September 19, 2025 • 34 mins
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Clinton Township, MI. Detroit-born synth-pop innovator JH-X9, the artistic alter ego of Justin Horbes, is making waves with his latest single “Heavy Water.”
for fusing moody industrial textures with infectious, danceable rhythms, JH-X9 delivers a hypnotic soundscape of fluid melodies, mechanical beats, and haunting monotone vocals that linger long after the track ends.“Heavy Water started as a cyclical melodic line,” JH-X9 explains. “It carried this fluid, melancholy, slightly ominous vibe. The Roland D-10 keyboard gave it an oceanic, melodic theme, almost like Enya’s new age atmosphere, but twisted into something mechanical and danceable.”The single highlights his signature ability to strike a balance between industrial grit and rhythmic drive. Layered arpeggiated bass lines and pounding mechanical beats create an atmosphere that is both mesmerizing and immersive, designed for any setting from the club floor to late-night drives to quiet moments of reflection.Rooted in Detroit’s rich techno heritage, JH-X9 embraces the city’s industrial DNA. “Detroit techno has this robotic, factory-like sound, which I try to carry into my music,” he says. Vocoder-driven backing vocals add a semi-human, robotic undertone, reinforcing the tension between machine precision and emotional depth.A self-taught producer, JH-X9 has evolved from experimenting with percussive sounds made from pots, pans, and junk metal to mastering hardware synthesizers, crafting tracks with polished percussive textures and deep 808-inspired bass. “Heavy Water” reflects that growth, pairing raw experimentation with refined production.The track has already gained recognition from DJs and mix shows within the darker electronic scene, including features on Communion After Dark, a showcase for Gothic and darkwave music, and Synthentral, a program spotlighting synth-pop and electronic exploration. Fans and critics alike have praised “Heavy Water” for its haunting yet danceable structure and stylistic versatility.“Right now, my focus is on versatility,” JH-X9 notes. “I draw from Eurobeat, J-pop, industrial, and techno. Heavy Water is a reflection of that evolution. It is stylistically unique, but it is also distinctly me.”For new listeners and longtime fans, “Heavy Water” captures JH-X9’s bold approach to electronic music, blending melody, rhythm, and mechanical textures into an experience that feels both futuristic and unforgettable.About JH-X9
JH-X9 is the creative alter ego of Detroit-based musician Justin Horbes (b. 1999). He released his debut album in 2016 while still in high school, earning coverage from international music blogs and radio shows including X-Ray FM’s Songs From Under The Floorboard and Italy’s Whitelight//Whiteheat. In 2019, JH-X9 performed his first live show opening for French coldwave duo Lovataraxx. Today, he continues to push the boundaries of electronic music, merging industrial, techno, and synth-driven elements into a sound that is as moody and mechanical as it is immersive and danceable.
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
https://x.com/JHX9official
Spotify
Bio
Clinton Township, MI. Detroit-born synth-pop innovator JH-X9, the artistic alter ego of Justin Horbes, is making waves with his latest single “Heavy Water.”
