really inspiring: all of a sudden it felt like musicians could do anything they want, that anything was possible. A lot of barriers were broken, all at once, really rapidly. It was very cathartic as well, too: I feel like people were really fed up with the old concepts of what music should be like and how it should be made. People were very eager for a radical change.

How did you go from making your own music to working with rappers like Main Attrakionz?

DR: We were doing our own music — not “instrumental hip hop”, something different. We hadn’t thought about working with rappers until we saw the video for ‘Fuck The World’ by Main Attrakionz. That was a very, very new sound and it resonated us with us very deeply.

JL: I tweeted [Main Attrakionz member] Squadda B and he was pretty close to us. We went and picked him and Mondre [M.A.N.] up, and the chemistry was there 110%. It was amazing; Dylan and I realized, “wow, holy shit, we can do hip hop.”

DR: Yeah, the first session was pretty unforgettable. It was a really beautiful time. We made a few instrumentals with rap drums but we didn’t really know what to expect. We took them to my house and played the music for about 10 minutes and they just listened and started writing. We had 2 songs recorded within an hour — ‘Rap Paradise’ and ‘Zombies on the Turf II’ — and I was kinda in awe the whole time.

We didn’t release those until much later though: I recorded them with a bad mic and was never able to make mixes I was satisfied with. The next day I went out and bought a Shure SM7B and a pop filter. Ever since that time, we have done sessions with them on a regular basis, once a week usually. They are very very passionate about music; we both have the same kind of work ethic so it’s a great partnership.

 

“The stuff that people respond to the most is stuff that when I’m making it, I’m thinking, ‘man, this is gonna be over people’s heads.’”

 

There’s definitely this push for new, more, and free content all the time. You guys (and Main Attrakionz) are pretty prolific – how do you balance productivity and quality?

DR: A lot of people have a negative take on that, but to us, I think it is really very liberating. Releasing just one album a year would be torture. We’ve been trying to space out our releases lately and it’s really an uncomfortable feeling.

JL: We always think about each release — nothing is put out without thought and love. We have a lot of unreleased material. We have learned to not flood the audience, or at least to flood them in a smart way.

DR: Since you’re not investing money in the release and not asking for people to pay $20, you don’t have to worry as much about trying to make one “perfect” release that represents you. I think that actually holds people back artistically. I don’t know if it’d be possible for our music to be as diverse as it, without releasing a lot of stuff. It really has refined what we do and I think our catalog as a whole is better because of it.

How have you approached releasing music?

DR: Our approach for the first year or two was to — instead of releasing an album — put out all of the songs as singles one at a time and build it up very gradually. Then, after a year or so we threw all of our favorites together and the ones that stood the test of time together and made Collection I.

JL: We actually had no idea people would be that into Collection I, but it did very well and it was just a casual release for us.

DR: Releasing it that way makes a lot more sense to me than releasing 12 songs that no one has heard before. There’s a lot more uncertainty there, a lot less insight going into the decision making. It benefited us a lot, putting out little bits and seeing how people respond. It made us a lot braver Ithink. A lot of the time the stuff that people respond to the most is stuff that when I’m making it, I’m thinking “man this is gonna be over people’s heads.” It’s really encouraging to see people respond to stuff like that.

Can you remember a time when positive feedback really pushed you in one direction?

JL: I can say that ‘Perfect Skies’ and ‘Chuch’ were two songs that had people ecstatic.

DR: We did not think much of those beats when we made them. They were just another two tracks, nothing special, but once I heard what Main Attrakionz did over them, I was in awe a bit. But even then, I didn’t expect the kind of response we got from the listeners.

JL: I mean, Gigi Masin even gave ‘Chuch’ his blessing. That’s amazing times 100. He reached out to us; he was just really really stoked on the song [which samples Masin’s ‘Clouds’].

DR: Yeah, especially considering how there are a few other, much higher profile songs that have used the same sample, but he still felt compelled to contact us. Very self-affirming.

JL: Definitely a highlight in my life, not just my career!

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