Seemingly from nowhere, the figure of Byron The Aquarius rose to prominence in 2016. From relative obscurity a few months ago, to dominating European festival line ups in the summer, you’d think he must have performed some act of trickery to get where he is now. However, he has been gliding just below the surface of the scene like a cool aquarian predator for over a decade now, and has finally struck with some big time releases of his own, most recently on Theo Parrish’s Sound Signature label.
Before he makes his Leeds debut for Pretty Pretty Good tomorrow, we spoke to him to find our more about his life leading up to this point.
What was it like growing up in Birmingham, Alabama in the late 80s and early 90s? What do you remember musically from that time?
It was a great time. The music was better then, LOL. We had all the best Hip Hop groups that was played on the radio like A Tribe Called Quest, De La Soul, Outkast, SWV, Alliyah, etc. I was growing up, swimming everyday, playing basketball, beginning piano lessons…good times.
You are a keys player by trade. What was your introduction to this? And what was your access point into DJing?
Yes I’m a pianist/keyboardist. My introduction started from getting lessons in classical piano then, my huge studies of jazz through one of Duke Ellington and Sun Ra’s students back in the day. He gave me studies on the jazz chops. Was some good days. He passed two years ago. I will forever miss Doc Adams from Birmingham. He taught me about feeling and soul in music and reading charts. My Introduction to Djing was through a DJ in Atlanta Kai Alce who is from Detroit. He introduced me to spinning and how to have good selections and to teach people through music and sounds. I guess it came natural through me being a musician and making transitions in my creativity.
Tell us a bit about your career trajectory. You released with Onra early on, and then had nearly a ten year gap before your next proper release. What were you up to in between?
Yes, at those times I was super young. I released with Onra and on Flying Lotus’ LA project. I was doing lots of work between those times. I was in the music industry as well in Detroit, working with Eminem’s producer Denaun Porter and other Atlanta producers. It was a good time I guess. Music never stopped in me and creating it just happened at the right time. For that ten year gap it was just meant to be, I guess. That’s how I think and shit about life. I live in patience.
How did you meet Kai Alce? What is your relationship like?
I met Kai Alce through my transition to networking in Atlanta at a party with Daz-I-Kue from London. Mark De Clive played there with Janet Jackson’s Drummer “Lil Jon”. I was just rocking at a party. We were sipping up, smoking out, just vibing on good music and he invited me to his crib introduced me to house gem. I played keys on his productions and he hooked me up with Theo Parrish. He has always been a mentor in my life guiding me in the right way. He’s a great person that I’m happy I met.
When did you move to Detroit? What did moving there allow you to do creatively?
2012 was the time I moved to Detroit, working with Eminem’s producer Denaun Porter. He was the producer on Dr Dre’s camp. It was a great experience in Detroit: the home of Motown, the real soul music. He taught me how to mix my music, how to produce good music and having patience with the music. They were fun times, smoking out playing Juan Atkins, Derrick May, Moodymann, Dilla beat tapes, Jeremy Ellis, Waajeed PPP, tons of good music. Detroit was grimey but there was something about the energy I loved up there. The experience changed my life.
You are one of very few popular artists making soulful house music. The main popular sounds in Britain at the moment are either full disco or harder techno, not the point in between that I believe you occupy. How do you react to this? Why did you settle on your sound, and why is it important to keep it alive?
My reaction to it is like Omar S: most of the shit out there is bullshit! Beatport Chart shit lol. I just don’t understand but I got respect for all music. That’s why I keep the soul in house alive. I got to hold it down and teach people out there about soulful house music, and putting people on a journey of new music. Gonna continue keeping it alive. If I don’t, who else is gonna do it? Like you said it’s only a few playing the good shit nowadays.
Would you say there was anything modern about your music – or are you thinking retrospectively when you produce?
I think the thing that stands out about my music is the soul in it, the jazz and my live instrumentation. I take on more of a live creativity way when I make music. Got to keep that soul shit alive. I love putting jazz and electronic music together. I think when you think about it, Hip Hop and Jazz House is in a way related at times. The inspiration comes from everything, even the way people make drums swing. Dilla made a huge influence on rocking your drums and making the swing hard. It’s about taking all those elements and putting them together to create something new to the world.
You have stressed the importance of live instrumentation in house music. How does this approach affect the way you DJ, when you can’t play live?
Yes indeed. I think being a musician applying the live instrumention in house music does make a difference. It makes me think completely different than just a person spinning. I put together good taste and good music I think like a musician when I’m spinning. It’s nothing like it or even when I play live at times it gives the music a new element.
Many British people of my age with know Birmingham, Alabama for its central role in the progress of the Civil Rights movement. It was a point of intensity for the campaign in the 60s. What is it like for you, operating as a black artist, at the dawn of Trump’s presidency?
I can’t lie, it’s hell sometimes being a Black Aritst and going through heavy racism Birmingham. It still exists, but I guess that’s what is the motivation for me to put that energy into my music. It’s sad that America is like this with guns and all, but that’s America for you. I think that’s what creates the artist and producers out there. We try to find a way out of that world, and create our own reality through making music.
You have had four releases already this year – what are your plans for 2017?
Yes it’s been a fast year. Time went by fast! I’ve been just doing shows and working on the Sound Signature full LP project for Theo Parrish with Kai Alce, my Eglo Records release and some other dope labels out of Detroit and EU. I have been real productive and creating in the studio. Seeing the world with its art, fashion and music has inspired me. 2017 is gonna be a great year.
Oliver Walkden