for fusing moody industrial textures with infectious, danceable rhythms, JH-X9 delivers a hypnotic soundscape of fluid melodies, mechanical beats, and haunting monotone vocals that linger long after the track ends.“Heavy Water started as a cyclical melodic line,” JH-X9 explains. “It carried this fluid, melancholy, slightly ominous vibe. The Roland D-10 keyboard gave it an oceanic, melodic theme, almost like Enya’s new age atmosphere, but twisted into something mechanical and danceable.”The single highlights his signature ability to strike a balance between industrial grit and rhythmic drive. Layered arpeggiated bass lines and pounding mechanical beats create an atmosphere that is both mesmerizing and immersive, designed for any setting from the club floor to late-night drives to quiet moments of reflection.Rooted in Detroit’s rich techno heritage, JH-X9 embraces the city’s industrial DNA. “Detroit techno has this robotic, factory-like sound, which I try to carry into my music,” he says. Vocoder-driven backing vocals add a semi-human, robotic undertone, reinforcing the tension between machine precision and emotional depth.A self-taught producer, JH-X9 has evolved from experimenting with percussive sounds made from pots, pans, and junk metal to mastering hardware synthesizers, crafting tracks with polished percussive textures and deep 808-inspired bass. “Heavy Water” reflects that growth, pairing raw experimentation with refined production.The track has already gained recognition from DJs and mix shows within the darker electronic scene, including features on Communion After Dark, a showcase for Gothic and darkwave music, and Synthentral, a program spotlighting synth-pop and electronic exploration. Fans and critics alike have praised “Heavy Water” for its haunting yet danceable structure and stylistic versatility.“Right now, my focus is on versatility,” JH-X9 notes. “I draw from Eurobeat, J-pop, industrial, and techno. Heavy Water is a reflection of that evolution. It is stylistically unique, but it is also distinctly me.”For new listeners and longtime fans, “Heavy Water” captures JH-X9’s bold approach to electronic music, blending melody, rhythm, and mechanical textures into an experience that feels both futuristic and unforgettable.About JH-X9
JH-X9 is the creative alter ego of Detroit-based musician Justin Horbes (b. 1999). He released his debut album in 2016 while still in high school, earning coverage from international music blogs and radio shows including X-Ray FM’s Songs From Under The Floorboard and Italy’s Whitelight//Whiteheat. In 2019, JH-X9 performed his first live show opening for French coldwave duo Lovataraxx. Today, he continues to push the boundaries of electronic music, merging industrial, techno, and synth-driven elements into a sound that is as moody and mechanical as it is immersive and danceable.
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
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Speaker 2 (00:34):
Hi, guys, welcome to another episode of Creators to Creators. Today,
today we have a special guest.
Speaker 3 (00:41):
Hey, it's j ch X nine year.
Speaker 2 (00:43):
Welcome, Welcome. I I'm very excited to talk to you because,
like you know, I don't really get too many artists
that are you know, doing like producing their own you know, music,
and it's just so cool, very different. But let's go
back to the beginning. You know, I love going back
to the beginning. I always say, the beginning charge our
(01:04):
trajectory in life. You know, a little habits we pick
up along the way, follow us into our adulthood. Tell
me a little bit about your childhood. What was what
was that like and when did the love for music begin?
Speaker 4 (01:18):
So I first started making music when I was about
six years old. My parents saw that I liked making noise,
and so they got me a drum set for Christmas,
and then shortly thereafter they enrolled me in drumming lessons.
I took drumming lessons probably up through probably about the
end of middle school. In middle school, I discovered electronic music,
(01:45):
though specifically how to make electronic music.
Speaker 3 (01:49):
The music I grew up around.
Speaker 4 (01:51):
My parents listened to a lot of music from the
eighties and nineties, you know, music from you know, the time,
you know, when they were teenagers and young adults, and
so a lot of that was synthpop music. There was
some dance music, really a whole range of things, not
(02:12):
all of electronic. But the stuff I really lashed onto
as a child was the electronic stuff.
Speaker 3 (02:18):
And playing the drums.
Speaker 4 (02:21):
I was always fascinated with rhythm, but I was always
a little bit disappointed with the sound that drums made.
Speaker 3 (02:27):
I wanted it to sound, you know, I wanted.
Speaker 4 (02:29):
The drums to sound bigger and weirder and more electronic.
And I always, you know, I always kind of wondered,
you know, how do artists like you know, well, how
do the Prodigy get you know, the drums to sound
that way or whoever. And so, you know, I learned
probably about you know, eleven twelve years of age, what
a daw was, what a synthesizer was, and so I
(02:52):
started making music just with freeware, free synthesizer software, free
daw software, and I kind of moved on from there.
I eventually got to the point where I thought the
music that I was making, you know, sounded good enough
(03:14):
that it was ready for me to you know, kind.
Speaker 3 (03:16):
Of show to the world, showcase to the world.
Speaker 4 (03:19):
And then when I was in high school, I released
my first album in twenty sixteen, I was junior year
of high school. Nice, yeah, I released the album was
called Manufactured World.
Speaker 2 (03:33):
So when you when you released that song in high school, like,
I mean, I'm so so curious, like what what did
were you like expecting reactions from friends? Like were you
like showing like telling, showing everybody? Were you nervous?
