{"id":14846,"date":"2025-04-08T12:37:45","date_gmt":"2025-04-08T11:37:45","guid":{"rendered":"https:\/\/strettoblaster.com\/?p=14846"},"modified":"2025-09-23T11:06:28","modified_gmt":"2025-09-23T10:06:28","slug":"subjxct-5-interview-beatmaking","status":"publish","type":"post","link":"https:\/\/strettoblaster.com\/it\/pieces\/subjxct-5-interview-beatmaking\/","title":{"rendered":"Subjxct 5: ass kicking inspiration outside the box"},"content":{"rendered":"

Originality in music and research, courtesy of Subjxct 5.<\/h2>\n\n\n\n

It was a Wednesday afternoon, and while waiting for Subjxct 5<\/strong> at our online meet-up, I was listening to his latest release in collaboration with Papo 2oo4<\/strong>.<\/p>\n\n\n\n

Replaying Subjxct\u2019s new music for what felt like the hundredth time, I realized how his pursuit of sound exploration and the variety of sonic sources\u2014perfectly suited to the relentless flow of Papo \u2014had become a defining element for the recent productions of the young artist from Elizabeth, New Jersey.<\/p>\n\n\n\n

Having followed his work for a few years now, and having initially discovered him not only alongside Papo but also in the company of microphone fiend Wiki<\/strong> (whose post-Ratking records have become underground cult classics for many), I have come to appreciate both his freshness and his innate audacity in avoiding repetition. <\/p>\n\n\n\n

He refuses to settle into a “safe<\/em>” sonic formula or an easily categorized aesthetic.<\/p>\n\n\n\n

When he joins the meeting, we break the ice with casual conversation, immediately diving into the distinction between “fresh<\/a><\/em>\" e \"brand new<\/em>.”

I explain how authenticity and originality are paramount for our community, and I believe he wholeheartedly agrees. It is no coincidence that our interview begins precisely as transcribed below.<\/p>\n\n\n\n

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“Back in the day, you had to have some element that set you apart from everybody else. I grew up on different influences\u2014Dipset was different from G-Unit, Ruff Riders were different from Ludacris and the rest of the down South scene. Everyone had their own thing. Today, it should be the same” – Subjxct5<\/em> <\/p>\n\n\n\n

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\"Subjxct<\/figure>\n\n\n\n

Enter the world of Subjxct 5 and his quest to push boundaries<\/h3>\n<\/blockquote>\n\n\n\n

Welcome to Stretto Blaster, Sub – would you like to start introducing yourself to our readers? <\/strong><\/p>\n\n\n\n

My name is Subjxct Five. I’m a producer, DJ, and engineer from Elizabeth, New Jersey. I started making beats in high school, around my junior or senior year.<\/p>\n\n\n\n

I was in a concert band and a jazz band for most of my school years. As I approached graduation, in 2014, I was listening to artists like Odd Future<\/strong>, A$AP Mob<\/strong>, Pro Era<\/strong>, Chief Keef<\/strong>, and the whole New York wave, as well as TDE on the West Coast. <\/p>\n\n\n\n

I just wanted to try and understand how people created these crazy beats, and once I started, I never looked back.<\/p>\n\n\n\n

What’s your earliest memory of being drawn to music?<\/strong><\/p>\n\n\n\n

I remember being a little kid, flipping through TV channels, and landing on Rap City, TRL, or 106 & Park. I grew up listening to Hot 97, and Funkmaster Flex, and watching iconic music videos from Ludacris. <\/p>\n\n\n\n

Before I even considered making beats, I was captivated by the production side of things. I love lyrics but focus more on sound\u2014how rappers flow over beats. There are a million ways to say something, but delivering it in a clever, cool way while keeping it lyrical is what grabs me.<\/p>\n\n\n\n

You mentioned being inspired by collectives like Pro Era, Chief Keef, A$AP Mob, and Raider Klan. How did those groups influence your production style?<\/strong><\/p>\n\n\n\n

Rap was shifting then, especially in the New York and New Jersey scene. The sound was evolving, drawing more influence from the South and the West Coast. <\/p>\n\n\n\n

Raider Klan<\/strong> was interesting because they aimed to hit every corner\u2014having New York-style beats, Texas-inspired DJ Screw vibes, and so much more. That variety and experimental approach inspired me to push boundaries in my production.<\/p>\n\n\n\n

You might be buggin\u2019 right now, but even Kanye\u2019s Yeezus<\/em> was a game-changer for me. It made me reconsider sounds I had never thought of using before, like electronic and industrial elements. That shaped the way I make beats today. <\/p>\n\n\n\n

\"subjxct
Subjxct 5 shootin’ outside a venue somewhere in North Carolina<\/figcaption><\/figure>\n\n\n\n

Your production style blends different elements\u2014Jersey club, classic rap, electronic and trance influences. How would you describe your sound in your own words?<\/strong><\/p>\n\n\n\n

I like to experiment. One week I might be chopping samples, the next I\u2019m making futuristic beats with synths instead of traditional samples. My sound reflects everything I grew up on but through a modern lens. <\/p>\n\n\n\n

For example, I was into electronic music\u2014Benny Benassi\u2019s Satisfaction<\/em>, DJ Ti\u00ebsto tracks\u2014but I never made the connection until later that producers like Swizz Beatz, Timbaland, and Pharrell were also pushing futuristic sounds in hip-hop. <\/p>\n\n\n\n

I see myself in that lineage\u2014taking what I grew up on and evolving it.<\/p>\n\n\n\n

Do you remember the first beat you ever made?<\/strong><\/p>\n\n\n\n

I don\u2019t remember my first-ever beat, but I do remember the first instrumental I released. It\u2019s still on my Bandcamp\u2014I\u2019ll share it with you. <\/p>\n\n\n\n

It was this track where I sampled something that might\u2019ve been Hawaiian music, and I flipped it into a trap beat. <\/p>\n\n\n\n

I was still figuring things out, but I was inspired by producers like Flying Lotus<\/strong>, who were just dropping beats independently and building a name without working directly with rappers.<\/p>\n\n\n