October 28, 2024 • 51 mins
At only 19 years old, Moore Kismet has become a much needed breath of fresh air in the bass music scene. Not only as a non-binary person of color, but as a seasoned music producer who continues to push the boundaries of their art and is always seeking out new ways of doing things.
In this episode we talk about their approach to music production, how art can truly change people's lives, resistance to social media, the financial challenges of being a young full-time artist and more.
Follow Moore here:
https://www.instagram.com/moorekismet
Follow Nik Cherwink here:
https://www.instagram.com/nikcherwink
And visit my site to join the mailing list or book a free coaching call:
https://www.nikcherwink.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Moore Kismet (00:00):
Art has the ability to Change people's
(00:02):
lives.
And that I think is the mostimportant thing for me, is if I
can create something thatsomebody can resonate with or
can connect you in the same waythat I did as I was working on
it, then that just means more tome than anything,
Nik (00:30):
What's up everybody, welcome to the Headliner Mindset
Podcast.
Today's guest is a true childprodigy in the electronic music
industry, starting to producewhen they were just 7 years old,
and going on to become theyoungest person ever to play EDC
at just 14.
They've since been touring withsome of the biggest artists in
the bass music scene, andreleasing on sought after labels
like UKF and Sable Valley.
(00:52):
This is More Kismet.
All right.
What's up?
Welcome to the show.
So stoked to have you.
here.
Moore Kismet (00:59):
Yes.
Thank you so much for having me.
I appreciate it.
Nik (01:02):
literally just before we got on, I was thinking about
your name, more Kismet.
Where did that name come from?
What's the story behind thename?
Moore Kismet (01:13):
yeah.
So my mom actually came up withit in Bible study.
Um, I had come up with likemultiple different project names
before that.
And like absolutely nothingstuck.
Some of it sounded weird.
Some of it sounded like strippernames.
So like we were just, we werejust, I was kind of striking out
too.
(01:33):
I was like really trying tofigure out.
What exactly it was I wanted todo for an artist project at that
time.
And none of it was reallyclicking the way that I was
hoping it would.
But we were in Bible study.
And we were, uh, watching, a DVDrecording of somebody giving a
(01:54):
lecture talking about the wordkismet.
And the scripture readers inBible study, um, they had pulled
up the word in a thesaurus.
And we kind of just, itimmediately struck her, because,
you know, my mom, my mom is likemy rock.
She loves me very, very dearly.
And, um, it was kind of, forher, it was like a
(02:18):
representation of, you know, Itbeing fate or destiny, which is
the definition of the wordkismet, that I came into her
life.
And so it was kind of more of a,like a physical representation
of that, turning it also intokind of like a fun, like
wordplay type thing, likeactually including the actual
name more, making it likepersonifying it rather than just
(02:39):
making it that.
Um, and so it's just stuck withme ever since.
Yeah,
Nik (02:50):
some spiritual depth behind that.
And also, it's so cool just tohear the story about like, you
know, that coming from your momand just, you know, having her
be, be your rock, like, That'spowerful.
I'm glad I asked that question.
It just like literally just, itliterally just popped into my
head like two seconds before westarted.
I was like, wait a minute, wheredoes this name come from?
So thank you for sharing thatwith me.
(03:11):
Very, very cool.
Now.
Okay.
I have kind of just seen youfrom the sidelines.
I've seen you pop up in thescene and I was like, yo, there
is some vibe and some energy andsome swag about this person
bringing this like very justlike fresh sound and energy to,
you know, Uh,, and so I'm justlike, so excited to kind of dig
(03:34):
in and really get to know whoyou are.
Now, one, one thing I do knowis, you were like the youngest
person to play EDC, I believewas what I was, what I read.
Right.
Moore Kismet (03:43):
yep, I was like right there, I think I, I think
I was like a couple monthsyounger than Villager, who also
was one of the youngest peopleto play at the time.
But like for me, it was like, Ithink I was, I was 15, 16 when
it happened.
Uh, cause it was, I think it waslike right after like things
(04:06):
started letting up after thesecond lockdown.
Nik (04:11):
Oh, wow.
Okay.
Moore Kismet (04:12):
and so it was, it was that EDC in October of, I
believe it was 2021 where likeeverything was just, it was
like, EDC was in the fall, itwas in October,
Nik (04:27):
yeah, yeah,
Moore Kismet (04:28):
like trying, yeah, we were like all trying to
adjust, and I was in this skintight iridescent bodysuit and
gigantic like spaceman boots Igot from this shop on Melrose,
because I was just like, I needto step out for this, and that,
at the time at least for me, wasmy definition of stepping out
(04:48):
for like one of my first biglike dream festivals, and doing
that.
So young, I was like, that waskind of, that was the move for
me at that time.
Um,
Nik (04:58):
a statement,
Moore Kismet (04:59):
absolutely.
And that, that was a statement.
Nik (05:02):
yeah.
Okay, so if you're already, Iwanna know, you're already
playing 16 years old, then whendid you get into making music?
You must have started reallyyoung.
Tell me about, like, where didthat initial spark come from,
that desire to just startnerding out on a laptop and
making music, like, at such ayoung age, how did that happen?
Moore Kismet (05:22):
So it kind of like officially started when I was
about seven or eight years old.
Um, I got my, this next partmight be a little bit more
shocking than that.
Um, I got my first laptop when Iwas like four or five years old.
It started at that point becauseprior to me ever wanting to
pursue music or any, anythingwithin that realm, I wanted to
(05:46):
be a screenwriter and designerfor animation.
And so I was using my computerat that time to kind of like
edit like little home videos andlike stuff like that, that like
never made it onto YouTube orVimeo or like anything.
Like they were not like A24quality like experimental films.
No, this is some shit that I wasjust trying to throw together
(06:07):
with some Pond5 stock footagewith the watermark still on.
Um, and just like kind of goingwith the flow from there.
Um, but I, I feel like.
That was kind of like theprecursor to it.
And then I just started messingaround with it when I was
younger, but never really tookit as seriously until I decided
to start doing more Kismet inmiddle school.
Nik (06:31):
Hmm.
Moore Kismet (06:32):
And so that was kind of just like, that was the,
that was the kicker for me.
I was like, I was in my computerscience class and I had finished
all my work early and I wasstarting to kind of like, look
up songs on the internet tolisten to while I was practicing
screenwriting and researchinglike jobs and animation to apply
(06:53):
to when I get older and like,like stuff like that.
And I found the song Wayfarerand Hindsight by Audion.
Nik (07:01):
Hmm.
Moore Kismet (07:02):
And those were like, like super early Anjuna
Beats releases.
And it just resonated with me insuch a deep way that I
immediately was just like, Ineed to try and do this myself.
And so at that time I was veryinspired by a lot of like
progressive house and like houseelectronic DJs.
I hadn't really like dipped mytoe into bass music yet until
(07:25):
later on in my life.
of course I knew about Skrillexcause everyone knows about
Skrillex.
But like I was into like at thetime Calvin Harris, Above and
Beyond, Audien, Artie, Like alot of the like progressive
house pioneers and like legendsin the space.
That was kind of what I startedoff listening to.
Nik (07:48):
Yeah.
Moore Kismet (07:48):
And it just naturally gravitated into
something bigger over the courseof time as I got older and my
tastes developed.
Yeah.
Nik (08:00):
person and I, the fun, the funny thing is I'm, I'm really,
like, I I, I used to teach atIcon Collective, so we had so
many bass music artists come outof there.
So I'm like homies with all thebass guys.
I'm starting to find the kind ofstyles that I like and that I
love.
It's.
But I've been around it for solong and I'm like, uh, you know,
it never, it never necessarilygrabbed me.
(08:22):
I'm curious, I think I'mstarting maybe, and I'm not
gonna say it's a transition, butI'm starting to get pulled more
into that world.
What was it for you that tookyou from the, you know, the very
like poppy main stage, you know,house music?
What started bringing you overto the dark side
Moore Kismet (08:38):
Ha ha ha ha ha ha
Nik (08:40):
I, I just, I wanna know that part of the story because
I'm like, I think I'm goingthrough that moment right now.
Moore Kismet (08:45):
Right, uh, I think for me, for me it was hearing
stuff on Never Say Die thatwasn't cookie cutter dubstep or
like, just like, it, at the timeand even like, towards the end
of their run a couple years ago,it was like, they just
constantly continued to put outthings that set the bar.
(09:09):
Above the standard for what bassmusic and, like, heavier
electronic music could be.
The very first song that I everlistened to that came out on
Never Say Die was Not A RealThing by Far Too Loud, Beardy
Man, and JFB.
And that song so seamlesslymeshed, like, electro house and
dubstep and so many differentpieces of styles that I had
(09:32):
never heard of before.
And that was my firstintroduction to it all, and I
was just like, I need to knowmore about this label.
I need to know more about theseartists.
I need to release on this labelsomeday.
And so I just kind of startedgravitating into more artists
within that realm.
And now I'm fortunate enoughwhere I could probably like
confidently say that a lot ofthe artists that like used to or
(09:56):
I guess at the time hadpresently released on Never Say
Die, I know now and in somecapacity I can call them friends
because like And they genuinelyinspired me to kind of reach a
point in my music listeningjourney where I wasn't just
listening to like the, theCalvin Harris's and the audience
(10:18):
and like that kind of like moresimplistic and audience friendly
stuff all the time.
And I was listening to thingsthat were more unique and that
challenged the norm and reallypushed the limits of what
electronic music could be withinthe context of what it can.
And
Nik (10:34):
yeah.
yeah, and that's my experienceof your music as well.
Is it it's intelligent They'rethey're like there's there's
nothing it is like there'snothing basic about it.
You know, it's like
Moore Kismet (10:45):
I appreciate that.
Nik (10:46):
It's just got these these textures and these tones and
like all of it and like are youare you singing on it?
Also, is that you that's that doyou
Moore Kismet (10:54):
Sometimes, sometimes I am.
Other times I'm not.
Yeah, sometimes I am like, I amlike doing like little
background vocals and stuff tokind of chop up.
Other times I am just behind thescenes writing.
Um, I have been singing prettymuch my whole life though.
And I know it's something thatmy family like very much so
strongly encourages me to kindof, you know, flex more on my
(11:15):
work.
I've just never really seen,like, much of a gravitation to
it because I have not reallybeen fully comfortable with the
way my voice sounds onrecording.
Nik (11:25):
Mm.
Moore Kismet (11:26):
Like, even, even just me talking, it's like, it's
very strange to, like, betalking for such a huge period
of time, because even withheadphones blocking out most of
the annoying sibilance, I, it'sthe tone of my voice.
It's the way my voice drags out.
It's the way that I talk and Ican't change nor would I like to
change the way that I talk butit's just an ongoing, you know,
(11:49):
insecurity that I have aboutjust the way that I sound to the
people that I talk to because Ifeel like, I know I sound
fucking annoying as hell topeople when I speak and it's
just, it's just the god honesttruth and like I, I can accept
that because It makes me iratesometimes too, but it's just
it's the way I am.
(12:10):
It's the way that my voicesounds.
