FL is always buzzing with new talent. Whether it’s producers, rappers, or even dope streetwear brands with a niche market, this part of the country is always crafting these individuals who go on to become superstars. We recently had the chance to catch up with Jacksonville’s very own Countach. Known for this production credits, the 20-year-old has managed to generate local and nationwide buzz for himself. We sat down with Countach for an exclusive interview where he touches on topics such as; graphics, producers position in the game, future work, and much more.
swidlife: So right off the bat, we have to ask man, Countach? Is the Lamborghini
your favorite car?
Countach: The Countach is, in fact, my favorite car, it has been for most of my life. It shares a top spot with the Acura RSX and any old BMW M3. Project cars and vintage cars are my favorite types. It’s something about taking an old body and putting all new shit in it that just gets me. Lamborghini has always been ahead of the game when it comes to sports cars, and I think the Countach is really their prime. It’s iconic. You see it in movies all the time, people randomly post pictures of it online, people use it on their merch, and it’s a major staple of the culture to me.
swidlife: So tell us a little about yourself: Where are you from? How old are you?
Countach: I’m from the northside of Jacksonville, FL. It’s the biggest city landmass-wise in America. Going from one side of town to other is a journey through Narnia. God forbid you and your friends don’t live on the same side of town, you won’t see them at all. I’m 20 years old, I’ll be 21 in my April.
swidlife: Outside of music, what are some of your other hobbies?
Countach: Photography is a little hobby of mine, I work at a photography studio. My family thinks photography is like my dream career and I’m always like “fuck no, I just spent over a grand on music equipment.”
swidlife: What’s the music scene like around you?
Countach: The music scene in my city is chockfull of potential to me. The scene isn’t really as great as it can be because a lot of people here butt heads and then people start choosing sides. But it’s like every day I meet an average person here who can sing or rap, but don’t make their own music. I wanna start helping people like that. I’ve encouraged a good bit of my friends to start recording, I hate seeing talent go to waste. Although I will say, the rock scene here is amazing. Jacksonville breeds some crazy bands. The Red Jumpsuit Apparatus started right outside of the city.
swidlife: How did you get into producing?
Countach: I got into producing my freshman year of high school, it was after a breakup of course. I had been writing songs for a few years at that point, but never saw myself producing even though I had some musical theory knowledge because of the marching band. I grabbed a copy of FL and started watching videos. I refused to watch videos on techniques though (ironic because now I do videos like that) and instead watched videos on how to install things. I wanted to learn the software of it myself and have my own way of doing things. It’s a cool experience because I learn new things even now after 6 years of making beats.
swidlife: If you were to describe your sound, how would you describe it?
Countach: I would describe my sound as a melting pot. I can make almost any type of beat and can even cross elements over from one style to the next. But the sound people are starting to know me for is my synthpop—which I’m completely fine with because it’s my favorite to make.
swidlife: Did you become interested in DJing around the same time you got interested
Countach: I didn’t become interested in DJing until my Senior year of high school. Mixes on SoundCloud started becoming more popular and I thought I was always finding good music, so I tried learning on Virtual DJ. I did a few mixes and then in my freshman year of college, I got recommended some tables by 4thQuarterQuan, a DJ in the city. I started doing shows with a collective I used to be in so it was good practice.
swidlife: Among all the things you do, you’re also a rapper. How do you find the time
to juggle all of those occupations? Are you big on having a detailed schedule
that breaks down when things should get done by?
Countach: The biggest issue I see with being multifaceted is the essence of time. Ideally, you want to put equal effort into everything, but sometimes it doesn’t happen like that. I try my best to stick to a schedule when it comes to what I work on because I wear many hats. I might take a day solely working on my own projects, another day working on beats to sell/placements, and another working on videos and kits. Sometimes I might get to my computer and do something completely different from what I intended. I wanna set more deadlines for myself and be more punctual. I also wanna evolve my time management skills, cut certain things out, add others.
swidlife: From a producer standpoint, how involved should the artist be in the
recording and post-production stages?
