Audiomack is a free music streaming service that allows for undiscovered and established talents to share their work and possibly make money off it. The platform stands out against other streaming platforms because of its accessibility and availability to all. The platform is a growing name in Jamaica as 11% of Jamaicans have the app on their phones. SKYLINE is the company’s newest project, exploring fresh talent worldwide and collaborating with them individually. Members of the Audiomack team are fans of the Jamaican music scene and culture overall, so taking the SKYLINE project to Kingston was no surprise. CARIB VOXX had the pleasure of sitting down with the creative director of Audiomack, Taylor Guttenberg “TGUT“, as he shares with us this journey and why it was important to have the SKYLINE: Kingston project. What an incredible opportunity for Jamaican culture and emerging Jamaican musicians to showcase their talent on an international scale without leaving the comfort of their home country.
How did the SKYLINE: Kingston Project come about? What inspired it?
On top of always having a love for reggae and dancehall, even Jamaican culture beyond the music, all of us at Audiomack and myself as a producer have always gravitated towards the country. Audiomack is very well received in Jamaica, 11% of Jamaicans have Audiomack on their phone. I’ve made records with Spragga Benz and Serani in the past and a variety of other dancehall artists. I just wanted to get closer to the culture and see what it’s really like.
How did you come about selecting the artists that you wanted to feature on the project?
Tanya Lawson, the director of dancehall and afrobeat at Audiomack is well connected to Jamaica and has a ton of good relationships there. In a lot of ways, she was the A&R of the project. She selected many of the artists for us to work with and she would give us back story and information about them. But some of the artists, Jahmiel for example, Jahmiel had been to Audiomack in New York, Vanessa Bling as well. For the other artists, it was all based-on the vibe we got. We brought some riddims, tried to create some good vibes, and luckily, we were able to come out with 6 original records, and to me, it’s some of my favourite music that I’ve ever made.
Apart from the songs that were released and the behind-the-scenes of the mini documentary that we saw on Audiomack’s YouTube page, is there anything else that’s coming up from this project?
Right now we’re focused on getting the records out there. I think that’s where Audiomack plays a big role is being able to work these songs and records to an American audience. Some of the production is not traditional reggae or traditional dancehall, so I think now the focus kind of shifts to just getting the content out there. Now, I want to get them placed in movies and in television. We’ll be dropping more exclusive footage from the trip and the sessions.
Definitely. Even the sound of dancehall and reggae has evolved over the years. Like you said, some of the projects you did weren’t traditional riddims, but it still works and translates well.
I’m glad you said that because it’s true, some of the riddims were geared towards traditional dancehall sound. Some of the other stuff on there for example like the one with Baker Steez and Projexx it’s super hard like if you just take the vocals you’d think oh this is a trap beat, you’d hear this in Atlanta.
With the evolution of streaming music, doors have opened for emerging artists. When we look at things right now and see where Audiomack is, Audiomack is helping to bridge the gap because the music business is very saturated right now, and to have a platform that you can still easily discover new talent, how has that been for Audiomack?
It’s been amazing like you said just bridging the gap. Audiomack is a free app but if you’re an artist you can still monetize and make money on it. It’s not easy to make money in the music industry but there is money out there and we can help spread it out and put it in new places and create new opportunities. It goes hand in hand with putting lesser known artists on a bigger platform and really letting the music speak instead of the amount of Instagram followers someone has.
How would you describe your experience being the Creative Director at Audiomack?
One thing I want to say is a special thank you and shout out to Dave Macli and David Ponte the founders of Audiomack. They’ve always wanted to see me win as a creative and a producer and a DJ. Audiomack gave me this platform and it’s a beautiful marriage because I’m able to not have to sacrifice my own dreams of becoming a producer/DJ/international star and at the same time it’s like I don’t have to put Audiomack on the back burner either. We just have this great relationship where they know there’s a lot of loyalty on both sides.
You said earlier that you have produced records with dancehall artists before and you’ve been a fan of the culture and such. What sparked that interest for you with dancehall and reggae?
In high school, I was listening to reggae and dancehall and not even knowing what I was listening to. I just loved the sound of steel drums and the drum rhythms. As I got older and got deeper into my DJ career, I dove into the history. We started working with artists and at the same time Audiomack is making all these plays in the Caribbean. The next thing I really want to do is take big artists to Jamaica. In the states I DJ for ASAP Ferg and Lil Pump. I produce for all different types of artists. From street rappers to R&B singers. I would love to bring American rappers out to Jamaica and really start building the bridge for the future.
Most definitely because the culture is so connected that I think not many people pay attention to it. Jamaica influenced hip-hop and hip-hop is influencing Jamaica. It’s all one connection and it’s great that you’d want those types of artists to come and experience our culture.
Kids gravitate towards American hip-hop culture because it’s real and it’s raw. It’s from the street; it’s not dressed up with money, it’s organic. Being out in Jamaica it’s more like that in the sense that there’s overwhelming commercial success but it’s still raw and the artists are hungry. We’re making music in these studios that are just carved into walls and I think American rappers would love it.
I loved the artworks that were done for each song. Who was the artist behind the cover art?
His name is Daniel Lint. We wanted to create independent records with each artist. The intention wasn’t to make an album with all these artists on it we just wanted to do it organically. We had 6 different records and again we didn’t want to just throw it all on an album and drop it so we were trying to figure out how we could make 6 singles, but then tie them all together and let people know that they are related, even though they aren’t on an album together. And it felt like the artwork was the perfect way to do that.
Most definitely. For you right now like coming off this project, how do you see the continuous relationship between Audiomack and Caribbean talents?
I think it’s based on consistency; we will be out there again. I want to go back and really soak in the culture and do some things outside of work. I’ve already spoken to Baker Steez and Projexx about when they come to the U.S, going to the studio and doing a full project. When Vanessa Bling comes out here, we might shoot a video for one of her songs that we did together. It’s just about staying consistent and active.