I can't control it so it's justthis is just where i'm at with
it, but
Nik (12:18):
I can't help but have the life coach come out of me that,
that, that, that wants to comeout right now and just point out
that like, if it makes youuncomfortable, that's probably
the reason why you should do it.
So, I'm with your fam.
Tell mom I agree.
We wanna see you, we wanna seeyou on, on more, more vocals.
(12:40):
Lean into the, lean into thediscomfort.
Moore Kismet (12:42):
I know It's it's it's so crazy because every
every I have so many friendswhose live shows i've been to
and they've like sung on theirsung like while performing and
Like my mom while i'm on tourwith them.
Like my mom legit just goes andasks them and so now it's like
porter robinson Madion and likea whole bunch of other people
(13:05):
all in some capacity haveencouraged me to start
Nik (13:07):
Oh yeah.
Moore Kismet (13:08):
so like that's just I was just like I know I
have to bite the bullet and doit at some point, but Yeah,
Nik (13:17):
Well, it's okay.
So I want to, I want to bring itback to you as a producer.
You're, you know, You're, sayingat one moment, you're looking up
to all these artists, havingyour mind blown with the, the,
the music that they're making.
And now really just kind of afew years later, like, And
you're kind of on the same levelas them and probably releasing
on a lot of the same labels.
(13:37):
So how did you get so good atproducing is what I want to
know.
It seems like you, you, it justgrabbed you and you just really
went with it.
Like kind of tricks and tips canyou give to people out there
that are, you know, buryingthemselves in their laptop every
day, trying, trying to figurethis out.
Like, what would you say tothem?
Moore Kismet (13:55):
I mean, for me, like, I really, I really did
just like bury myself in frontof my laptop every single day.
I was trying to do this whilealso juggling school at the same
time.
And so, whenever I finishedhomework, whenever I finished
essays or projects or anythingof that nature, Immediately it
(14:19):
was, okay, let's try to come upwith an idea or something else
of this nature.
And when I met my best friend inmiddle school, we both had made
enough money to split an FLlicense at the time.
And so him and I both like usedFL licenses because you can run
it on up to two computerssimultaneously.
(14:40):
So he had it on his, I had it onmine.
And we were just cooking andlike I was just trying to grind
things out.
I was trying to come up with newideas as often as I possibly
could.
And for me, I really wanted tolearn about the inner
machinations of the softwarethat I was using first, because
(15:03):
I'm eight years into doing thisas more Kismet, but.
Almost 12, 13 years doing thisprofessional, like, like doing
this in general, like makingmusic.
And in that time that I havebeen using FL, I have not once
like used, I've started thisusing FL and I'm here now using
FL and there are still thingsthat I'm learning every single
(15:26):
day working in that program.
And it's crazy because I havebeen working in it for so long
that I am just learning newthings about.
How I can continue to create newthings and create new sounds and
try to find ways to implementthem into my work.
Um, so I think one major tip Iwould really want to give to
people is learn your softwarefirst, because like that, I
(15:50):
think is going to be the mostmajor help of anything is like
learning the way that thesoftware works first, so that
you can just kind of catapultinto creating ideas with.
no immense confusion becauseyou're trying to jump into it
immediately rather than takingthe time to kind of learn the
(16:13):
way things work andexperimenting with it to see
what works for you, what's best,and actively developing a
workflow for yourself.
Um, cause I work the way I worknow because I've taken the time
to learn the software and now Iknow my way around it like that.
So it's just, it's easier for menow to go into it and create
ideas.
(16:34):
The execution part is thedifficult part sometimes because
I'm always kind of trying tooutdo myself with everything
that I create regardless ofgenre.
But I think just being able tohave a deeper understanding of
what you're using to create yourart is only going to help you
more in the long run.
So
Nik (16:52):
Yeah.
There's a couple pieces in therethat I hear that I think are
really great and this piecearound Just really taking the
time to learn your tools.
I think for a lot of people thatwere so anxious to be like, I
want to make a song and I wantto put it out.
I want to, and I want to buildmy audience and I want to get on
stage.
And it's like, if you're rushingthe mastery of your skill set,
it's going to be, it's going tobe hard.
(17:14):
You know, it's going to be
Moore Kismet (17:14):
absolutely everything else is going to be
harder for you.
If like, if you're not happywith what you're creating.
Nik (17:21):
Yeah.
Moore Kismet (17:21):
no one else is going to be happy with what
you're creating.
That's just, that'sunfortunately like the truth.
It's like you have to, you haveto feel confident enough in your
work and if you are makingsomething in the moment and
you're just immediately tryingto rush to get it out, that's
not always like the best thing.
Like especially if you're makinga genre of music that isn't
(17:43):
electronic music because it'slike more often than not like,
You're, you're constantly tryingto find something within a piece
of work that actually stands outto you and makes it make the
most sense.
That's the biggest way I feelfor me people discover and
listen to new artists.
(18:03):
It's like they're trying toactively seek out something new,
something fresh, and somethingthat revitalizes their love for
a space that maybe other artistshave not provided for them in a
decent amount of time.
And If in their search theylisten to something and they
just don't resonate with it, andyou didn't take enough time to
(18:27):
kind of put your all into it andreally learn about what you were
doing first, it's not going toresonate with the people you
want it to resonate with.
Nik (18:37):
Yeah.
Moore Kismet (18:37):
And I kind of learned that the hard way,
because like the first fewthings I put out were just
really abysmal festival trapedits of like other songs, so
like it was It was an audience,my first upload ever was a remix
of an audience song and it waswhen it was like during audience
like pop era.
And so I, I did a remix of that.
(18:59):
That kind of blew up at the timefor like what a new project was
for me.
It was like, I had like onlylike 200, 300 followers on
soundcloud, but the, actual likeupload got over 27, 000 likes.
It was cool for me in themoment.
Then I did a remix of All Nightby Beyonce, which was up for
(19:21):
almost a year, and then gotstriked on Halloween one year.
Um, but that also blew up,because, of course, everyone
fucking loves Beyonce.
So, like, obviously they weregonna, like, seek out remixes to
see who's doing theirinterpretation.
But it's like, I did thosethings, and I can go back and
(19:42):
listen to it now and be like, Ohwow, that's ass.
But, back then, I was proud ofthat, because it sounded good to
me at the time, and I wasconfident enough to put
something out that I did investso much time into making sure it
sounded good.
Nik (19:57):
Yeah.
Yeah.
Moore Kismet (19:59):
So.
Nik (20:01):
The other piece that you mentioned that I wanted to point
out is you said that you'restill discovering new ways of
doing things.
You're still discovering newparts of FL Studio, or as I used
to call it, Fruity Loops.
I don't know if anyone calls itFruity Loops anymore,
Moore Kismet (20:18):
mom still calls it Fruity Loops.
Everyone, everyone I know overthe age of 35 still calls it
Fruity Loops.
And I'm
Nik (20:26):
a real OG,
Moore Kismet (20:27):
right.
You know it's Fruity Loops.
That's where the FL comes from.
It's not Florida.
It's not Fort Lauderdale.
Nik (20:34):
You're still, you're still discovering new ways of doing
things and, and, and seekingthat out.
And I think that that is, Ithink that there's really two
different types of producersbecause I, I think there's
another kind of mindset that Isee a lot, which is trying to
figure out the formula.
Like I'm trying to find my soundor I'm trying to find like, you
(20:54):
know, I'm trying to crack thecode.
And once I, once I figure itout, then I can just kind of
churn and burn.
And it's like, well, You know, Isee these other producers that
I've heard interviews as well,where they're like, yeah, once
I've done things a certain way,I never do it that way again.
Like, I'm always seeking, like,what's the new way to, to
record, you know, even in, like,in the, in the live studio
(21:16):
sessions, it's like, cool, whatkind of ways can we, like, turn
the amp upside down or hang itfrom the ceiling or like, you
know, like, try, like, let's trysome crazy shit, you know, like,
let's, let's, let's, Let's getin there and fuck it up a little
bit.
And I just love that kind ofgrowth mindset that I see
certain producers and artistshave.
And it sounds like you reallyhave that.
Moore Kismet (21:33):
absolutely.
Like, I think for me, it's like,especially, With everything that
I've been writing currently,it's such a vast departure from
things that I've even taken anissue with in my own work
before.
But I know especially a lot ofpeople who were listening to my
earlier work definitely tookissue with, and it's a lot of
things that I've been working toimprove upon in that regard.
(21:56):
But it's also just kind of metrying to challenge myself more
to create more interesting butmemorable ideas.
Cause for the longest time Ireally kind of just focused on
making what a lot of people kindof dub as like producer porn.
And just kind of really focusingon making things that are
stylistically complex andinteresting.
(22:18):
But solely within the context ofmaking something stylistically
interesting and complex.
And not focusing on makingsomething that will stick with
people in the long term.
And That for me, I think waslike one of my biggest issues
was I was rarely ever able tocreate an idea that felt fully
memorable until I startedworking on my album universe.
(22:40):
And even then there were still alot of moments where it's just
like, Oh, this is unexpected.
This is strange, but this is,still cool and it still fits
within the idea, but now I'mjust really focusing on finding
ways to expand my horizons whilealso making that horizon within
(23:01):
the same landscape.
I don't know if that
Nik (23:03):
Yeah.
Yeah.
Yeah.
Totally.
How do you find yourself doingthat?
Expanding your horizon, findingnew inspiration and new ideas.
Where do you find that?
Moore Kismet (23:13):
I think a lot of it for me is listening to my
peers work, and also listeningto a lot of music outside of
school.
electronic music, just kind ofto get a, an idea of what's out
there and what people areliking.
And also to get a better idea ofwhat I like and how I'm
changing, because like, if whatI'm listening to at the time can
(23:35):
in any capacity influence whatI'm working on, For my own
project.
I'm going to take that shit andrun.
That's, that I feel is like thebiggest thing for me I'm, I'm
immediately going to gravitatetowards Interpolating or, or
Emulating the essence of Thatthing I'm listening to that's
(24:00):
striking a chord with me andfinding a way in, in my own way
in my own sound To emulate thatfeeling and to kind of create
that energy within my work.
So, you know, for example, I'vereally gravitated towards, um,
there's a new album from Willow,Willow Smith that just came out.
(24:22):
that I absolutely love.
It is a whole bunch of kind oflike experimental jazz fusion,
like pop punk type stuff.
Like it's like a mix betweenthose two worlds and it like
meshes it so perfectly.
Um, and I was just like, thefact that this is like, like, if
(24:44):
we, if we were to really thinkabout it this way, I'm just like
the fact that like Will and JadaPickett Smith's daughter is like
making this.
Is genuinely bonkers.
But looking beyond that, it'sjust like, I've literally, this
is my general, like firstintroduction into music like
this, and I'm so inspired by it.
(25:05):
And I'm so inspired by theinstruments and the textures and
the arrangement styles that I'mthinking constantly about how I
can create similar melodies andcreate similar atmospherics
within my work to help people.
Resonate it and create the sameemotions that the willow songs
were creating.
