“entropy47 rising producer from the Bay”

What is your name/stage name?

“entropy47.” entropy means “gradual decline into disorder.” It symbolizes how our society is slowly killing itself from the inside out. It symbolizes the chaotic nature of my music and the chaos within myself that I harness to create. 47 comes from capital steez. The solution to society’s entropy, to my own entropy, is unconditional love and a commitment to a higher power. The 4th chakra is the heart chakra which is blocked by anger and is opened with love. The 7th chakra is the crown chakra, the connection to the cosmic flow of the universe and serving a higher power.”

What do you do?

“I’m a music producer. It doesn’t really end there though. My purpose in life is to help other creative people achieve their potential. This means I love helping people find their sound, and I go to great lengths to understand every artist I work with on a deep emotional level. Sometimes it has nothing to do with music, and it just means helping visual creatives define their aesthetic and build their confidence. I don’t stay in one lane and my network is composed of graphic designers, recording engineers, painters, etc. I’ve found that producing is for me because it combines my creative energy with my dharma, my cosmic purpose. I get to help auditory creatives find the exact sound and vibe they’re looking for.”

What genre of music do you create?

“I make trap and hip-hop beats. I’m not really limited to that genre. If someone comes in and they want me to make a punk rock track with some drum and bass samples, I gotchu. I’m really just here to help people accomplish their dreams and find their authentic voice. I never go into a session with any bias or idea of what I’m going to make because different emotions are gonna require different tempos, chord progressions, rhythmic patterns, etc. It’s really just what the artist needs to get that inspiration to get on the mic and speak their heart out.”

Who are some artists/producers you want to work with?

“I’d really like to have the chance to work with Ronny J. I feel like sonically, my eerie, lowkey, spooky type of melodies would work really well with his style of drum arrangement. I feel like he’s a rockstar and a producer and his music really inspires me to find my own pocket and lane. Other than that I really want to work with some artists that think completely differently about music. I want to work with unique artists that are creating a name for themselves in the middle of nowhere, pushing what music is going to be next. Personally, I think that’s where the newest sounds are coming out of.”

Where are you from?

“I’m from the bay. I was born and raised in the Mission district of San Francisco. Being from there has given me a strong appreciation for different latin cultures and values. I still love walking around 24th street and seeing all of the murals drawn by local artists. The area has changed a lot, but it’ll always be my home.”

How long have you been making music?

“I started playing drums at 6 years old. I loved rock music and most of my childhood when I wasn’t in school was spent in my basement playing drums, probably annoying the hell out of the whole neighborhood. From there, I was in a couple bands in high school but never really recorded anything. It wasn’t until I was 21 that I got into music production. I was working at a recording studio that did voice-over recording which is when I began using Pro-Tools, Logic, and eventually ableton. I started on a cracked version of live 9 and after I figured out how much I loved it, I quit my job to go back to school and pursue music. I began recording whoever I could to get practice, and worked in genres from rock to EDM. It wasn’t until 23 that I began to really find passion in hip-hop and trap production, it was something that just felt natural to make. Rap and specifically the soundcloud-era at that time wasn’t restricted by all the conventional rules of recording or production. I really grew to love it because it was the genre of authenticity. I would be listening to Slim Thug, Drumma Boy, Young Dolph, and Tribe Called Quest one day. Then the next day I’d be on Payboi Carti, 21 Savage, Migos, Smino, J. Cole, Denzel Curry. It was the perfect time for me to get into it and figure out as much as I could. I learned if it sounds good and it only has three or four layers, the 808 is clipping the master, whatever. Sample is weird and out of key? Doesn’t matter. Does it sound good? Does it fit the vibe that the lyricist is trying to fit into? That’s all that matters.”

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