I’ve always wondered what it’s like to be a DJ, so I recruited Montreal’s Killa-Jewel to give me (and you) an exclusive peek into the life of a working DJ. Killa-Jewel’s an accomplished DJ who's been travelling the world for over 10 years, spinning her chill beats. I was introduced to her through a sick YouTube video in which she destroyed the turntables. Check out her MySpace to hear some of her tracks. See latest video, "Sorrow," below, and read what she had to say about being a woman in a male-dominated industry, what influences her sometimes dark sound, and the tracks that inspire her most.

SS: How would you describe your style for those who haven’t heard it?

KJ: The music I produce is influenced by years of classical piano training and also by my involvement in the underground Hip-Hop scene. It is comprised of dark, atmospheric sounds sampled from early soundtrack recordings with a hint of turntablist elements. It's definitely not for the faint of heart. Amongst the list of tracks, there will be a few local emcees and DJ/ Producer Mr. Dibbs guest appearing. The record is called Saudade, and for anyone who knows the definition of that word will then fully understand the concept behind it.

SS: Your influences range from Chopin to Nina Simone to The Beastie Boys. How do you incorporate those elements into your tracks?

KJ: When I'm composing a track and trying to make it my own, it's wonderful to have all these different influences in play. Generally my beats are of the hip-hop variety because of their slower tempos and because they are in large part sample-based. Once my drums and main sample recorded, I compose as much as I can around what I have just created, in an effort to make the song more of my own. Writing music for me is very instinctive and therapeutic. I never know how something is going to turn out, but when I hear a sample that moves me, the ideas begin to flow and possibilities seem endless.  

SS: How did you get started spinning? How did that parlay into scratching, specifically?

KJ: When I started DJing in 1997, I learned how to mix Techno, House, Drum n' Bass and Breakbeats. I was mixing until about mid '98 when my boyfriend at the time (DJ Mana) and I were introduced to Hip-Hop and scratching by some local friends of ours. The Hip-Hop we listened to was more along the lines of Trip-Hop like Morcheeba, Massive Attack and Portishead. Scratching came about naturally at that point because Turntablism is one of the five main elements of hip-hop, and to me seemed like a refreshing musical change after ten years of classical piano. We would be the first to argue that the turntable is in fact a musical instrument.

SS: Who first inspired you in terms of spinning?

KJ: In the beginning I looked up to quite a few turntablists like Q-Bert, Kuttin Kandi, Kid Koala, Mix Master Mike and many local Montreal DJs as well. As a DJ and now producer, my main influences in no particular order are DJ Shadow, Krush, Koala, Amon Tobin, RJD2 and DJ Numark. A large reason why I started scratching was because of a depression I was facing at the time and it seemed like a good outlet. I channeled my negative energy and turned it into practicing five hours a day, everyday.

SS: Describe a day in the life of a DJ.

KJ: Being a DJ is a great thing, because 99% of the time I work nights. This business allows me to work (and play) by my own schedule, get as much sleep as I need, and have no one else but myself to blame for my own laziness. It has also enabled me to travel much of the world for free and that in itself has been such an inspiration for my own musical compositions. On an average day, I usually wake up, go to the gym, come home and work on scratches for a number of groups I'm collaborating with, and also work on my own projects. I also put time aside for emails and other business-related things. Although most would see this career path as a luxury, (part of which is), there is never a regular income for more than a couple of months at a time, I must be as much if not more of a business women than a musician and constantly have to put up with shady characters. There is no such thing as a typical weekend because I'm always "on the hustle."




SS: There's a quiet darkness to your tracks, especially something like "Sorrow." Where does that come from?

KJ: Traveling was one of the major influences for my record, as so many experiences (and music purchases) shaped that creative time in my life. However, one of the downsides to traveling so often (besides the constant jet lag) is the fact that I missed my family, friends, and familiar sights and sounds of home tremendously. The latter compounded by a really bad relationship helped shape the emotions I put into the record. Those emotions influenced the types of samples I used, and chords I played. One thing I've observed throughout the whole creative process is that as an artist/musician, you must constantly be in touch with your deepest emotions in order to create. It's no wonder I've often felt at the brink of insanity!

SS: How do you shift from downbeat to high-energy so well?

KJ: I think the most important thing to remember when you're DJing or producing music is to keep an element of consistency. If I'm playing a slower, down-tempo track it better have hard-hitting drums. If I produce a track that is higher energy then I like to include more somber melodies. For me, balance is key.

SS: Is it tough to be a female in an almost entirely male pursuit? How do you navigate that world?

KJ: Being a woman has definitely given me a different perspective on DJing and, now, producing. In some ways it has helped me gain exposure where other DJs would have had to work harder to get that exposure, but I have also had to work harder in proving to everybody that I am not just a pretty face [ed note: her face is quite pretty], and only hard work and good luck have gotten me where I'm at now. At this point in my career, many of my friends and contacts work in the music business full time. It's there I notice a certain refreshing level of maturity in how they perceive me and my work. It's easy to ignore the sexually suggestive comments often slung in my direction because after ten years, they are so easily predictable and meaningless. In the end, many more people have been supportive than not and I'm confident that my talents will carry me far.

SS: Where do you see yourself venturing to in the future?

KJ: The release of my first record Saudade is the one project that has taken almost four years to complete from beginning to end. I hope to release it and tour with it within the next few months. I've also just completed a six-year run of a theatrical production called "The Busker's Opera" directed by Robert Lepage, in which I was performing in as an actor and musician so I'm open to many possibilities as far as live performance is concerned. I also feel drawn to the television/movie world and would love to work on a musical score. The bottom line is that I adore being on stage as a performer but equally love working behind the scenes in a studio atmosphere. I've already been blessed with a taste of both!   

SS: You look like you're always having a lot of fun while you're spinning. Is it tough to do on a day when you just don't feel like it? How do you cope when you don't feel like performing?

KJ: Any work is tough to do when you don't feel like it. When I started DJing it was only a hobby, yet I was aware of the fact that as soon as it became my job, I might someday lose the passion and joy that I once got out of it. There are certainly days (and nights) when I feel too tired to put in the late hours, but I remind myself that this is the life I chose and I wouldn't be as happy doing anything else. The creation of my record was a natural progression for me as I've grown tired of the club scene and have for a long time wished to grow more as a musician. I now see DJing and turntablism as skills that were essential in the development of who I am today as a music producer. After all, they will come in handy in my live performance! In retrospect, I never forget how lucky I am to be doing what I love, no matter how much of a struggle it may be!

SS: Can you leave us with some of your all-time favourite tracks?

Soul of Mischief- 93 Til' Infinity
Dead Prez- Hip Hop
Chopin- Fantaisie Impromptu
DJ Shadow- Midnight in a Perfect World
Mobb Deep- Hell On Earth/ Shook Ones Part 2 Group Home- Tha Realness
Nas- The Message
Portishead- Roads

Killa Jewel will be playing Grumpy’s in Montreal on June 27th. Check it!