Learn more about Fat Tony’s latest release, I Will Make a Baby in this Damn Economy, by getting to know his go-to producer and collaborator, Taydex.
Who are some artists that inspire your work + process?
I could list artists and producers for days but The Neptunes are definitely on the Taydex Mount Rushmore. I am forever inspired by their ability to make chart topping radio hits while being 100% themselves. You can hear how much fun they were having in the studio through their beats. Check out “19 Classic Neptunes Bridges in 8 minutes” on YouTube.
How does collaborating with different artists make your own work stronger?
Collaboration provides you with a result that you would never get on your own and to me that’s invaluable.
How has your collaboration with Fat Tony challenged/expanded your creative process?
Tony can slide on any type of beat which pushes me to get even more creative. That makes me want to push Tony even more. It’s like a never ending circle. Since making Wake Up, we’ve become even closer friends and are comfortable giving each other any kind of feedback which makes the work even stronger. I definitely feel that this is our best work together yet.
Which song off I Will Make A Baby In This Damn Economy was the most fun to make?
Making “We Still Here” was really cathartic for me. I had just lost one of my best friends to cancer. Tony was no stranger to grief either. I was like, “What if we made a song about loss and grief dedicated to our homies who have passed?” Making that song with 4 of my best friends (Tony, Wes Singerman, Harriet Brown and Waine) felt so beautiful. I got goosebumps at one point. I really felt like my friend who had passed was smiling down on us. It’s also probably the most unique song sonically blending math-rock, rap, hyperpop and R&B.
What was the most challenging part of making I Will Make A Baby In This Damn Economy?
Making the music was easy. Choosing the final tracks for the album and coming up with a track order that felt cohesive and told a story definitely took some thought and discussion because we had such a wide range of musical styles and lyrical subjects. In the end I think we found the perfect flow. Album orders are so important! On top of that we had some COVID setbacks and were living in different states, so whenever we finally did link up at my studio, we were super focused.
Do you have any pre-session rituals before working on tracks?
If I’m going into a “blind date” session with someone I’ve never worked with before, I’ll usually prepare a few starter ideas just in case the vibes don’t come together right away, but I find that usually the best songs come from no preparation whatsoever and just trusting that something awesome will come from scratch.
What is your favorite piece of gear and why?
It might not be the sexiest answer but nothing is more valuable to me than my laptop loaded up with Ableton and all my favorite plug-ins and samples. I can put that in my backpack and take it anywhere in the world and make a hit. You can’t say that about most pieces of gear.
How do you manage creative blocks and barriers?
Collaboration, taking breaks from making music, discovering new and old music, investing in new gear/plug-ins, and if all that fails my two vices: caffeine & a good sativa.
What inspired you to start producing?
I grew up playing in a lot of bands, but at some point bands became unpopular and sort of disappeared from mainstream music. Producing and collaborating with others in the process felt like the easiest way to get back to my creative roots in music, but without having to schedule rehearsals.
If you could only listen to one song for the rest of your life, which song would it be?
“Tristeza” performed by Astrud Gilberto.
I Will Make a Baby in this Damn Economy is out now. Listen/order here.
