Sean Simmans Dot ComCharles Wayne, Producer

Saucetown Interview: Killjoy

This month, we are talking with a rapper and producer who actually reached out to us, so we are more than happy to show him some love. Fatty’s House Recording artist, Killjoy, joins us...

Saucetown: On the note of high-budget (no pun intended) Batmobile-and-cannabis infused music videos, what are some other benefits of being independent, other than not having to ask a major label permission (and being told "no") to using real fire in the videos? How did you go about learning how to book/tour/produce etc? Why do you think some acts are overlooked?

Killjoy: I assume the reason underground artists may be looked at in a certain kind of way by the mainstream is because they are small fish, in a sense. So it’s like a whale and a guppy might both be in the same ocean, but they don’t acknowledge each other like that. At Fattys House, we try to blur the line as much as possible, because we do see the merit, the hustle and the drive of all of these artists. Regardless of what tier they are on, what box you put them in or whatever. That, right there, is one of the main reasons I love being independent, which kinda moves into the next part of the question. I am working with mainstream and underground artists, back-to-back, and because of that, I am putting people on records with other artists who have never worked together before. I am able to move how I want, because I have a personal relationship with Fat D (the label head who checks off on everything). He brought me on board to Fattys House as his first artist and producer, because we had worked with each other, known each other and even fought gangs of people together for almost a decade. My brother Jeff changed all of our lives when he introduced us. He introduced us, specifically, to work together. So, in a way he is the most responsible. He knew how serious of people we both were (and are), when it comes to our focus on sh*t. To wrap it up, though, I learned promoting, touring, producing, performing, booking and everything else that comes with it the same exact way—fail a lot and make a lot of attempts that don’t work. Then, you will eventually crack the code through sheer determination. Throw a lot of money at everything, too.

Saucetown: What are the benefits, and risks (if any) of working with other artists? How has your camp been received by fans of the people you collaborate with? BTW, the Spice1 video was particularly polished, so nice work on whoever put that together.

Killjoy: Thank you so much. I love that video with Spice, too. Dope Scorsese directed and edited it, but the after FX were done by Ground Up. There is a separate, clean video edit, too, that aired on TV in Las Vegas and the Bay Area a few times. The Madchild album was actually a mixtape. But, it was all original sh*t on the mixtape, so it’s just another case of someone making a mixtape that passes for an album, because the quality is there in every aspect. Intrinzik put that project together and I can’t ever thank him enough for letting me be a part of it. I will say, the only perceived risk of working with other artists for me, personally, is if you expect too much of them, instead of just letting them do their thing. Artists are just people at the end of the day. This goes for directors, painters, writers, whatever... Creatives, in general, move in their own unique way and pacing. I personally have been blessed in every single collaboration I’ve done, whether it was with a mainstream or underground artist, because I really still appreciate and love the process. I want to take a second if I could right here, while we are on the subject, to talk about a few new collaboration projects I have coming out. I haven’t had a chance to talk about these anywhere officially yet, so I’m gassed to have the chance to say it here first to your readers. Firstly, Fat D is doing an EP with one of our newest artists, Hyper Sniper. The project is called F*ck Chances and the first single is "No No," which I produced, and it features Psycopathic Records’ newest artist, Ouija Macc. Secondly I also just worked with Ouija’s two producers, Shaggy the Airhead and Devereaux, and we put together a brand new EP, titled Cabal. The last one I can talk about is that I am also producing the next full-length album from Detroit’s Mastamind. He helped usher in the wicked, acid rap, horrorcore style and sound originally, with Esham and TNT in NATAS. Now, he is doing an entire album on Fattys House Records. The album is deep underway at this point and already features a track on it with Daz Dillinger of the Dogg Pound. So, that’s another monumental production credit under my belt, but it also sets the tone for the album.

Killjoy by Sean Simmans
(illustration by Sean Simmans)

Saucetown: Totally new subject, what’s your favorite strain of weed and one or two of the craziest weed-inspired or booze-inspired stories from you or your camp?

Killjoy: For the record, I used to smoke cigarettes—for a long ass time. Even though I quit, I still have a craving to just smoke some times. So, I have some trees around usually, just to cure a fix, and other trees for times that I want to enjoy myself or be creative. That being said, if it’s the latter, I’m going to puff on some O.G. of some sort. I don’t really have crazy weed stories to tell, because it doesn’t make me like that. I’m a member of a group called Forever Green Hustlers though, so I do blaze a lot more than most people. As far as crazy alcohol stories, it’s just a matter of me being selective, so that I’m not implicating anyone as a part of anything. I am willing to at least say off the top of my head that there was a point in time, when I was working in a situation where I only needed two sets of cords for my entire studio set up to be operational, at like a monster level. For weeks, I looked at stores in the area and couldn’t find the pieces I needed. The internet wasn’t really popping yet at the level it is now, plus I’m not the most internet savvy guy. Long story short, I was sipping a bottle of Tanqueray one night and the people I was sipping with started arguing with each other. So, I bounced on them to finish the bottle, solo. I woke up the next morning in my bed, covered in blood, I had the two cords along with a shit load of other random cords like still clenched in my bloody fist. I acquired them, then slept with the spoils of my victory. Still, to this day, I never found out at whose expense they came or how.

Saucetown: How do you feel about the fusion of creativity and politics,? Personally, we are registered to the Pizza Party and have no plan on voting until a Ninja Turtle runs for office, but that’s just a side note. Do you think it’s a smart move, or a risky one (or both) to mix up politics and creativity?

Killjoy: Alright, well if that’s an option, I’ll sign up with you. I’m also a part of the Pizza Party now. Here’s my thoughts on politics in music and art—if there is one thing art should always be used for, than it’s probably shining light on injustice. There is a lot of that shit going on in the political world. So, the artists that do focus on politics (and do it well), I look up to and respect like a motherfu**er. Some of that can be my favorite sh*t. Like, Dead Prez, Nas or KRS. That being said, I don’t put it into my shit, and I usually recommend against it with artists I’m producing. Politics are like religion and they can be super polarizing. It’s my mission to make projects which are received well by the world as a whole. Some statements can permanently label you with a stamp, like Republican or whatever. Then, from that day forward, you are Republican rapper so-and-so. I want people to hear the music, and because of that, I do limit a lot of what I comment on. I don’t think that makes my music less valuable to the general public, though. My biggest goal with the art that we are creating is to empower people.

Saucetown: Lastly, how do our readers get your music and/or follow you on social media?

Killjoy: On Twitter, I’m @OfficialKilljoy. On Facebook, you’ll find me under KilljoyUs. On Instagram, it’s @KilljoyFHR. If you want to get in touch with me, book me, purchase something or just stay up-to-date, IG is your best bet with me. I try my best to keep up with my account over there. My stories on Facebook or Instagram are super lit, though, and that’s where I sneak preview shit first, always. If you are ever searching for me and have a difficulty, I have an official logo and I always use it. If it says "KillJoy," but it’s not my logo, then it isn’t me. The second surefire way to find me is include "Fattys House" in the search. My career wouldn’t be possible without Fattys House, so I am synonymous with it.

Before I leave you guys, I also wanted to briefly mention that I am contributing a few score pieces for the upcoming indie film, Scumnut: Doenut Punks From Outer Space. I’m such a movie nut and I’m so happy to finally have a chance to be involved with one, in some capacity. I forgot to mention it before, and didn’t want to miss the chance to let you guys know to look out for it. I also wanted to thank your entire staff, and all of your readers for letting myself and Fattys House be a part of your ever-growing history. When I am out in the area, we need to meet up and blaze one.

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