So
Nik (25:26):
That's so cool.
Because as you're telling me allthis, like I can literally see
the excitement on your face oflike this, like, like
discovering this new thing.
Like, Oh my God, how do I dothat?
How do I create that same kindof feeling?
You know, not like copy it, butit's like this triggered
something inside of me and Iwant to get this feeling out and
I want to share this as well.
It's Like Like as an artist, Ithink you got to find that, you
(25:48):
know, and, and, you know, Italked about this last week
with, my buddy, Luke, who goesby Jekyll and Hyde, who's,
Moore Kismet (25:55):
okay
Nik (25:56):
have, you know, heavy dubstep, uh, bass music
producer, but we had the sameconversation.
It's just like, yo, we gotta,you gotta get out of the echo
chamber.
If you're just making bass musicand all you do is listen to the
bass music.
And it's like, it's, that's whyI
Moore Kismet (26:07):
There's only so there's only so much farther you
can go from where you're at ifthat's your mentality listening
to other things that kind ofchallenge your expectations and
kind of challenge your conceptsof things it just
Nik (26:19):
you know what?
I'm going to call this out rightnow as a piece of the headliner
mindset is A headliner is goingto be looking at how can I do
something new, something fresh.
I'm looking outside of what'shappening, you know, just on my
block.
I'm looking into other, youknow, scenes and genres and, and
even other forms of art, whereasa lot of other people are just
(26:41):
looking at how do I do what'salready being done.
Because I want to, I want to getin.
I want to get into the cool kidsclub and the circle and what's
happening.
Well, it's like, if that's theway that you're thinking, you
are always going to be threesteps behind, you know, and,
and, and it's kind of, again, Ithink the difference between
being a producer and being anartist, a producer, the
production side is just kind ofthe math and science.
(27:02):
Like I'm learning how torecreate the formula, but an
artist is actually going toreally go out there and, bring
something fresh to the table intheir own, you know, unique
perspective.
And, uh, you know, I think that.
You've just been doing that fromthe beginning.
I think just as such, you.
know, uh, uh, an authenticartist that's bringing someone,
you know, really fresh anddifferent to the scene.
Um, so I want to talk about likethe actual project and it sounds
(27:25):
like you had a vision for theproject pretty early on as well.
Like you came up with the namepretty young.
I think you said you were stillin like middle school when you
came up with it.
Did you really just kind of comeup with the name or did you also
really have like a vision forwhat it was that you were
creating, you know, beyond justthrowing tracks up on
SoundCloud?
Hmm.
Moore Kismet (27:46):
just, I knew that I wanted it to feel like it was
from me because I feel like moreoften than not, especially now,
like I, I think I see a lot ofartists kind of doing their
thing and I can like see themcreating cool shit and like see
them doing this cool thing, butI can't piece together what.
(28:08):
Their artistic vision is whattheir goals are just from what
they put out and You know, maybeit's not Any of our business to
I guess in their eyes, but it'salso just like I want to find a
way to connect With yourartistry beyond just listening
(28:30):
to the music if I can't do thatThere's a 99.
98 percent chance I'm not goingto continue listening to you in
the long term because I can'tfind a way to connect with your
artistry.
If it just doesn't sit with meand it just doesn't sit with me.
(28:51):
And so for me, I think I startedfiguring out what my vision was
for the project.
Kind of late in the game, if I'mbeing honest, like I didn't
really have a clear idea that,you know, I wanted to go full
force with, you know, kind ofexemplifying my identity through
(29:16):
my artistry and through thevisuals and through the branding
choices and everything.
That was a huge part of why Iwanted to do it because I wanted
to, I wanted to continue tocreate a safer space.
for other queer creatives toexpress themselves as they wish
to express themselves.
And so for me, my way of tryingto do that while also finding a
(29:38):
way to assign it to anything andit not feel artificial or weird
or, or different, is just bykind of finding different ways
to allow myself to let the colorinto my work.
(30:00):
Um, and so a lot of that has todo with the sound selection.
Like there are, I would say, sixor seven, give or take a few,
like signature samples that Iuse in damn near every single
thing.
That I write.
That I feel is the glue.
Oh, eight actually, because Iuse like a vinyl crackle sample
as well.
(30:20):
But it's like, like eightsignature samples that I use in
damn near all of my work,regardless of genre, that does
tie so much of my stufftogether.
Nik (30:31):
Mm hmm.
Moore Kismet (30:32):
And I really kind of just like, from the beginning
I was like, I never thought Iwould have like signature
samples from my work, but it'sjust like.
It became so frequent for methat it's just like, this has
become a staple in my work andI'm still able to find ways to
make it work and mesh it wellinto what I'm doing.
(30:53):
To where it's like a very mildlynoticeable thing within the
context of every track.
Nik (30:59):
Yeah.
You were saying that, even justas, as a fan with artists, you
are looking for something beyondjust the music really to connect
with, right?
Like, what, are the other thingsthat make you really feel
connected to an artist and whatare the things in your own
project that you really focus onto create that connection with
fans?
Yeah.
Moore Kismet (31:21):
I really try to see like, What story is there
trying to tell what they'reworking?
I think it's the same thing forme, you know.
I think not all music has totell, like, the most beautiful
story on the planet that's soheart wrenching and awful and oh
my god.
(31:41):
But it's like, you know, I canlisten to a song of yours, if
the vast majority of yourdiscography even, if I'm able
to, like, skim through it andI'm able in that moment to feel
what you were feeling while youwere writing it, then I'm going
to connect with your art.
And that I think is the mostimportant thing for me, is if I
can create something thatsomebody can resonate with or
(32:05):
can connect you in the same waythat I did as I was working on
it, then that just means more tome than anything, because that's
just the most important part ofcreating art to me.
Art has the ability to Changepeople's lives.
Listening to music and likegetting into music honestly has
(32:26):
changed my life for the better.
There are so many artists that Ilisten to that still constantly
find ways to challenge people'sexpectations by telling stories
that resonate with them.
Um, and making things morepoignant for them to understand
(32:47):
where they're coming from.
So they can understand it andthey can connect with it in
their own ways to where they canassign their own meaning to it
and still connect with the songas it's intended to be
interpreted and find their ownkind of emotional crossroads
that they can sit within andenjoy that artist's discography
(33:08):
at that emotional crossroads.
Nik (33:10):
Yeah, beautifully said, you know, I noticed that you don't
have a ton of, and maybe youpurged your, your Instagram or
something, but you don't have aton of content up on there.
Cause there's a lot of otherartists where it's like, they're
kind of putting out.
Kind of mediocre music and thenit's like well, let's just
really focus on content WhereasI feel like it's kind of the
(33:34):
other way around
Moore Kismet (33:35):
Let me sip on my drink.
Nik (33:38):
Cuz like really what I'm hearing is like Oh if you really
put the time and the effort andthe energy like really really
really make great art You know,like you still got a rockin fan
base and you're playing showsand you're crushing it But like
it doesn't seem like you're justmaking posts every single day
You know like playing that gamethat a lot of other people
Moore Kismet (33:55):
just, I'm not the most like, especially since
Tesla Man ruined my favoriteapp, I kind of have just
completely and utterlygravitated away from proactively
using social media.
And I know that in some capacityit might have hindered me.
But like, I just, I don't.
(34:16):
I don't feel the need toincessantly, like, I get why
it's so important for a lot ofpeople, but it's also just like,
I want people to enjoy me as Iam and like, enjoy my artistry
as it is and as it lives in thatmoment.
I don't want to just beincessantly in everyone's face
(34:37):
every single moment of everysingle day.
Because I know at that pointpeople will be fucking sick of
me.
And that's not, that's not thepoint I'm trying to get at in my
career.
Where everyone is just so, like,Justifiably, but still
unfortunately, Annoyed with myexistence simply because They're
(34:59):
just constantly seeing me Ontheir screens all the time.
I don't, I don't feel the needto do that.
Like for me, the, the, the, thelong and short of it for me is
just like, I'm comfortable withjust doing the occasional post
here and there doing some stuffnow and then to just be like,
Hey, I'm still alive.
I'm still cooking.
(35:21):
And then like, if we start doinga heavy rollout, then maybe I'll
be more proactive with posting.
But even then it's explicitly tosupply to the rollout and to
help promote that.
the song and to help promotethis piece of my heart that's
coming out and that's beingshared with the whole world that
I feel is it for me like I can'tI can't do the whole hey guys
(35:45):
hey guys like I can't that's notthat's not my tea I'm not that
kind of person especially withmy social anxiety it's just not
the the math doesn't math withsocial media for me.
It's very rare that I actuallywillingly go on there and make
something and even then it'salmost always about the most
random shit and it's for friendsonly to see so it's just like I
(36:06):
can't I can't connect with it inthe same way that a lot of other
people are and I feel like thatmight be my only minor weakness
with this.
Nik (36:13):
you know, I think it brings up a really good point because a
lot of people are just sort ofaccepting this idea that we have
to be on social media all thetime, you know, and like posting
five times a day.
And that's how you build youraudience or that's how you build
your business or whatever.
And to be honest, maybe thereis.
A diminishing rate of return oflike you're saying, like, well,
(36:36):
if I show up every single day,maybe people are actually going
to be sick of me.
Maybe it's going to have theopposite effect, the adverse
effect of what I'm actuallyaiming for, you know, and
perhaps it's also differentbased on like your personality.
Some people have great, they'regreat and they're entertaining
and like, cool.
Like I'm gonna, I want to followyou because you know, you're,
you're really funny or whateverthat is.
But like, that's not everybody.
(36:56):
We all have our differentpersonality.
Like you're saying you havingsocial anxiety.
You're like, I don't want toshow up every day.
And I know that that's just notreally going to work.
And
Moore Kismet (37:04):
It's not even that I don't want to because if I
could I would probably but it'salso just like I can't I, I'm
pretty sure at this point,you've noticed how fucking long
winded my responses are.
That's how I just talk in reallife to everybody.
Nik (37:23):
perfect for a podcast though, because we got an hour,
you know.
When you're like, I got 30seconds to make a fucking story
right now and get my pointacross.
Moore Kismet (37:30):
That's the thing.
And I ended up filming like 18different takes trying to get it
all within like a minute or 30seconds.
And I'm just like, I can't dothat.
I'm a yapper, and like, everytime, the, the more I try to
explain myself while I'mrecording, the more reserved I
get in the long run where I'mjust like, do I even fucking do
(37:52):
this anymore?
Like, what is the point?
Nik (37:54):
After seven takes, you're like, what the fuck am I even
saying on
Moore Kismet (37:57):
like, can I just get some food and, and go to
sleep?
Like, that's
Nik (38:00):
Yeah.
I get
Moore Kismet (38:01):
just it.
Yeah.
Nik (38:05):
it's we live in a weird time right now but but the cool
thing is is like I don't knowthe The doper your art is kind
of the less you have to worryabout all of that, you know It's
like if your shit's real, it'slike I don't see rufus to soul
fucking on their instagram storyevery day, you know They're just
like yo, we just dropped afucking album check it out and
have your mind blown,
Moore Kismet (38:26):
And everybody who gravitates towards it,
gravitates towards it.