Speaker 4 (03:50):
To be honest, I had no real clue about the
music industry or anything like that, or I guess what,
you know, the kind kind of you know, logical path
would be for me. It was just kind of putting
the music out there, you know, and feeling like Hey,
here's this thing I made. Now people can go on
the internet and listen to it at any time. And
(04:14):
so yeah, for me, I think the the learning kind
of you know about you know, exposure and the music
industry and how things work and even more, you know,
in depth aspects of production. Those are kind of things
I picked up a little.
Speaker 3 (04:33):
Bit later on Nice. But yeah, at first it was
just I was kind of just.
Speaker 2 (04:38):
Like, hey, yeah, which I which I love? I love
love that. You know, growing up in metro Detroit, how
did the city techno and industrial legacy shape your sound
and artistic vision.
Speaker 3 (04:55):
Yeah, so.
Speaker 4 (04:57):
For me, I think my music reflect the qualities of
Detroit techno music, specifically the rhythmic qualities of Detroit techno music.
Detroit techno music, it's kind of characterized by this you know,
(05:19):
kind of robotic, kind of mechanical sound that is, you know,
partially rooted in the fact that Detroit is, you know,
at one point it was a factory city, you know,
big you know legacy of you know, the automotive industry,
and the fact that you know a lot of artists
(05:41):
you know, were kind of inspired by their surroundings. I
think when you know, making music and So for me,
I've always kind of been fascinated with electronic sounds, and
I like machines, and I like a little bit of
science fiction and you know, robots and things like that,
(06:05):
and so it was kind of a natural fit, I
guess for me to, you know, be drawn to Detroit technow.
Speaker 2 (06:14):
I love that. I love that, you know. I'm just
so curious. What does the alter ego j x X
nine jh X nine represents for you personally compared to.
Speaker 3 (06:29):
Justin so j X nine.
Speaker 4 (06:35):
I guess I'll start out with what the letters mean.
The first two are kind of obvious. Those are my initials.
Speaker 3 (06:42):
The nine is because I was born in nineteen ninety nine,
and then the X in there is just because.
Speaker 4 (06:52):
I think there is the with the alias JHX nine
that I use. There is what they call, you know,
that that X factor, right there's that it's that different.
Speaker 3 (07:04):
And unknown, uh kind of element.
Speaker 4 (07:07):
And what the alter ego jh X nine kind of
represents for me is a perfection of all the qualities
of myself that I think are I guess, the best
(07:27):
qualities of myself. If I think of jh X nine
as a separate person or a separate persona. I'd say,
I'm the man and then he's a machine.
Speaker 2 (07:43):
I love that. That's actually really cool. That's really cool. So,
you know, I want to definitely get into, you know,
this new single that you released. I'm curious of the process.
What what was the process of making this single like
and why? Now?
Speaker 4 (08:04):
So the single I started recording heavy Water I want
to say last year, probably about spring of twenty twenty four.
And instrumentally, the song started with that melodic line in there.
There's a kind of floaty, melodic hook. It's got, you know,
(08:26):
this kind of melancholy sound. I used synthesizer called roll
in D ten. It is actually an old it's an
old synthesizer. It's an old digital synth from nineteen eighty eight.
Speaker 2 (08:41):
Wow.
Speaker 4 (08:41):
And from there, I kind of built the rhythm around
that melodic line. I developed a bassline, I you know,
developed a you know, drum loop, and I you know,
built those elements out.
Speaker 3 (09:00):
And one of.
Speaker 4 (09:01):
The cool aspects about my music, and you know it
applies to this song as.
Speaker 3 (09:07):
Well, is that the sounds that you hear.
Speaker 4 (09:10):
In there are all programmed by me nice aside from
my voice, of course, but the sounds themselves the all
the synth sounds I programmed by hand, even the drum sounds.
I created them all and I recorded them into my
(09:31):
daw and you know, built the song out from them.
Speaker 3 (09:34):
But I feel like that's a unique way.
Speaker 4 (09:39):
As a songwriter as a producer to give my music
a sense of identity that it's mine.
