InterCultural TransMedia Highlighting Greatness, Gadgets, Glamour, and Government Around the World...
![(via vicemag)
If you have even a cursory interest in hip-hop, rhythm and blues, and/or hi-top fades, chances are you’ve heard about Canadian dark R&B mega-sensation the Weeknd. You are also probably aware that the main man behind the project is a 22-year-old ex-American Apparel employee named Abel Tesfaye. He’s done very well for himself in a very short period of time—becoming BBFs with Drake, securing an upcomi”ng 2012 Coachella performance, and remixing a Lady Gaga song within a year of his free mixtape debut House of Balloons.
The tidal wave of hype that has been building over the last 12 months began with the release of three songs: “What You Need,” “Loft Music” and “The Morning (Original Version).” Discerning listeners might remember that the production of these standout tracks was originally credited to a guy named Jeremy Rose, who has since parted ways with Abel. Yet, until now, no one knew the full story of why and how the split happened.
The handful of Weeknd fans and music journalists who have followed the story have only been able to discern that “creative differences” were to blame, Jeremy is now producing under the moniker Zodiac, and that all mentions of his name had been scrubbed from the final version of House of Balloons. Recently, Jeremy decided to set the record straight, and the facts ain’t pretty. After our interview, I attempted to reach out to Abel to see if he had anything to add to the discourse. A member of his crew who goes by the name “XO” got back to me via Facebook, claiming that Abel had “no comment.”
VICE: What’s your backstory? When did you start making music?Jeremy Rose: I was born in Halifax, Nova Scotia, and lived around Nova Scotia, mostly Dartmouth, until I was ten. It’s kind of a shitty town, so my parents, my brother, and me moved to Chatham, Ontario. I lived there until I was about 21. Chatham is a small town surrounded by cornfields. Nothing to do. Lots of drug use. Teen moms. Stuff like that. The music scene there was just kids playing screamo shit. I didn’t really fit in, so that’s why I got out. Then I moved to Toronto. I had some intentions of doing music out here, but I’ve always been a slow worker. I really take my time with it.
How did you first meet Abel?My girlfriend was working at Poutini’s [a poutine spot in Toronto, obviously] and I used to hang out with a couple of these Australian guys that worked there. That’s where I met Abel, he was hanging out at their house. I was showing them some things in Ableton, because they were interested in that stuff and I was playing the beat for “What You Need.” I had that thing for a couple years and I didn’t know what to do with it. Anyway, Abel was there and he started free-styling on top of it.
So that was the impetus of the Weeknd?Yeah, that’s when I asked him if he wanted to work on something—I had this idea for a dark R&B project. I think I talked to Curtis Santiago [aka Talwst, local Toronto R&B dude] about it, but he wasn’t really what I was looking for because he was on some other thing. Abel seemed to suit the project.
Continue](http://25.media.tumblr.com/tumblr_m1aw46WDlu1qzikspo1_500.png)
(via vicemag)
If you have even a cursory interest in hip-hop, rhythm and blues, and/or hi-top fades, chances are you’ve heard about Canadian dark R&B mega-sensation the Weeknd. You are also probably aware that the main man behind the project is a 22-year-old ex-American Apparel employee named Abel Tesfaye. He’s done very well for himself in a very short period of time—becoming BBFs with Drake, securing an upcomi”ng 2012 Coachella performance, and remixing a Lady Gaga song within a year of his free mixtape debut House of Balloons.
The tidal wave of hype that has been building over the last 12 months began with the release of three songs: “What You Need,” “Loft Music” and “The Morning (Original Version).” Discerning listeners might remember that the production of these standout tracks was originally credited to a guy named Jeremy Rose, who has since parted ways with Abel. Yet, until now, no one knew the full story of why and how the split happened.
The handful of Weeknd fans and music journalists who have followed the story have only been able to discern that “creative differences” were to blame, Jeremy is now producing under the moniker Zodiac, and that all mentions of his name had been scrubbed from the final version of House of Balloons. Recently, Jeremy decided to set the record straight, and the facts ain’t pretty. After our interview, I attempted to reach out to Abel to see if he had anything to add to the discourse. A member of his crew who goes by the name “XO” got back to me via Facebook, claiming that Abel had “no comment.”