And so, Yeah,
Nik (38:31):
yeah, Cool.
Um, you started to have.
Success really young as like ateenager and I feel like
especially when it comes to Idon't know having a brand and
really being an artist withsomething to say I'm, just
thinking back to myself when Iwas 14 or 15 years old and like,
you know I had no idea who I wasat that point.
(38:53):
Uh, how do you feel like thathas changed or evolved for you?
You know now, in terms of justlike who you are as an artist
Moore Kismet (39:04):
I think now for me,
Nik (39:05):
hmm.
Mm
Moore Kismet (39:09):
and I'm, I'm 19 now, I live on my own with, with
a roommate and like, it's just,it's, it's, it's a lot and you
just, like there are just a lotof things that like I am trying
my absolute hardest to stay ontop of.
(39:29):
Because I've now assumed so muchmore responsibility in my life.
I just, I have to really likeshow up more for myself so I
could continue to show up forthe people around me.
And I think a huge part for mein that journey was just like
really, really kind ofunderstanding my boundaries
(39:54):
more.
And really understanding where Iwas at in my journey as far as
like expressing my identity.
'cause it was just, I, I, Ialready knew that.
Like, people just have alwaysjust had an averse reaction
towards queer people in general.
Especially, you know, I'm black,I have these braids in my hair
every time we go to the airport,people mistake me.
(40:16):
For a woman, it is just like,it's, it's, it's a lot.
And like there have been so manymoments where, you know, I'm
kind of just sitting on my ownand I'm just like thinking about
every conceivable thing on theplanet in terms of me and how
I'm living and how I presentmyself to the world.
Nik (40:38):
hmm.
Moore Kismet (40:39):
And it just sits with me, you know, like it's
just, it doesn't get any easierto kind of think about the fact
that.
am one of few and I'm trying myabsolute hardest kind of just
Float by and On the surface kindof just be like, oh, yeah, cool.
(41:00):
I'm cooking Doing my thing andwe're chilling and meanwhile,
I'm just over here kind of likeStruggling and like fighting to
kind of Make it and likecontinue to do this thing that I
love doing so much because it isso, it's, it's so much harder
(41:23):
now to kind of keep up witheverything that I have to do
than it was when I was younger.
Nik (41:32):
Mm hmm.
Mm hmm.
Yeah, yeah, you, uh, I mean,you're still so young, at, at
19, and just taking your veryfirst steps out, really, of,
being independent and being outon your own.
Uh, I
Moore Kismet (41:46):
And it's a lot.
Nik (41:47):
It's a lot.
Moore Kismet (41:48):
I'm trying to adjust to it as.
as best as I possibly canbecause, you know, I need to
make sure I'm able to continuedoing this and I want to be able
to take care of the peoplearound me and to be able to take
care of myself.
That's always been my number onepriority is to make sure that
I'm good.
My family is good.
My extended family and myfriends are good.
(42:11):
You know, it really does make.
such a difference when, you'rein school and you're, and you're
living with your grandparentsand you're kind of just gliding
on by and you're chilling anddoing this thing and it's a
completely differentcircumstance when you're like a
young adult living in one of,one of the states in the US that
(42:34):
has one of the highest costs ofliving in the United States.
It's like, it's just,
Nik (42:39):
you're in L.
a Mm hmm.
Moore Kismet (42:40):
Yeah, I'm a NoHo and so like, it's just my, my
rent is I think like upwards of$4,000 for the two bed.
One, like two bath we have.
It's literally just, it, it,it's like it's a beautiful space
and every, like, it's been somuch better since we've moved
(43:00):
here, from Victorville, which iswhere we were at originally.
Um, but it's like, it is just alot.
Nik (43:09):
Yeah.
Moore Kismet (43:09):
I am kind of trying to figure shit out one
step at a time.
As I kind of settle into, youknow, adulting, like I turned 20
this year and it's fuckinginsane to even say that cause
I'm just like, Oh my God.
Like it really did just feellike yesterday where I was just
(43:30):
like coming home from schoolevery day and just plopping.
down next to the desk that waswedged in between my closet and
my bunk bed and just writingeverything, talking to my
friends on the internet andlike, like doing this.
And like, now I'm still doingthat, but now it's like, instead
of producing at the desk in myliving room, I'm producing at
(43:54):
the desk in my living room now,rather than, you know, producing
in my bedroom.
Or like doing, doing this thing.
It's just, it, it, it, it, forme, I've always just wanted to
do this.
And this is the, this is thething that I want to do for the
rest of my life.
(44:14):
And I just am trying so hard tocontinue to let it be this thing
that I love.
While also understanding thatthere is so much more has become
Nik (44:27):
Yeah.
Yeah.
Oh, yeah.
I've talked about this a fewtimes because I've talked to a
lot of, uh, friends and alsoclients that have fallen into, I
don't want to say a trap, butjust a reality that when you're
coming up and it's all fun andit's all passion and then, and
(44:50):
there's no business yet.
There's no business to worryabout yet.
There's no money.
There's no, you know, likeexpectations.
And it's just really purepassion and pure joy.
And then at some point, it doesbecome a business.
And then it's like, Okay, oh,shit.
Now, we got decisions to make.
We also you just moved out onyour own.
Now I got bills to pay.
(45:11):
And now this thing that I'mdoing, I kind of have to do it
now.
Like, this is what's making thefucking this is what's paying
the bills.
And so it's, it's, you know,It's so normal and natural that
it is going to take a differenttone, you know, like I like what
you said It's just like well, Igotta how do I stay in love with
this, you know, and and that'sthe million dollar question and
(45:32):
um I just want to first offFirst off, I just want to
celebrate you and I want toinvite you to celebrate yourself
for taking this step out to beout on your own and, becoming
fully, fully independent adult.
That's kind of a rite of passagethat, uh, not everybody even
takes, you know, some people arestill, 30 living with their
parents and, and, you know,you're out there doing it and
(45:53):
you're doing it in LA.
And so
Moore Kismet (45:54):
For me though, like, I kind of get it.
Like, even then, like, I livewith my mom still, and it's
because it's easier for us to,like, split expenses and costs
together than it is for me tojust do it by myself with me
making as little money as Istill do right now.
So it's just like everythingthat we do, we do it together.
(46:15):
And it's just like, we're herein this space embarking on this
thing and just kind of focusingin on that.
And it is just like, I'mconstantly worrying about like,
fuck.
I'll make an example out of it.
I'm on tour with Virtual Riotright now.
I just did three dates with him.
And I'm about to do two more atthe end of this week, and I am
(46:37):
so unbelievably excited.
But every single show I'm doingon that tour, I'm getting paid
less than 2, 000.
And so, because I also can'tcheck into most hotels in the U.
S.
unless I'm 25, nor can I entermost of the clubs on this tour
because most of them are 21 up,I can't be there without a legal
(46:57):
guardian present.
Nik (46:59):
Oh
Moore Kismet (46:59):
I'm 19 still so I have to have someone go with me
simply for legality's sake Butalso just because I know for a
fact I still can't do this on myown Yeah, I need somebody who
will be there to make sure thatI stay on top of shit and that
i'm able to continue taking careof myself And i'm able to do
this fully to the level that Iknow i'm capable of doing it But
(47:22):
it's like those expenses Are alot and if you're only being
paid like 1, 000 to 1, 500 ashow doesn't help trying to then
later on when you're off tourand then you don't have anything
until the end of the monthtrying to cover Your rent your
utilities your water like gotlike everything it adds up and
(47:48):
it's like Like I'm
Nik (47:55):
we out
Moore Kismet (47:55):
hanging in there, literally.
We, we, we out here.
We, we out here.
I, I, I'd like to be a littlefurther out.
Like, you know, like, that'sthe, that's the, that's the,
that's the goal.
Um, but yeah, it's just like,it's a lot.
The climate of touring
Nik (48:13):
Yeah, I, I,
Moore Kismet (48:13):
really strenuous.
Nik (48:15):
I appreciate you pointing out this stage.
You know, there's some peoplethat they get really lucky and
it's just like, they get thathit song and they're just like,
they go from zero to a hundred.
There's this like, 30 to 40, 30to 60 zone that a lot of people
don't talk about, which is like,I'm making some,
Moore Kismet (48:33):
in that zone.
Nik (48:34):
yeah.
And I, and a lot of people arejust like, it's, and it's, I
think it's the same for anybodythat has a, a side hustle that
they want to turn into the.
Same thing with me for, uh, for,for coaching.
I'm, I'm five years into being afull time coach, but I had two
years where it was part time andthere was that moment of like,
I'm making a little bit ofmoney, but it's not enough to
kind of replace the salary andtake that jump.
(48:56):
and and, and it's a, it's a,it's a moment of fucking.
Tension.
It's a moment of sort of likethe uh, the caterpillar turning
into the butterfly of like, allRight.
We're gonna be in this just thisfucking goop phase for a little
bit where it's like I'm notreally flapping my wings yet
because they're still kind ofbeing built inside of this
little uh, this little cocoonhere Um, and But, you know, this
(49:18):
is where it's just like that,that vision, that faith, that
perseverance, you know what Imean?
And, and I think also just a lotof, uh, a lot of gratitude as
well.
It's, it's very easy to getcaught up in what, uh, you know,
I still have, uh, what's notworking and I still have to go
so much further to go.
But, you know, I preach it a loton here.
Just the power of celebrationand the power of gratitude and
just know whatever we feed isgonna grow.
(49:40):
And, uh, This is that, momentfor you, so it's very exciting
and
Moore Kismet (49:44):
you.
Yeah, it's a it's extremelyscary.
But you know every day I'm indisbelief that I'm waking up in
my own bedroom watching TVchilling out eating breakfast
and then getting to come out andlike see the LA skyline from my
apartment.
Like it's it's truly.
It's truly so good.
(50:04):
Amazing still.
And like, it is only just aconstant reminder for me that
like, I need to keep pushing andI need to keep going and doing
this for as long as I can,because I'm really loving having
my own autonomy and my ownfreedom as a human being.
(50:25):
And I want to continue to retainthat.
And I want to continue to enjoyspending time with the people
closest to me.
And being with them and showingup for them and their moments to
celebrate them.
So it's just like I, I'm, I'm,I'm hanging in there.
I'm, I'm, I'm trekking.
Nik (50:43):
yeah, and what beautiful driving forces, you know, I
think that's a question.
I like to I Like to ask as wellas like, who needs me to show up
at my best today?
Right.
like I know for myself, like Inaturally don't really work that
hard for myself.
I'm low maintenance.
I'm like, I'm cool I'm good.
But once I think about oh shit,I need to show up for this
(51:04):
person I need to I need to showup for my girlfriend.
I need to show up for my mom andmy sisters I'm like, okay, let's
let's fucking go.
Let's get it, you know, andthere's that next level of drive
there.
So I love to hear that you'vegot Yeah, you've got your, your
team, you've got your peoplearound you.
And, um, yeah, it's a beautifuljourney that you're on.