Speaker 2 (09:48):
Nice. Yeah, I'm just gonna ask that. I was just curious, like,
do you usually choose instruments based on the vibe you want?
Or do the instruments aspire the vibe? So it's interesting.
So your music blends like a lot of different influences,
you know, J pop, industrial, right at techno. How do
(10:11):
you keep all those styles cohesive while sounding like like
you distinctively?
Speaker 4 (10:17):
You so in the past for a long time, I
kind of felt like the songs that I created, I
kind of had to like silo them into one genre
or one subgenre or another. And I kind of operated
(10:37):
that way for a long time. I even had another
project it was called Sandstone, where I collaborate with a
guitarist to make you know music, you know, where it's
synthpop music with the guitar. For me, the material that
I'm working on now, specifically the stuff that I've been released,
(11:00):
you know, in the past, you know year, you know,
with this single, what that material kind of represents to
me is an expression of my versatility as a producer.
So whereas before I might have said, oh, well, this
has got to be this has got to be an
electronic body music song, and this one's going to be
a synthwave song, and you know, I got to kind
(11:23):
of you know.
Speaker 3 (11:24):
Silo them off.
Speaker 4 (11:27):
Now I feel less constrained by that idea. I feel
like I can blend the genres, you know, as a
as a producer, because most of the music that I
that I'm influenced by kind of exists in that dance
music sphere. I can kind of you know find I
(11:49):
feel like I can find unique and interesting ways to
you know, meld and blend these different subgenres of electronic
music together in ways that I think a lot of
people maybe haven't heard.
Speaker 2 (12:03):
Yeah No, And I think that's really really cool that
you're doing that. I mean, because music to day is
just so it's just so different, and it's just so
much going on with music, and you know, you're here
a day gone tomorrow and there's like, you know, there's
a hit and then there's like something else and moving on.
It's just like, you know, you don't really hear really
artistic music and people that are daring to do something different.
(12:25):
So thank you for wanting to do that, because a
lot of people, you know, I guess it's like people
want the popularity and all that, but it's like everything
sounds so like the same, And.
Speaker 4 (12:37):
Yeah, I think I think some of that maybe has
to do with the way that a lot of people
consume music has changed so much over the years. But
I definitely, I definitely kind of see what you're saying
though there with kind of the stuff that gets the
(12:59):
most exposure is kind of the music that maybe is
the most homogeneous.
Speaker 2 (13:04):
Yeah, yeah, for sure. Who are some of your biggest
musical influences outside of electronic, you know, industrial scene that
might surprise your listeners.
Speaker 4 (13:16):
So aside as far as like my favorite musicians go
or musical groups, there's some that are probably obvious to
listeners like New Order and depeche Mode, two of my
favorite bands. But another one of my favorite bands is
(13:37):
a group called The Jesus and Mary Chain, And they're
a really interesting group that originated in the nineteen eighties
and they are I think a great blend of you know,
guitarists and drum machines. I love music that's able to
(13:58):
blend your organic and the technological element like that. And
the Gees and Mary Chain were really influential as far
as like creating, uh, you know, the the genesis of
like shoegaze music and all that. So that's one where
(14:22):
where it's it's a group that is not entirely electronic,
but they're one of my top five favorite bands.
Speaker 2 (14:31):
Nice. Nice. If you could produce a song or something,
or you know, maybe like a joint album with you
could be an artist or producer, who would it be?
Speaker 4 (14:47):
So earlier one of the genres you mentioned, I'm glad
that you caught that that I like, uh is jpop.
I mean getting into a lot of of Japanese pop
and electronic music lately, and there's recently there is a
(15:09):
small you know, a smaller kind of upcoming, up and
coming idol singer named Nano Ayasaka. And I listened to
I listened to her music, you know that she's released
in really recent years. I think it sounds really really cool.
I think it's really cool the way her music kind
(15:30):
of uh calls back to.
Speaker 3 (15:34):
The kind of the.
Speaker 4 (15:36):
Earliest era of what would now be considered jpop music,
which is like kind of like the late eighties, and
so it's got this really cool throwback sound. And that's
that's an example of an artist that I think would
be really really cool to collaborate with.