VICE: What’s your backstory? When did you start making music?
Jeremy Rose: I was born in Halifax, Nova Scotia, and lived around Nova Scotia, mostly Dartmouth, until I was ten. It’s kind of a shitty town, so my parents, my brother, and me moved to Chatham, Ontario. I lived there until I was about 21. Chatham is a small town surrounded by cornfields. Nothing to do. Lots of drug use. Teen moms. Stuff like that. The music scene there was just kids playing screamo shit. I didn’t really fit in, so that’s why I got out. Then I moved to Toronto. I had some intentions of doing music out here, but I’ve always been a slow worker. I really take my time with it.
How did you first meet Abel?
My girlfriend was working at Poutini’s [a poutine spot in Toronto, obviously] and I used to hang out with a couple of these Australian guys that worked there. That’s where I met Abel, he was hanging out at their house. I was showing them some things in Ableton, because they were interested in that stuff and I was playing the beat for “What You Need.” I had that thing for a couple years and I didn’t know what to do with it. Anyway, Abel was there and he started free-styling on top of it.
So that was the impetus of the Weeknd?
Yeah, that’s when I asked him if he wanted to work on something—I had this idea for a dark R&B project. I think I talked to Curtis Santiago [aka Talwst, local Toronto R&B dude] about it, but he wasn’t really what I was looking for because he was on some other thing. Abel seemed to suit the project.
Wrapping up what has turned out to be one of the most unexpected, yet enjoyable, mixtape trilogies in recent memory (ever?), The Weeknd closes out 2011 with Echoes of Silence. We’re still digesting it ourselves, but we encourage you to download it and let us know what you think!
I haven’t gone to a brick/mortar store to purchase a CD in at least three years. I don’t listen to FM radio as much, and I probably couldn’t tell you which artists are releasing CDs soon. (Do CDs even still come out on Tuesdays?) Part of my lack of “mainstream” awareness has to do with the fact that I’m busy and listen to a lot of news and culture programming (BBC, NPR, etc.), but I honestly still listen to a lot of music—just not where you would traditionally get it. The main source: The Mixtape.
Yes, I admit that I’m a mixtape junkie. I think it has something to do with the notion of getting new material directly from the artist…no programming directors or focus groups involved in picking “lead singles”…no videos and usually no mainstream buzz. Just give me the music and let ME decide what I like. It’s a novel idea, right? (insert sarcasm) Riiiight.
To be fair, this isn’t your father’s mixtape game these days. Or your grandfather’s, depending on how far you want to go back. With the improvements in music technology you don’t need an elaborate setup to create music; and with the use of the Internet, you don’t need a huge effort to distribute it. Just a few clicks and the product goes from artist to fan. Thanks Al Gore, for inventing the Internet! (Say what? That didn’t happen? Oh, ok. Well…thanks to whoever invented it. #shrug)
Now, many major labels frown on the concept of the mixtape, with understandable reason: they see it potentially as unauthorized material from their artists and money lost. However, if not for mixtapes some of the biggest stars of today wouldn’t have been discovered in the first place. Many independent artists also use a successful mixtape to promote themselves and/or get signed to a major label. Beyond that, mixtapes have also alleviated the (sometimes huge) expense of developing an artist from these major labels and placed the burden on the artists themselves.
All in all, I’m not sure if I would still be excited about the health of the music industry were it not for the vast number of both well-known and new artists who continue to produce mixtapes. They’re critical to the survival of the music industry, and they’re critical to music fans like me who still love to be inspired by obscure creative genius. Long live the mixtape.
-F.H.
New Music from The Weeknd feat. Drake, “The Zone”, from the mixtape release Thursday.
Audio from The Weeknd: “Life of The Party” from the release Thursday.
Thursday, The Weeknd’s highly anticipated follow up to House of Balloons, is finally here. Download the mixtape ===> http://the-weeknd.com/