I'm very excited to see youcontinue to, to grow from here
(51:27):
and what you.
build.
And yeah, I really appreciateyou sharing your story and,
being real and peeling back thecurtains and letting us into, to
your life a little bit andappreciate you taking the time.
Moore Kismet (51:37):
Thank you so much for having me.
This was awesome.
I really appreciate it.
Art has the ability to Change people's
(00:02):
lives.
And that I think is the mostimportant thing for me, is if I
can create something thatsomebody can resonate with or
can connect you in the same waythat I did as I was working on
it, then that just means more tome than anything,
Nik (00:30):
What's up everybody, welcome to the Headliner Mindset
Podcast.
Today's guest is a true childprodigy in the electronic music
industry, starting to producewhen they were just 7 years old,
and going on to become theyoungest person ever to play EDC
at just 14.
They've since been touring withsome of the biggest artists in
the bass music scene, andreleasing on sought after labels
like UKF and Sable Valley.
(00:52):
This is More Kismet.
All right.
What's up?
Welcome to the show.
So stoked to have you.
here.
Moore Kismet (00:59):
Yes.
Thank you so much for having me.
I appreciate it.
Nik (01:02):
literally just before we got on, I was thinking about
your name, more Kismet.
Where did that name come from?
What's the story behind thename?
Moore Kismet (01:13):
yeah.
So my mom actually came up withit in Bible study.
Um, I had come up with likemultiple different project names
before that.
And like absolutely nothingstuck.
Some of it sounded weird.
Some of it sounded like strippernames.
So like we were just, we werejust, I was kind of striking out
too.
(01:33):
I was like really trying tofigure out.
What exactly it was I wanted todo for an artist project at that
time.
And none of it was reallyclicking the way that I was
hoping it would.
But we were in Bible study.
And we were, uh, watching, a DVDrecording of somebody giving a
(01:54):
lecture talking about the wordkismet.
And the scripture readers inBible study, um, they had pulled
up the word in a thesaurus.
And we kind of just, itimmediately struck her, because,
you know, my mom, my mom is likemy rock.
She loves me very, very dearly.
And, um, it was kind of, forher, it was like a
(02:18):
representation of, you know, Itbeing fate or destiny, which is
the definition of the wordkismet, that I came into her
life.
And so it was kind of more of a,like a physical representation
of that, turning it also intokind of like a fun, like
wordplay type thing, likeactually including the actual
name more, making it likepersonifying it rather than just
(02:39):
making it that.
Um, and so it's just stuck withme ever since.
Yeah,
Nik (02:50):
some spiritual depth behind that.
And also, it's so cool just tohear the story about like, you
know, that coming from your momand just, you know, having her
be, be your rock, like, That'spowerful.
I'm glad I asked that question.
It just like literally just, itliterally just popped into my
head like two seconds before westarted.
I was like, wait a minute, wheredoes this name come from?
So thank you for sharing thatwith me.
(03:11):
Very, very cool.
Now.
Okay.
I have kind of just seen youfrom the sidelines.
I've seen you pop up in thescene and I was like, yo, there
is some vibe and some energy andsome swag about this person
bringing this like very justlike fresh sound and energy to,
you know, Uh,, and so I'm justlike, so excited to kind of dig
(03:34):
in and really get to know whoyou are.
Now, one, one thing I do knowis, you were like the youngest
person to play EDC, I believewas what I was, what I read.
Right.
Moore Kismet (03:43):
yep, I was like right there, I think I, I think
I was like a couple monthsyounger than Villager, who also
was one of the youngest peopleto play at the time.
But like for me, it was like, Ithink I was, I was 15, 16 when
it happened.
Uh, cause it was, I think it waslike right after like things
(04:06):
started letting up after thesecond lockdown.
Nik (04:11):
Oh, wow.
Okay.
Moore Kismet (04:12):
and so it was, it was that EDC in October of, I
believe it was 2021 where likeeverything was just, it was
like, EDC was in the fall, itwas in October,
Nik (04:27):
yeah, yeah,
Moore Kismet (04:28):
like trying, yeah, we were like all trying to
adjust, and I was in this skintight iridescent bodysuit and
gigantic like spaceman boots Igot from this shop on Melrose,
because I was just like, I needto step out for this, and that,
at the time at least for me, wasmy definition of stepping out
(04:48):
for like one of my first biglike dream festivals, and doing
that.
So young, I was like, that waskind of, that was the move for
me at that time.
Um,
Nik (04:58):
a statement,
Moore Kismet (04:59):
absolutely.
And that, that was a statement.
Nik (05:02):
yeah.
Okay, so if you're already, Iwanna know, you're already
playing 16 years old, then whendid you get into making music?
You must have started reallyyoung.
Tell me about, like, where didthat initial spark come from,
that desire to just startnerding out on a laptop and
making music, like, at such ayoung age, how did that happen?
Moore Kismet (05:22):
So it kind of like officially started when I was
about seven or eight years old.
Um, I got my, this next partmight be a little bit more
shocking than that.
Um, I got my first laptop when Iwas like four or five years old.
It started at that point becauseprior to me ever wanting to
pursue music or any, anythingwithin that realm, I wanted to
(05:46):
be a screenwriter and designerfor animation.
And so I was using my computerat that time to kind of like
edit like little home videos andlike stuff like that, that like
never made it onto YouTube orVimeo or like anything.
Like they were not like A24quality like experimental films.
No, this is some shit that I wasjust trying to throw together
(06:07):
with some Pond5 stock footagewith the watermark still on.
Um, and just like kind of goingwith the flow from there.
Um, but I, I feel like.
That was kind of like theprecursor to it.
And then I just started messingaround with it when I was
younger, but never really tookit as seriously until I decided
to start doing more Kismet inmiddle school.
Nik (06:31):
Hmm.
Moore Kismet (06:32):
And so that was kind of just like, that was the,
that was the kicker for me.
I was like, I was in my computerscience class and I had finished
all my work early and I wasstarting to kind of like, look
up songs on the internet tolisten to while I was practicing
screenwriting and researchinglike jobs and animation to apply
(06:53):
to when I get older and like,like stuff like that.
And I found the song Wayfarerand Hindsight by Audion.
Nik (07:01):
Hmm.
Moore Kismet (07:02):
And those were like, like super early Anjuna
Beats releases.
And it just resonated with me insuch a deep way that I
immediately was just like, Ineed to try and do this myself.
And so at that time I was veryinspired by a lot of like
progressive house and like houseelectronic DJs.
I hadn't really like dipped mytoe into bass music yet until
(07:25):
later on in my life.
of course I knew about Skrillexcause everyone knows about
Skrillex.
But like I was into like at thetime Calvin Harris, Above and
Beyond, Audien, Artie, Like alot of the like progressive
house pioneers and like legendsin the space.
That was kind of what I startedoff listening to.
Nik (07:48):
Yeah.
Moore Kismet (07:48):
And it just naturally gravitated into
something bigger over the courseof time as I got older and my
tastes developed.
Yeah.
Nik (08:00):
person and I, the fun, the funny thing is I'm, I'm really,
like, I I, I used to teach atIcon Collective, so we had so
many bass music artists come outof there.
So I'm like homies with all thebass guys.
I'm starting to find the kind ofstyles that I like and that I
love.
It's.
But I've been around it for solong and I'm like, uh, you know,
it never, it never necessarilygrabbed me.
(08:22):
I'm curious, I think I'mstarting maybe, and I'm not
gonna say it's a transition, butI'm starting to get pulled more
into that world.
What was it for you that tookyou from the, you know, the very
like poppy main stage, you know,house music?
What started bringing you overto the dark side
Moore Kismet (08:38):
Ha ha ha ha ha ha
Nik (08:40):
I, I just, I wanna know that part of the story because
I'm like, I think I'm goingthrough that moment right now.
Moore Kismet (08:45):
Right, uh, I think for me, for me it was hearing
stuff on Never Say Die thatwasn't cookie cutter dubstep or
like, just like, it, at the timeand even like, towards the end
of their run a couple years ago,it was like, they just
constantly continued to put outthings that set the bar.
(09:09):
Above the standard for what bassmusic and, like, heavier
electronic music could be.
The very first song that I everlistened to that came out on
Never Say Die was Not A RealThing by Far Too Loud, Beardy
Man, and JFB.
And that song so seamlesslymeshed, like, electro house and
dubstep and so many differentpieces of styles that I had
(09:32):
never heard of before.
And that was my firstintroduction to it all, and I
was just like, I need to knowmore about this label.
I need to know more about theseartists.
I need to release on this labelsomeday.
And so I just kind of startedgravitating into more artists
within that realm.
And now I'm fortunate enoughwhere I could probably like
confidently say that a lot ofthe artists that like used to or
(09:56):
I guess at the time hadpresently released on Never Say
Die, I know now and in somecapacity I can call them friends
because like And they genuinelyinspired me to kind of reach a
point in my music listeningjourney where I wasn't just
listening to like the, theCalvin Harris's and the audience
(10:18):
and like that kind of like moresimplistic and audience friendly
stuff all the time.
And I was listening to thingsthat were more unique and that
challenged the norm and reallypushed the limits of what
electronic music could be withinthe context of what it can.
And
Nik (10:34):
yeah.
yeah, and that's my experienceof your music as well.
Is it it's intelligent They'rethey're like there's there's
nothing it is like there'snothing basic about it.
You know, it's like
Moore Kismet (10:45):
I appreciate that.
Nik (10:46):
It's just got these these textures and these tones and
like all of it and like are youare you singing on it?
Also, is that you that's that doyou
Moore Kismet (10:54):
Sometimes, sometimes I am.
Other times I'm not.
Yeah, sometimes I am like, I amlike doing like little
background vocals and stuff tokind of chop up.
Other times I am just behind thescenes writing.
Um, I have been singing prettymuch my whole life though.
And I know it's something thatmy family like very much so
strongly encourages me to kindof, you know, flex more on my
(11:15):
work.
I've just never really seen,like, much of a gravitation to
it because I have not reallybeen fully comfortable with the
way my voice sounds onrecording.
Nik (11:25):
Mm.
Moore Kismet (11:26):
Like, even, even just me talking, it's like, it's
very strange to, like, betalking for such a huge period
of time, because even withheadphones blocking out most of
the annoying sibilance, I, it'sthe tone of my voice.
It's the way my voice drags out.
It's the way that I talk and Ican't change nor would I like to
change the way that I talk butit's just an ongoing, you know,
(11:49):
insecurity that I have aboutjust the way that I sound to the
people that I talk to because Ifeel like, I know I sound
fucking annoying as hell topeople when I speak and it's
just, it's just the god honesttruth and like I, I can accept
that because It makes me iratesometimes too, but it's just
it's the way I am.
(12:10):
It's the way that my voicesounds.
I can't control it so it's justthis is just where i'm at with
it, but
Nik (12:18):
I can't help but have the life coach come out of me that,
that, that, that wants to comeout right now and just point out
that like, if it makes youuncomfortable, that's probably
the reason why you should do it.
So, I'm with your fam.
Tell mom I agree.