Speaker 3 (15:57):
Yeah, that's cool.
Speaker 2 (15:59):
Your mouth to gods that it will happen. It will
definitely happen. So you described, you know, heavy Water as
if fluid and danceable all at once, Like, you know,
what do you think or what do you hope listeners
feel when they hear it.
Speaker 4 (16:20):
When people listen to heavy Water, I hope that they
feel a sense of depth to the music.
Speaker 3 (16:32):
I hope that.
Speaker 4 (16:35):
It's a song that they feel it's compelling enough that
they can listen to it kind of in any setting,
you know, not just you know, on the dance floor
in the club, but also you know, maybe you know,
maybe driving in the car, or maybe just you know,
sitting at home with a glass of wine.
Speaker 2 (16:54):
Or something that sounds great. You know, your track has
been featured on shows, and how does it feel to
see your music resonate in the darker electronic community.
Speaker 3 (17:13):
I think it's uh it's a natural fit.
Speaker 4 (17:17):
I think it feels it feels, it feels good because
that's you know, gothic electronic music, you know, industrial electronic
body music. Those are genres that my parents listen to
a lot, you know, and I was exposed to a
(17:37):
lot growing up. And you know, they're genres that are
probably are you know, prominent in my.
Speaker 3 (17:43):
Own music taste.
Speaker 4 (17:46):
So it feels really good to see people that that,
you know, like that kind of music.
Speaker 3 (17:53):
Have you know, latched onto my music that.
Speaker 2 (17:58):
This is a question. I'm just curious curious about if
heavy water or a film scene, what kind of visual
world would you imagine it soundtracking?
Speaker 4 (18:12):
I think, uh so maybe uh kind of you know,
darker kind of scene. But I'd imagine, like, you know,
I when I listened to the to the song, I
imagine like sinking, like sinking you know under uh you know,
like a current or the ocean or just like endless
(18:34):
endless waters.
Speaker 3 (18:35):
I imagine I imagine someone.
Speaker 2 (18:37):
Drowning, like a loop of endless drowning.
Speaker 4 (18:41):
Yeah, yeah, or like a car like sinking into the
ocean or something like that.
Speaker 2 (18:46):
I like that. I like that. That's cool. Do you
feel like the music world and you know, you've been
in the music industry for a minute now, do you
do you feel like the music world is changing for
the better and in in favor of the artist, you know?
Speaker 4 (19:07):
Unfortunately, Well, there's two aspects to it, I think, in
my opinion, I think nowadays people have easier access to
the tools necessary to create music than they ever had before.
And I think that it's great that you know, people have,
(19:31):
you know, access to the vehicles that you know, allow
them to express these ideas in their mind. On the
other side of it, it is.
Speaker 3 (19:42):
Harder, I think than ever.
Speaker 4 (19:46):
For you know, people to get their music heard though,
and to like actually like make money.
Speaker 3 (19:53):
Off of music.
Speaker 4 (19:56):
I So I'd say, like trend wise, there are good
things that are happening, you know. I see a lot
of artists that you know, are kind of you know,
they're not afraid to, you know, make a stand for
the things that they believe in.
Speaker 3 (20:14):
I think that's good.
Speaker 4 (20:15):
Yeah, But but there's a lot there's a lot of
I guess I feel a devaluation maybe of music and
kind of art in general, which is kind of unfortunate. So,
I mean there's a good side and a bad side
(20:36):
to it.
Speaker 2 (20:38):
Yeah, I mean you know, I think it's it's you know,
I appreciate you sharing that because you know, you see
the just like social media, we see the best, you know,
the best photos, the highlights, not the not the late
night staying up at you know, five am, trying to
figure out how we're going to make something happen, are
(20:58):
putting music out or to create process. And I think
a lot of people don't necessarily understand the like you said,
the work that you have to put into your art
so that it is, you know, on a on a
level that's like wow, you know, and doing it on
your on your own as an indie artist is i'm sure,
(21:19):
just really hard. But the fact that you make it work,
I just I just find that. So you're right, we
have the tools. But there's those people that were like,
I want to be signed to a big label. But
then you see the other side of that is that
you know, they're not getting the creative space or you know,
they don't really have They're in these contracts for so
many years and can't get out of them, and you know,
(21:41):
don't have any freedom. And then the indie side, it's like, oh,
you have more freedom, but it's like it's so it's
a it's like a yeah, I don't know, it's good
and bad, I guess, but yeah, you make it like
you make it look easy.