Countach: The artist should be involved in the entire creative process from start to finish. What separates an average song from a prolific piece of music is the amount of effort from all parties involved. Say I record a song and just send it off to an engineer with no notes of how I wanted it to be mixed, or if I want cuts in the beat, or if I want an automation of the tempo changing. This lack of information could put my mix in jeopardy of being average due to my lack of input. I know some people feel as if everyone has designated “jobs” in music and should stick to them, and that’s fine but I disagree. Artists like Kanye and Drake are involved in their records every step of the way and they’ve made some of the best music of our time. But I know not all artists are educated in the jargon of the production process, and that scares some of them off from saying anything at all. When I’ve worked with artists one-on-one, they always knew what type of vocal chain they wanted and tried to describe it as best as they can, bringing me examples of songs and such.
swidlife: Do you think producers should learn how to mix, master, an engineer?
Countach: I think it’d be a good skill to have if producers can engineer a song. It opens up another stream of revenue for them, as well as helping them gain a greater understanding of making sounds sit together properly. Once I started learning how to mix vocals, it changed how I mixed beats.
swidlife: Your bio on a few of your social media outlets reads something along the
lines of; “… born in ’97 but I happen to sound like the 80s” is there anything
in particular that stands out to you from that era?
Countach: The culture of the 80s was just crazy to me. So many iconic things for pop culture came out that decade. The Empire Strikes Back dropped in 1983, MJ dropped Thriller AND Bad that decade. Back To The Future in ’85. I could deadass go on. The styles were amazing to me and hearing my mom tell me stories of growing up in the 80s was cool because everything seemed super simple then. It’s a decade that people can’t let go and the influence is still strong in our modern times. You see the aesthetics of in all types of art. Graphic design is making a callback to it in a more minimalist way. All my photographer friends shoot film now, hell, I have 2 film cameras myself. You have others who are editing DSLR photos in the grainy style of the 80s. And my favorite element of the 80s, of course, is the genre of synthpop that was everywhere.
swidlife: So what’s up with Internet Money Records? Can you let us know what that’s
Countach: Internet Money Records is the brainchild of my bro Taz Taylor. It’s a collective of producers, there’s like… 15 of us. We have a YouTube channel where we post tutorials and other types of content, we just hit 100k subscribers a little over a month ago. Now we’re all working on getting more industry placements with artists. I’d start naming songs the group has credits on but the list has gotten longer than I thought. We also run a site called WavSupply where we sell our own drum kits and samples. Aside from all the business aspects going on, we’re like a big family and they’re my brothers.
swidlife: We see that you also do graphics work. Would you say that your covers help
bring records or bodies of work together?
Countach: Covers are everything. It’s a visual representation of what your record is trying to convey and should be treated as such. I see a lot of artists online with half-assed covers and it turns me off from listening to the song in general. It’s the first thing people see, and first impressions are essential.
swidlife: It seems like as of recently producers have developed this rep of not getting the credit they deserve. In some cases, they aren’t being credited or even compensated. What’s your take on that?
Countach: I don’t know what it is man, the producer used to be the end all/be all back in the day. I think artists used to appreciate their producers more before all of this, you didn’t hear stories about Quincy Jones or Teddy Riley not getting credited—they were revered as GODS. The lack of respect can stem from a number of things, one being how revered you are on the internet. Some artists may feel as if because a producer doesn’t have enough “clout,” they can get by with not crediting them, versus if they got a beat from someone like Metro or Pierre, they’d be FLAUNTING the production credit. It baffles me. I just wish we got more credit because at the end of the day it’s a two-way street. Producers need artists, artists need producers.
swidlife: Is there anything new that you’re currently working on that you’d like to share
with the people?
Countach: I’m currently working on a new project. It’s not quite a follow-up to Coupe II, but it’s an extension of a sound I tapped into on that project. I’ve been playing with my vocals and singing. It’s gonna be an entire project of songs like, “Yaris” and “Late Night Interlude.” I’m beyond excited to finish and release it. I’m also working on some collabs right now that are too good to even exist in this lifetime. But they do.
Well, there you have it, folks! Thank you for your time Countach and glad we could
give the people a clear overview of the man behind the work. Check out our last interview with Connor Barkhouse here.