We wanna see you, we wanna seeyou on, on more, more vocals.
(12:40):
Lean into the, lean into thediscomfort.
Moore Kismet (12:42):
I know It's it's it's so crazy because every
every I have so many friendswhose live shows i've been to
and they've like sung on theirsung like while performing and
Like my mom while i'm on tourwith them.
Like my mom legit just goes andasks them and so now it's like
porter robinson Madion and likea whole bunch of other people
(13:05):
all in some capacity haveencouraged me to start
Nik (13:07):
Oh yeah.
Moore Kismet (13:08):
so like that's just I was just like I know I
have to bite the bullet and doit at some point, but Yeah,
Nik (13:17):
Well, it's okay.
So I want to, I want to bring itback to you as a producer.
You're, you know, You're, sayingat one moment, you're looking up
to all these artists, havingyour mind blown with the, the,
the music that they're making.
And now really just kind of afew years later, like, And
you're kind of on the same levelas them and probably releasing
on a lot of the same labels.
(13:37):
So how did you get so good atproducing is what I want to
know.
It seems like you, you, it justgrabbed you and you just really
went with it.
Like kind of tricks and tips canyou give to people out there
that are, you know, buryingthemselves in their laptop every
day, trying, trying to figurethis out.
Like, what would you say tothem?
Moore Kismet (13:55):
I mean, for me, like, I really, I really did
just like bury myself in frontof my laptop every single day.
I was trying to do this whilealso juggling school at the same
time.
And so, whenever I finishedhomework, whenever I finished
essays or projects or anythingof that nature, Immediately it
(14:19):
was, okay, let's try to come upwith an idea or something else
of this nature.
And when I met my best friend inmiddle school, we both had made
enough money to split an FLlicense at the time.
And so him and I both like usedFL licenses because you can run
it on up to two computerssimultaneously.
(14:40):
So he had it on his, I had it onmine.
And we were just cooking andlike I was just trying to grind
things out.
I was trying to come up with newideas as often as I possibly
could.
And for me, I really wanted tolearn about the inner
machinations of the softwarethat I was using first, because
(15:03):
I'm eight years into doing thisas more Kismet, but.
Almost 12, 13 years doing thisprofessional, like, like doing
this in general, like makingmusic.
And in that time that I havebeen using FL, I have not once
like used, I've started thisusing FL and I'm here now using
FL and there are still thingsthat I'm learning every single
(15:26):
day working in that program.
And it's crazy because I havebeen working in it for so long
that I am just learning newthings about.
How I can continue to create newthings and create new sounds and
try to find ways to implementthem into my work.
Um, so I think one major tip Iwould really want to give to
people is learn your softwarefirst, because like that, I
(15:50):
think is going to be the mostmajor help of anything is like
learning the way that thesoftware works first, so that
you can just kind of catapultinto creating ideas with.
no immense confusion becauseyou're trying to jump into it
immediately rather than takingthe time to kind of learn the
(16:13):
way things work andexperimenting with it to see
what works for you, what's best,and actively developing a
workflow for yourself.
Um, cause I work the way I worknow because I've taken the time
to learn the software and now Iknow my way around it like that.
So it's just, it's easier for menow to go into it and create
ideas.
(16:34):
The execution part is thedifficult part sometimes because
I'm always kind of trying tooutdo myself with everything
that I create regardless ofgenre.
But I think just being able tohave a deeper understanding of
what you're using to create yourart is only going to help you
more in the long run.
So
Nik (16:52):
Yeah.
There's a couple pieces in therethat I hear that I think are
really great and this piecearound Just really taking the
time to learn your tools.
I think for a lot of people thatwere so anxious to be like, I
want to make a song and I wantto put it out.
I want to, and I want to buildmy audience and I want to get on
stage.
And it's like, if you're rushingthe mastery of your skill set,
it's going to be, it's going tobe hard.
(17:14):
You know, it's going to be
Moore Kismet (17:14):
absolutely everything else is going to be
harder for you.
If like, if you're not happywith what you're creating.
Nik (17:21):
Yeah.
Moore Kismet (17:21):
no one else is going to be happy with what
you're creating.
That's just, that'sunfortunately like the truth.
It's like you have to, you haveto feel confident enough in your
work and if you are makingsomething in the moment and
you're just immediately tryingto rush to get it out, that's
not always like the best thing.
Like especially if you're makinga genre of music that isn't
(17:43):
electronic music because it'slike more often than not like,
You're, you're constantly tryingto find something within a piece
of work that actually stands outto you and makes it make the
most sense.
That's the biggest way I feelfor me people discover and
listen to new artists.
(18:03):
It's like they're trying toactively seek out something new,
something fresh, and somethingthat revitalizes their love for
a space that maybe other artistshave not provided for them in a
decent amount of time.
And If in their search theylisten to something and they
just don't resonate with it, andyou didn't take enough time to
(18:27):
kind of put your all into it andreally learn about what you were
doing first, it's not going toresonate with the people you
want it to resonate with.
Nik (18:37):
Yeah.
Moore Kismet (18:37):
And I kind of learned that the hard way,
because like the first fewthings I put out were just
really abysmal festival trapedits of like other songs, so
like it was It was an audience,my first upload ever was a remix
of an audience song and it waswhen it was like during audience
like pop era.
And so I, I did a remix of that.
(18:59):
That kind of blew up at the timefor like what a new project was
for me.
It was like, I had like onlylike 200, 300 followers on
soundcloud, but the, actual likeupload got over 27, 000 likes.
It was cool for me in themoment.
Then I did a remix of All Nightby Beyonce, which was up for
(19:21):
almost a year, and then gotstriked on Halloween one year.
Um, but that also blew up,because, of course, everyone
fucking loves Beyonce.
So, like, obviously they weregonna, like, seek out remixes to
see who's doing theirinterpretation.
But it's like, I did thosethings, and I can go back and
(19:42):
listen to it now and be like, Ohwow, that's ass.
But, back then, I was proud ofthat, because it sounded good to
me at the time, and I wasconfident enough to put
something out that I did investso much time into making sure it
sounded good.
Nik (19:57):
Yeah.
Yeah.
Moore Kismet (19:59):
So.
Nik (20:01):
The other piece that you mentioned that I wanted to point
out is you said that you'restill discovering new ways of
doing things.
You're still discovering newparts of FL Studio, or as I used
to call it, Fruity Loops.
I don't know if anyone calls itFruity Loops anymore,
Moore Kismet (20:18):
mom still calls it Fruity Loops.
Everyone, everyone I know overthe age of 35 still calls it
Fruity Loops.
And I'm
Nik (20:26):
a real OG,
Moore Kismet (20:27):
right.
You know it's Fruity Loops.
That's where the FL comes from.
It's not Florida.
It's not Fort Lauderdale.
Nik (20:34):
You're still, you're still discovering new ways of doing
things and, and, and seekingthat out.
And I think that that is, Ithink that there's really two
different types of producersbecause I, I think there's
another kind of mindset that Isee a lot, which is trying to
figure out the formula.
Like I'm trying to find my soundor I'm trying to find like, you
(20:54):
know, I'm trying to crack thecode.
And once I, once I figure itout, then I can just kind of
churn and burn.
And it's like, well, You know, Isee these other producers that
I've heard interviews as well,where they're like, yeah, once
I've done things a certain way,I never do it that way again.
Like, I'm always seeking, like,what's the new way to, to
record, you know, even in, like,in the, in the live studio
(21:16):
sessions, it's like, cool, whatkind of ways can we, like, turn
the amp upside down or hang itfrom the ceiling or like, you
know, like, try, like, let's trysome crazy shit, you know, like,
let's, let's, let's, Let's getin there and fuck it up a little
bit.
And I just love that kind ofgrowth mindset that I see
certain producers and artistshave.
And it sounds like you reallyhave that.
Moore Kismet (21:33):
absolutely.
Like, I think for me, it's like,especially, With everything that
I've been writing currently,it's such a vast departure from
things that I've even taken anissue with in my own work
before.
But I know especially a lot ofpeople who were listening to my
earlier work definitely tookissue with, and it's a lot of
things that I've been working toimprove upon in that regard.
(21:56):
But it's also just kind of metrying to challenge myself more
to create more interesting butmemorable ideas.
Cause for the longest time Ireally kind of just focused on
making what a lot of people kindof dub as like producer porn.
And just kind of really focusingon making things that are
stylistically complex andinteresting.
(22:18):
But solely within the context ofmaking something stylistically
interesting and complex.
And not focusing on makingsomething that will stick with
people in the long term.
And That for me, I think waslike one of my biggest issues
was I was rarely ever able tocreate an idea that felt fully
memorable until I startedworking on my album universe.
(22:40):
And even then there were still alot of moments where it's just
like, Oh, this is unexpected.
This is strange, but this is,still cool and it still fits
within the idea, but now I'mjust really focusing on finding
ways to expand my horizons whilealso making that horizon within
(23:01):
the same landscape.
I don't know if that
Nik (23:03):
Yeah.
Yeah.
Yeah.
Totally.
How do you find yourself doingthat?
Expanding your horizon, findingnew inspiration and new ideas.
Where do you find that?
Moore Kismet (23:13):
I think a lot of it for me is listening to my
peers work, and also listeningto a lot of music outside of
school.
electronic music, just kind ofto get a, an idea of what's out
there and what people areliking.
And also to get a better idea ofwhat I like and how I'm
changing, because like, if whatI'm listening to at the time can
(23:35):
in any capacity influence whatI'm working on, For my own
project.
I'm going to take that shit andrun.
That's, that I feel is like thebiggest thing for me I'm, I'm
immediately going to gravitatetowards Interpolating or, or
Emulating the essence of Thatthing I'm listening to that's
(24:00):
striking a chord with me andfinding a way in, in my own way
in my own sound To emulate thatfeeling and to kind of create
that energy within my work.
So, you know, for example, I'vereally gravitated towards, um,
there's a new album from Willow,Willow Smith that just came out.
(24:22):
that I absolutely love.
It is a whole bunch of kind oflike experimental jazz fusion,
like pop punk type stuff.
Like it's like a mix betweenthose two worlds and it like
meshes it so perfectly.
Um, and I was just like, thefact that this is like, like, if
(24:44):
we, if we were to really thinkabout it this way, I'm just like
the fact that like Will and JadaPickett Smith's daughter is like
making this.
Is genuinely bonkers.
But looking beyond that, it'sjust like, I've literally, this
is my general, like firstintroduction into music like
this, and I'm so inspired by it.
(25:05):
And I'm so inspired by theinstruments and the textures and
the arrangement styles that I'mthinking constantly about how I
can create similar melodies andcreate similar atmospherics
within my work to help people.
Resonate it and create the sameemotions that the willow songs
were creating.
So
Nik (25:26):
That's so cool.
Because as you're telling me allthis, like I can literally see
the excitement on your face oflike this, like, like
discovering this new thing.
Like, Oh my God, how do I dothat?
How do I create that same kindof feeling?
You know, not like copy it, butit's like this triggered
something inside of me and Iwant to get this feeling out and
I want to share this as well.