Speaker 3 (21:56):
Thank you, thank you. I'll take that as a definite compliment.
Speaker 2 (21:59):
Absolutely absolutely. You said that versatility is a goal for
your newer music. What's something you're experimenting with that fans
might not expect, so you.
Speaker 4 (22:13):
Actually hear a little bit of it on Heavy Water.
I'm experimenting with the use of vocoders, actually not necessarily
as a forefront, you know, you know, to turn tables
in a microphone kind of you know thing up front,
(22:35):
you know, but actually as like a backing vocal.
Speaker 3 (22:40):
And for those who don't know.
Speaker 4 (22:41):
A vocoder is basically kind of a precursor to auto tune.
The auto tune that we know kind of nice today,
you know. Vocoder is a little bit of a simpler technology,
but it allows you to give your voice this synthesized tone,
to explain it simply, and I've been using that to
(23:06):
kind of layer with my vocals. Another thing that I
think maybe people don't expect so much given my track
record for having made you know, kind of a lot
of a lot of maybe more industrial tinged kind of
dance music is the material that I'm working on now.
Speaker 3 (23:28):
I'm kind of stripping.
Speaker 4 (23:29):
Back some of that distortion, you know, stripping back maybe,
you know, some of the filtering and stuff that.
Speaker 3 (23:39):
I use on my vocals.
Speaker 4 (23:41):
And that's partially for me because I really want to
let the sound design stand on its own. And I
feel also at the same time that I've also improved
kind of as a vocalist over time.
Speaker 2 (23:56):
Nice. I love that you opened up for Oh My
Gosh the first time in twenty nineteen live first time performance,
which I'm sure was huge. What did that experience? You know,
you know, I feel like for like a live setting.
Speaker 4 (24:19):
So opening for Lovatax when they came around in twenty nineteen,
they were doing a tour of the US, and it
was actually it was actually kind of before they had
as many resources, and so they were kind of just
doing it on their own actually.
Speaker 3 (24:39):
But they needed someone to.
Speaker 4 (24:45):
They needed a few bands to play a show with
for you know, Detroit show, and so I was one
of the bands that opened from. I was one of
the bands they contacted. And the show itself, actually it
wasn't not that many people showed up, but I think
(25:06):
Partially that was because of logistics. We actually had to
change the venue twice in setting up the show, So
it wasn't I guess, like a big crowd turnout kind
of situation, but as a first live show to you know,
(25:27):
be able to play alongside, you know, a somewhat established
gothic band like that who were on tour, I thought,
you know, that's kind of another you know that, it
was like another milestone for me.
Speaker 2 (25:40):
Nice I love that.
Speaker 4 (25:41):
I love that.
Speaker 2 (25:42):
So I love asking this question for every guest. And
there's no wrong answer. I promise the three levels of influence, money, power,
and respect, And if you could choose only one of
those things, which one would you choose? And why.
Speaker 3 (26:00):
I choose money?
Speaker 4 (26:02):
And I know maybe that sounds maybe that sounds a
little shallow.
Speaker 2 (26:07):
No, I think it's great.
Speaker 3 (26:09):
Yeah. The reason is.
Speaker 4 (26:13):
My dad kind of has this phrase that he always
tells me, and he says money equals freedom, and so
when you have money, you kind of have an easier
I feel like you kind of have an easier route
to obtaining things like like fame, And for me, I
(26:34):
feel like that kind of applies to my situation as
a musician because when I was starting out, I didn't
have access to you know, many resources when I was
in high school. You know, I didn't I didn't have
a job or anything. So, you know, it was the
(26:57):
financial aspect of it when is way scaled back to
compared to where it is now. You know now that
I have a job, and you know, I can buy
you know, by myself, you know, things like studio monitors
and you know, funge releases and things like that myself.
