Building Community and Crafting ENDWORLD: A Conversation with Genre-Bending Rapper KillJEI
A rapper and producer creating success in music and in fostering the talents of future generations of young artists in Montreal
“All I’m thinking about right now is the album and the endless pages of notes on my phone.”
June 2023: KillJEI has been working hard on his debut project, ENDWORLD. Between questions, he is mixing tracks on his laptop, chords stringing the coffee table in his apartment production setup.
He shows me an iPhone notes list that goes on for pages, each song having a dozen individual notes on mixing, mastering, and lyrical elements to each song.
KillJEI is an artist who never stops moving.
In the promotional run leading up to ENDWORLD, artists around the city teased the release date through street art. KillJEI dropped cryptic hints on Instagram draped in red skies and dark undertones. The run-up created curiosity and mystery for the music both in digital and outside spaces across Montreal.
Helmed by new distributor, Identity Music, and carrying a decade of experience, KillJEI looks to his debut album to finally get his name into the conversation of hip-hop artists from the 514.
We talk about his goals of collaboration across genres, the inspiration behind his music, and the different ways he gives back to his community, artistically and otherwise.
What do you want, 15 years or 15 minutes of fame?
15 years! When I first got some buzz on the St Laurent scene, I was getting recognized by some locals, getting into clubs, and certain people dapping me up; I thought I was the shit. But now, I don’t care about that clout culture. I want to be renowned for my creative vision. I’m genuine with people, so it’s important my listeners hear the same in my music. I’m a bit of an outcast in that regard.
Why do you feel like an outcast on the scene?
Jei Bandit experimented with sounds, improving my musical comprehension and not hopping on waves. And because I never do shit that isn’t me, I feel like an outcast. I feel like I’m not in the conversation as much as Mike Schaubb and Kevin Nash. I want people to say, “Oh that’s the guy that helped put Montreal on the map!” On the other hand, not doing what I’m doing now with ENDWORLD. I’m coming for my flowers. But I’m not mad at it; just focusing on the feeling of making music.
What was your first experience with music that really inspired you?
Living in Florida, my Dad was in a Church band. One day, he took me to tune the instruments. I was 14 and had just learned how to play Kanye’s “Coldest Winter.” When I started playing, my dad took out this bass and joined in like that! No sheet music, just improvising. It felt amazing. And ever since then, I’ve wanted to chase that feeling.
You must’ve had a lot of music around the house growing up. What music would your parents play?
When I lived in Orlando, my dad played Kampa around the house and in the car. As a throwback, I put Kompa rhythms on the intro track, Abyss. Here in Montreal, my Mom played Shania Twayne, Ditto, Don Juan, and Usher. Songs that I would want on the wedding playlist (laughs).
Do you feel like your sound and style have matured? And how do you feel it has stayed the same?
There are a lot of feelings that people cannot put into words. I put those strong emotions into my sound. In the beginning, as Jei Bandit, I was just learning how to produce. But I always had this sense of the dark, the melancholy, the apocalyptic.
Now, I’m throwing in some electronic and acoustic inspirations. But what really stays is the overall aura. And I keep beats for a long time. For example, I’ve had this beat for five years now. I brought it to a new level just this year for ENDWORLD. I’m a producer now, a self-made musician.
What does that growth to becoming a producer mean for your art?
The first time I produced was ‘RUNT.’ I sent it to my boy OCTN (‘octane’), O-C-T-N, this producer in Finland, who cleaned it up. With his help, I realized I could get closer to my vision of getting feelings and emotions out of the listener through mixing. I get geeky with it. I have a lot more producer friends than artist friends, you know what I mean? We speak the same language. Producers are generous with the sauce. When I met Kaytranada-
You met Kaytranada?
(laughs) It was brief, but it was cool. I ran into Kaytranada at his barber’s apartment — getting my hair done — I asked him, “How you make that kick-knock so fat, bruh?” He says, “I just side-chained, I use this limiter, that stock plug-in,” He shared. It wasn’t transactional. Same with Sean Leon; he gave me a drive to produce for myself. I try to be like them for the young producers I’m mentoring at NBS.
Is showing up for your community at NBS important to you?
Absolutely. It’s cool to guide these kids who are prone to doing ‘street shit’ to a musical state of mind. Nate Husser really inspired me. Basketball tournaments, BBQs, cookouts, all kinds of different things. And I’ve always wondered how I could do it, too. Working with the kids, to many of them, I’m like a big brother. Artistically, I feel like working with kids and giving opportunities is rewarding, giving them my two cents and experience.
Are there young artists you work with a lot?
One kid came up to me and wanted to put his song on Soundcloud that night. I was like, ‘Excuse me? If we’re doing this, if I’m producing for you, we’re doing this right.’ I want to make their aspirations a reality. Giving insight into how to maneuver the music industry. Kazz, K-A-Z-Z, is a super talented youngin’ I’m working with. This kid knows what’s at stake. We are working on a joint project together. We also donate Grimey swag to the studio, like in the winter when the ground is a slushie, we give NBS Grimey slippers.
We, as in Grimey?
Yeah, I’m working with them as a brand ambassador of sorts. I help book events and other artists. I’m learning the business under Thomas (THOM), the creative director, like a creative internship of sorts.
What kind of projects does THOM have you shadowing?
We’re building a specific style that evolves over time, like Balenciaga. I have aspirations to put my input. I have aspirations of being a creative director for my own brand. I have a good eye and taste, and designing Grimey clothing is a step in that direction.
What does this album represent for you?
It represents the culmination of my tastes and my musical dimensions; I want to show people how far my sound has come. Everything I understand now at 28 is in sound. I am using this project to musically cross boundaries to work with more people in more genres. Getting my name as a creative out there. I’ve only met half of my favourites, still another half left to go.
Any last words before ENDWORLD?
Shout out to the producers: OSCAR, Zorc, Nimbustwokay, WYLN, wizurd, and day hills — all the collaborators. ENDWORLD would be nothing without them.