It's Like Like as an artist, Ithink you got to find that, you
(25:48):
know, and, and, you know, Italked about this last week
with, my buddy, Luke, who goesby Jekyll and Hyde, who's,
Moore Kismet (25:55):
okay
Nik (25:56):
have, you know, heavy dubstep, uh, bass music
producer, but we had the sameconversation.
It's just like, yo, we gotta,you gotta get out of the echo
chamber.
If you're just making bass musicand all you do is listen to the
bass music.
And it's like, it's, that's whyI
Moore Kismet (26:07):
There's only so there's only so much farther you
can go from where you're at ifthat's your mentality listening
to other things that kind ofchallenge your expectations and
kind of challenge your conceptsof things it just
Nik (26:19):
you know what?
I'm going to call this out rightnow as a piece of the headliner
mindset is A headliner is goingto be looking at how can I do
something new, something fresh.
I'm looking outside of what'shappening, you know, just on my
block.
I'm looking into other, youknow, scenes and genres and, and
even other forms of art, whereasa lot of other people are just
(26:41):
looking at how do I do what'salready being done.
Because I want to, I want to getin.
I want to get into the cool kidsclub and the circle and what's
happening.
Well, it's like, if that's theway that you're thinking, you
are always going to be threesteps behind, you know, and,
and, and it's kind of, again, Ithink the difference between
being a producer and being anartist, a producer, the
production side is just kind ofthe math and science.
(27:02):
Like I'm learning how torecreate the formula, but an
artist is actually going toreally go out there and, bring
something fresh to the table intheir own, you know, unique
perspective.
And, uh, you know, I think that.
You've just been doing that fromthe beginning.
I think just as such, you.
know, uh, uh, an authenticartist that's bringing someone,
you know, really fresh anddifferent to the scene.
Um, so I want to talk about likethe actual project and it sounds
(27:25):
like you had a vision for theproject pretty early on as well.
Like you came up with the namepretty young.
I think you said you were stillin like middle school when you
came up with it.
Did you really just kind of comeup with the name or did you also
really have like a vision forwhat it was that you were
creating, you know, beyond justthrowing tracks up on
SoundCloud?
Hmm.
Moore Kismet (27:46):
just, I knew that I wanted it to feel like it was
from me because I feel like moreoften than not, especially now,
like I, I think I see a lot ofartists kind of doing their
thing and I can like see themcreating cool shit and like see
them doing this cool thing, butI can't piece together what.
(28:08):
Their artistic vision is whattheir goals are just from what
they put out and You know, maybeit's not Any of our business to
I guess in their eyes, but it'salso just like I want to find a
way to connect With yourartistry beyond just listening
(28:30):
to the music if I can't do thatThere's a 99.
98 percent chance I'm not goingto continue listening to you in
the long term because I can'tfind a way to connect with your
artistry.
If it just doesn't sit with meand it just doesn't sit with me.
(28:51):
And so for me, I think I startedfiguring out what my vision was
for the project.
Kind of late in the game, if I'mbeing honest, like I didn't
really have a clear idea that,you know, I wanted to go full
force with, you know, kind ofexemplifying my identity through
(29:16):
my artistry and through thevisuals and through the branding
choices and everything.
That was a huge part of why Iwanted to do it because I wanted
to, I wanted to continue tocreate a safer space.
for other queer creatives toexpress themselves as they wish
to express themselves.
And so for me, my way of tryingto do that while also finding a
(29:38):
way to assign it to anything andit not feel artificial or weird
or, or different, is just bykind of finding different ways
to allow myself to let the colorinto my work.
(30:00):
Um, and so a lot of that has todo with the sound selection.
Like there are, I would say, sixor seven, give or take a few,
like signature samples that Iuse in damn near every single
thing.
That I write.
That I feel is the glue.
Oh, eight actually, because Iuse like a vinyl crackle sample
as well.
(30:20):
But it's like, like eightsignature samples that I use in
damn near all of my work,regardless of genre, that does
tie so much of my stufftogether.
Nik (30:31):
Mm hmm.
Moore Kismet (30:32):
And I really kind of just like, from the beginning
I was like, I never thought Iwould have like signature
samples from my work, but it'sjust like.
It became so frequent for methat it's just like, this has
become a staple in my work andI'm still able to find ways to
make it work and mesh it wellinto what I'm doing.
(30:53):
To where it's like a very mildlynoticeable thing within the
context of every track.
Nik (30:59):
Yeah.
You were saying that, even justas, as a fan with artists, you
are looking for something beyondjust the music really to connect
with, right?
Like, what, are the other thingsthat make you really feel
connected to an artist and whatare the things in your own
project that you really focus onto create that connection with
fans?
Yeah.
Moore Kismet (31:21):
I really try to see like, What story is there
trying to tell what they'reworking?
I think it's the same thing forme, you know.
I think not all music has totell, like, the most beautiful
story on the planet that's soheart wrenching and awful and oh
my god.
(31:41):
But it's like, you know, I canlisten to a song of yours, if
the vast majority of yourdiscography even, if I'm able
to, like, skim through it andI'm able in that moment to feel
what you were feeling while youwere writing it, then I'm going
to connect with your art.
And that I think is the mostimportant thing for me, is if I
can create something thatsomebody can resonate with or
(32:05):
can connect you in the same waythat I did as I was working on
it, then that just means more tome than anything, because that's
just the most important part ofcreating art to me.
Art has the ability to Changepeople's lives.
Listening to music and likegetting into music honestly has
(32:26):
changed my life for the better.
There are so many artists that Ilisten to that still constantly
find ways to challenge people'sexpectations by telling stories
that resonate with them.
Um, and making things morepoignant for them to understand
(32:47):
where they're coming from.
So they can understand it andthey can connect with it in
their own ways to where they canassign their own meaning to it
and still connect with the songas it's intended to be
interpreted and find their ownkind of emotional crossroads
that they can sit within andenjoy that artist's discography
(33:08):
at that emotional crossroads.
Nik (33:10):
Yeah, beautifully said, you know, I noticed that you don't
have a ton of, and maybe youpurged your, your Instagram or
something, but you don't have aton of content up on there.
Cause there's a lot of otherartists where it's like, they're
kind of putting out.
Kind of mediocre music and thenit's like well, let's just
really focus on content WhereasI feel like it's kind of the
(33:34):
other way around
Moore Kismet (33:35):
Let me sip on my drink.
Nik (33:38):
Cuz like really what I'm hearing is like Oh if you really
put the time and the effort andthe energy like really really
really make great art You know,like you still got a rockin fan
base and you're playing showsand you're crushing it But like
it doesn't seem like you're justmaking posts every single day
You know like playing that gamethat a lot of other people
Moore Kismet (33:55):
just, I'm not the most like, especially since
Tesla Man ruined my favoriteapp, I kind of have just
completely and utterlygravitated away from proactively
using social media.
And I know that in some capacityit might have hindered me.
But like, I just, I don't.
(34:16):
I don't feel the need toincessantly, like, I get why
it's so important for a lot ofpeople, but it's also just like,
I want people to enjoy me as Iam and like, enjoy my artistry
as it is and as it lives in thatmoment.
I don't want to just beincessantly in everyone's face
(34:37):
every single moment of everysingle day.
Because I know at that pointpeople will be fucking sick of
me.
And that's not, that's not thepoint I'm trying to get at in my
career.
Where everyone is just so, like,Justifiably, but still
unfortunately, Annoyed with myexistence simply because They're
(34:59):
just constantly seeing me Ontheir screens all the time.
I don't, I don't feel the needto do that.
Like for me, the, the, the, thelong and short of it for me is
just like, I'm comfortable withjust doing the occasional post
here and there doing some stuffnow and then to just be like,
Hey, I'm still alive.
I'm still cooking.
(35:21):
And then like, if we start doinga heavy rollout, then maybe I'll
be more proactive with posting.
But even then it's explicitly tosupply to the rollout and to
help promote that.
the song and to help promotethis piece of my heart that's
coming out and that's beingshared with the whole world that
I feel is it for me like I can'tI can't do the whole hey guys
(35:45):
hey guys like I can't that's notthat's not my tea I'm not that
kind of person especially withmy social anxiety it's just not
the the math doesn't math withsocial media for me.
It's very rare that I actuallywillingly go on there and make
something and even then it'salmost always about the most
random shit and it's for friendsonly to see so it's just like I
(36:06):
can't I can't connect with it inthe same way that a lot of other
people are and I feel like thatmight be my only minor weakness
with this.
Nik (36:13):
you know, I think it brings up a really good point because a
lot of people are just sort ofaccepting this idea that we have
to be on social media all thetime, you know, and like posting
five times a day.
And that's how you build youraudience or that's how you build
your business or whatever.
And to be honest, maybe thereis.
A diminishing rate of return oflike you're saying, like, well,
(36:36):
if I show up every single day,maybe people are actually going
to be sick of me.
Maybe it's going to have theopposite effect, the adverse
effect of what I'm actuallyaiming for, you know, and
perhaps it's also differentbased on like your personality.
Some people have great, they'regreat and they're entertaining
and like, cool.
Like I'm gonna, I want to followyou because you know, you're,
you're really funny or whateverthat is.
But like, that's not everybody.
(36:56):
We all have our differentpersonality.
Like you're saying you havingsocial anxiety.
You're like, I don't want toshow up every day.
And I know that that's just notreally going to work.
And
Moore Kismet (37:04):
It's not even that I don't want to because if I
could I would probably but it'salso just like I can't I, I'm
pretty sure at this point,you've noticed how fucking long
winded my responses are.
That's how I just talk in reallife to everybody.
Nik (37:23):
perfect for a podcast though, because we got an hour,
you know.
When you're like, I got 30seconds to make a fucking story
right now and get my pointacross.
Moore Kismet (37:30):
That's the thing.
And I ended up filming like 18different takes trying to get it
all within like a minute or 30seconds.
And I'm just like, I can't dothat.
I'm a yapper, and like, everytime, the, the more I try to
explain myself while I'mrecording, the more reserved I
get in the long run where I'mjust like, do I even fucking do
(37:52):
this anymore?
Like, what is the point?
Nik (37:54):
After seven takes, you're like, what the fuck am I even
saying on
Moore Kismet (37:57):
like, can I just get some food and, and go to
sleep?
Like, that's
Nik (38:00):
Yeah.
I get
Moore Kismet (38:01):
just it.
Yeah.
Nik (38:05):
it's we live in a weird time right now but but the cool
thing is is like I don't knowthe The doper your art is kind
of the less you have to worryabout all of that, you know It's
like if your shit's real, it'slike I don't see rufus to soul
fucking on their instagram storyevery day, you know They're just
like yo, we just dropped afucking album check it out and
have your mind blown,
Moore Kismet (38:26):
And everybody who gravitates towards it,
gravitates towards it.
And so, Yeah,
Nik (38:31):
yeah, Cool.
Um, you started to have.
Success really young as like ateenager and I feel like
especially when it comes to Idon't know having a brand and
really being an artist withsomething to say I'm, just
thinking back to myself when Iwas 14 or 15 years old and like,
you know I had no idea who I wasat that point.