So I feel like, uh like money is kind of
(27:19):
a good gateway, uh into into into a lot of
into a lot of things that I desire.
Speaker 2 (27:28):
Yeah, no, I think I think it's a great answer.
I mean most people say I respect, and I'm just like,
you know, like really, who cares.
Speaker 3 (27:38):
No respect won't feed you?
Speaker 2 (27:39):
Absolutely not, absolutely not. So I thank you for sharing
the real answer, like what you feel and not like
be you know, because I hear you know, respect, I
hear it sounds it sounds nice, you know, but it's
like what we actually choose at if we could. So
I appreciate that, and I'm and I'm with you. I
told really agree. Your your music often feels you know,
(28:04):
obviously in a human and robotic emotional yet mechanical. Do
you see your art as reflection of where technology and
humanity are heading?
Speaker 3 (28:16):
I think absolutely.
Speaker 4 (28:19):
The material I'm working on now, I'm working on actually
an album's worth the material. The tentative title of the
album is Behind the Firewall, and thematically the album actually
deals or you know, deals with the two sides, the
(28:41):
dualism between the digital world and the I guess physical world.
I like, I like dualism, and I like, you know,
I like the idea of, you know, two different sides
of things, and so I think that with the digital
(29:04):
world versus the physical world, you can explore things like the.
Speaker 3 (29:11):
Permanence of things.
Speaker 4 (29:14):
Heavy Water is, you know, kind of fits into that thematically.
But I feel like in the physical world, where you know,
we might see places in things and people, you know,
change and fade away around us, in the digital world,
there's almost like this sense of permanence where you can
(29:38):
turn up media like pictures or writing from pretty much
any point in recorded human history, and it's almost like
those things become.
Speaker 3 (29:51):
Immortal through the digital world. And so that's a facet.
Speaker 4 (29:55):
Of the album actually thematically that I'm explored.
Speaker 2 (30:00):
I love that. That's awesome. Where do you see j
h X nine evolving in the next I don't know,
five years, both sonically and as a performer.
Speaker 4 (30:13):
So right now, I'm I feel like, specifically with the
release of this single and the past you know month
or so in particular, I've put a lot of energy
and effort and resources into my music. I kind of
(30:34):
for a while, I kind of had a hiatus after
I after I graduated college and became employed, I didn't
have as much time for the music, and I didn't
have as.
Speaker 3 (30:48):
Many ideas, I guess to express. And so.
Speaker 4 (30:55):
After twenty twenty, I kind of, you know, went into
this kind of dormant state. But now I've got you
know this, I feel like I've got this vast horizon
of ideas that I'm exploring for music, and so I'm
gonna make you know, I'm really making a conscious push
(31:19):
to expand the reach of jh X nine and just
put out the best music I possibly can.
Speaker 3 (31:31):
So I feel like.
Speaker 4 (31:34):
In the next five years, who knows, you might see
me touring, you might see you might see my my
music videos on MTV still play music videos.
Speaker 2 (31:48):
I think so, I think so.
Speaker 4 (31:51):
So It's honestly, that's the brilliant thing about the future
is that, you know, the uncertainty principle. You we don't
know what's going to happen until it happens.
Speaker 2 (32:03):
Mm hmmm. I like that. I like that. Where where
can people find you on social media to follow everything
you have going on?
Speaker 4 (32:12):
So I am on Twitter or I guess it's called
x now it's at jh X nine official. I'm also
on Facebook. Jhx nine has a Facebook page. I have
(32:32):
a band camp page as well. That's a great, a
great platform for releasing music. You can actually buy physical CD.
Speaker 3 (32:43):
I love that. Yeah, yeah, I was really that was before.
Speaker 4 (32:47):
I kind of went on hiatus, like after twenty twenty
h I made a point to kind of release, do
this milestone kind of release, and.
Speaker 3 (32:56):
I wanted, like, I'm going to do a physical CD.
Speaker 4 (32:58):
I'm going to have this, you know, I'm going to
send these songs actually to be like printed like at
a CD FA actually like not just burning it myself
and like the disc player yeast.
Speaker 3 (33:11):
And so that's uh.