(38:53):
Uh, how do you feel like thathas changed or evolved for you?
You know now, in terms of justlike who you are as an artist
Moore Kismet (39:04):
I think now for me,
Nik (39:05):
hmm.
Mm
Moore Kismet (39:09):
and I'm, I'm 19 now, I live on my own with, with
a roommate and like, it's just,it's, it's, it's a lot and you
just, like there are just a lotof things that like I am trying
my absolute hardest to stay ontop of.
(39:29):
Because I've now assumed so muchmore responsibility in my life.
I just, I have to really likeshow up more for myself so I
could continue to show up forthe people around me.
And I think a huge part for mein that journey was just like
really, really kind ofunderstanding my boundaries
(39:54):
more.
And really understanding where Iwas at in my journey as far as
like expressing my identity.
'cause it was just, I, I, Ialready knew that.
Like, people just have alwaysjust had an averse reaction
towards queer people in general.
Especially, you know, I'm black,I have these braids in my hair
every time we go to the airport,people mistake me.
(40:16):
For a woman, it is just like,it's, it's, it's a lot.
And like there have been so manymoments where, you know, I'm
kind of just sitting on my ownand I'm just like thinking about
every conceivable thing on theplanet in terms of me and how
I'm living and how I presentmyself to the world.
Nik (40:38):
hmm.
Moore Kismet (40:39):
And it just sits with me, you know, like it's
just, it doesn't get any easierto kind of think about the fact
that.
am one of few and I'm trying myabsolute hardest kind of just
Float by and On the surface kindof just be like, oh, yeah, cool.
(41:00):
I'm cooking Doing my thing andwe're chilling and meanwhile,
I'm just over here kind of likeStruggling and like fighting to
kind of Make it and likecontinue to do this thing that I
love doing so much because it isso, it's, it's so much harder
(41:23):
now to kind of keep up witheverything that I have to do
than it was when I was younger.
Nik (41:32):
Mm hmm.
Mm hmm.
Yeah, yeah, you, uh, I mean,you're still so young, at, at
19, and just taking your veryfirst steps out, really, of,
being independent and being outon your own.
Uh, I
Moore Kismet (41:46):
And it's a lot.
Nik (41:47):
It's a lot.
Moore Kismet (41:48):
I'm trying to adjust to it as.
as best as I possibly canbecause, you know, I need to
make sure I'm able to continuedoing this and I want to be able
to take care of the peoplearound me and to be able to take
care of myself.
That's always been my number onepriority is to make sure that
I'm good.
My family is good.
My extended family and myfriends are good.
(42:11):
You know, it really does make.
such a difference when, you'rein school and you're, and you're
living with your grandparentsand you're kind of just gliding
on by and you're chilling anddoing this thing and it's a
completely differentcircumstance when you're like a
young adult living in one of,one of the states in the US that
(42:34):
has one of the highest costs ofliving in the United States.
It's like, it's just,
Nik (42:39):
you're in L.
a Mm hmm.
Moore Kismet (42:40):
Yeah, I'm a NoHo and so like, it's just my, my
rent is I think like upwards of$4,000 for the two bed.
One, like two bath we have.
It's literally just, it, it,it's like it's a beautiful space
and every, like, it's been somuch better since we've moved
(43:00):
here, from Victorville, which iswhere we were at originally.
Um, but it's like, it is just alot.
Nik (43:09):
Yeah.
Moore Kismet (43:09):
I am kind of trying to figure shit out one
step at a time.
As I kind of settle into, youknow, adulting, like I turned 20
this year and it's fuckinginsane to even say that cause
I'm just like, Oh my God.
Like it really did just feellike yesterday where I was just
(43:30):
like coming home from schoolevery day and just plopping.
down next to the desk that waswedged in between my closet and
my bunk bed and just writingeverything, talking to my
friends on the internet andlike, like doing this.
And like, now I'm still doingthat, but now it's like, instead
of producing at the desk in myliving room, I'm producing at
(43:54):
the desk in my living room now,rather than, you know, producing
in my bedroom.
Or like doing, doing this thing.
It's just, it, it, it, it, forme, I've always just wanted to
do this.
And this is the, this is thething that I want to do for the
rest of my life.
(44:14):
And I just am trying so hard tocontinue to let it be this thing
that I love.
While also understanding thatthere is so much more has become
Nik (44:27):
Yeah.
Yeah.
Oh, yeah.
I've talked about this a fewtimes because I've talked to a
lot of, uh, friends and alsoclients that have fallen into, I
don't want to say a trap, butjust a reality that when you're
coming up and it's all fun andit's all passion and then, and
(44:50):
there's no business yet.
There's no business to worryabout yet.
There's no money.
There's no, you know, likeexpectations.
And it's just really purepassion and pure joy.
And then at some point, it doesbecome a business.
And then it's like, Okay, oh,shit.
Now, we got decisions to make.
We also you just moved out onyour own.
Now I got bills to pay.
(45:11):
And now this thing that I'mdoing, I kind of have to do it
now.
Like, this is what's making thefucking this is what's paying
the bills.
And so it's, it's, you know,It's so normal and natural that
it is going to take a differenttone, you know, like I like what
you said It's just like well, Igotta how do I stay in love with
this, you know, and and that'sthe million dollar question and
(45:32):
um I just want to first offFirst off, I just want to
celebrate you and I want toinvite you to celebrate yourself
for taking this step out to beout on your own and, becoming
fully, fully independent adult.
That's kind of a rite of passagethat, uh, not everybody even
takes, you know, some people arestill, 30 living with their
parents and, and, you know,you're out there doing it and
(45:53):
you're doing it in LA.
And so
Moore Kismet (45:54):
For me though, like, I kind of get it.
Like, even then, like, I livewith my mom still, and it's
because it's easier for us to,like, split expenses and costs
together than it is for me tojust do it by myself with me
making as little money as Istill do right now.
So it's just like everythingthat we do, we do it together.
(46:15):
And it's just like, we're herein this space embarking on this
thing and just kind of focusingin on that.
And it is just like, I'mconstantly worrying about like,
fuck.
I'll make an example out of it.
I'm on tour with Virtual Riotright now.
I just did three dates with him.
And I'm about to do two more atthe end of this week, and I am
(46:37):
so unbelievably excited.
But every single show I'm doingon that tour, I'm getting paid
less than 2, 000.
And so, because I also can'tcheck into most hotels in the U.
S.
unless I'm 25, nor can I entermost of the clubs on this tour
because most of them are 21 up,I can't be there without a legal
(46:57):
guardian present.
Nik (46:59):
Oh
Moore Kismet (46:59):
I'm 19 still so I have to have someone go with me
simply for legality's sake Butalso just because I know for a
fact I still can't do this on myown Yeah, I need somebody who
will be there to make sure thatI stay on top of shit and that
i'm able to continue taking careof myself And i'm able to do
this fully to the level that Iknow i'm capable of doing it But
(47:22):
it's like those expenses Are alot and if you're only being
paid like 1, 000 to 1, 500 ashow doesn't help trying to then
later on when you're off tourand then you don't have anything
until the end of the monthtrying to cover Your rent your
utilities your water like gotlike everything it adds up and
(47:48):
it's like Like I'm
Nik (47:55):
we out
Moore Kismet (47:55):
hanging in there, literally.
We, we, we out here.
We, we out here.
I, I, I'd like to be a littlefurther out.
Like, you know, like, that'sthe, that's the, that's the,
that's the goal.
Um, but yeah, it's just like,it's a lot.
The climate of touring
Nik (48:13):
Yeah, I, I,
Moore Kismet (48:13):
really strenuous.
Nik (48:15):
I appreciate you pointing out this stage.
You know, there's some peoplethat they get really lucky and
it's just like, they get thathit song and they're just like,
they go from zero to a hundred.
There's this like, 30 to 40, 30to 60 zone that a lot of people
don't talk about, which is like,I'm making some,
Moore Kismet (48:33):
in that zone.
Nik (48:34):
yeah.
And I, and a lot of people arejust like, it's, and it's, I
think it's the same for anybodythat has a, a side hustle that
they want to turn into the.
Same thing with me for, uh, for,for coaching.
I'm, I'm five years into being afull time coach, but I had two
years where it was part time andthere was that moment of like,
I'm making a little bit ofmoney, but it's not enough to
kind of replace the salary andtake that jump.
(48:56):
and and, and it's a, it's a,it's a moment of fucking.
Tension.
It's a moment of sort of likethe uh, the caterpillar turning
into the butterfly of like, allRight.
We're gonna be in this just thisfucking goop phase for a little
bit where it's like I'm notreally flapping my wings yet
because they're still kind ofbeing built inside of this
little uh, this little cocoonhere Um, and But, you know, this
(49:18):
is where it's just like that,that vision, that faith, that
perseverance, you know what Imean?
And, and I think also just a lotof, uh, a lot of gratitude as
well.
It's, it's very easy to getcaught up in what, uh, you know,
I still have, uh, what's notworking and I still have to go
so much further to go.
But, you know, I preach it a loton here.
Just the power of celebrationand the power of gratitude and
just know whatever we feed isgonna grow.
(49:40):
And, uh, This is that, momentfor you, so it's very exciting
and
Moore Kismet (49:44):
you.
Yeah, it's a it's extremelyscary.
But you know every day I'm indisbelief that I'm waking up in
my own bedroom watching TVchilling out eating breakfast
and then getting to come out andlike see the LA skyline from my
apartment.
Like it's it's truly.
It's truly so good.
(50:04):
Amazing still.
And like, it is only just aconstant reminder for me that
like, I need to keep pushing andI need to keep going and doing
this for as long as I can,because I'm really loving having
my own autonomy and my ownfreedom as a human being.
(50:25):
And I want to continue to retainthat.
And I want to continue to enjoyspending time with the people
closest to me.
And being with them and showingup for them and their moments to
celebrate them.
So it's just like I, I'm, I'm,I'm hanging in there.
I'm, I'm, I'm trekking.
Nik (50:43):
yeah, and what beautiful driving forces, you know, I
think that's a question.
I like to I Like to ask as wellas like, who needs me to show up
at my best today?
Right.
like I know for myself, like Inaturally don't really work that
hard for myself.
I'm low maintenance.
I'm like, I'm cool I'm good.
But once I think about oh shit,I need to show up for this
(51:04):
person I need to I need to showup for my girlfriend.
I need to show up for my mom andmy sisters I'm like, okay, let's
let's fucking go.
Let's get it, you know, andthere's that next level of drive
there.
So I love to hear that you'vegot Yeah, you've got your, your
team, you've got your peoplearound you.
And, um, yeah, it's a beautifuljourney that you're on.
I'm very excited to see youcontinue to, to grow from here
(51:27):
and what you.
build.
And yeah, I really appreciateyou sharing your story and,
being real and peeling back thecurtains and letting us into, to
your life a little bit andappreciate you taking the time.
Moore Kismet (51:37):
Thank you so much for having me.
This was awesome.
I really appreciate it.
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