Speaker 4 (33:14):
There's there's a CD on my band camp page called
a Collision and it collects kind of some of my
what I consider my best work up leading up to
twenty twenty and then Now with this next album that
I'm working on, I'm hoping to have that one made
as a CD as well, with you know, this time
(33:36):
with with bonus tracks, and I'm looking at doing maybe
a little booklet in there, you know, so nice way
you pop the CD and the CD player, you look
at the booklet and you can see all the great
pictures and content inside.
Speaker 2 (33:56):
That's awesome. That's so that's so cool. Yeah, it's yeah music.
It's it's so good to see like a physical copy,
you know, instead of streaming music. So that's really cool.
Congratulations on on that, and thank you so much for
coming on. It was it was a pleasure talking to you.
Speaker 3 (34:13):
It was a pleasure to be here, Miyosha.
Speaker 2 (34:15):
Absolutely absolutely, and thank you all for listening and always
remember to live, love, laugh. We'll see you guys next time.
Good Bye,
If you love entertainment, current events, and Hollywood, don't miss
Creator to Creators. Hosted by the filmmaker Mio Shabine, known
for the shutter hit documentary or Noir and the acclaimed
film Anatomy of an Anti Heroo Redemption. This show features
interviews with filmmakers and creatives from around the globe. Join
(00:25):
the fun with guest celebrities and gain valuable insights. Subscribe
now and follow Creator to Creators.
Speaker 2 (00:34):
Hi, guys, welcome to another episode of Creators to Creators. Today,
today we have a special guest.
Speaker 3 (00:41):
Hey, it's j ch X nine year.
Speaker 2 (00:43):
Welcome, Welcome. I I'm very excited to talk to you because,
like you know, I don't really get too many artists
that are you know, doing like producing their own you know, music,
and it's just so cool, very different. But let's go
back to the beginning. You know, I love going back
to the beginning. I always say, the beginning charge our
(01:04):
trajectory in life. You know, a little habits we pick
up along the way, follow us into our adulthood. Tell
me a little bit about your childhood. What was what
was that like and when did the love for music begin?
Speaker 4 (01:18):
So I first started making music when I was about
six years old. My parents saw that I liked making noise,
and so they got me a drum set for Christmas,
and then shortly thereafter they enrolled me in drumming lessons.
I took drumming lessons probably up through probably about the
end of middle school. In middle school, I discovered electronic music,
(01:45):
though specifically how to make electronic music.
Speaker 3 (01:49):
The music I grew up around.
Speaker 4 (01:51):
My parents listened to a lot of music from the
eighties and nineties, you know, music from you know, the time,
you know, when they were teenagers and young adults, and
so a lot of that was synthpop music. There was
some dance music, really a whole range of things, not
(02:12):
all of electronic. But the stuff I really lashed onto
as a child was the electronic stuff.
Speaker 3 (02:18):
And playing the drums.
Speaker 4 (02:21):
I was always fascinated with rhythm, but I was always
a little bit disappointed with the sound that drums made.
Speaker 3 (02:27):
I wanted it to sound, you know, I wanted.
Speaker 4 (02:29):
The drums to sound bigger and weirder and more electronic.
And I always, you know, I always kind of wondered,
you know, how do artists like you know, well, how
do the Prodigy get you know, the drums to sound
that way or whoever. And so, you know, I learned
probably about you know, eleven twelve years of age, what
a daw was, what a synthesizer was, and so I
(02:52):
started making music just with freeware, free synthesizer software, free
daw software, and I kind of moved on from there.
I eventually got to the point where I thought the
music that I was making, you know, sounded good enough
(03:14):
that it was ready for me to you know, kind.
Speaker 3 (03:16):
Of show to the world, showcase to the world.
Speaker 4 (03:19):
And then when I was in high school, I released
my first album in twenty sixteen, I was junior year
of high school. Nice, yeah, I released the album was
called Manufactured World.
Speaker 2 (03:33):
So when you when you released that song in high school, like,
I mean, I'm so so curious, like what what did
were you like expecting reactions from friends? Like were you
like showing like telling, showing everybody? Were you nervous?
Speaker 4 (03:50):
To be honest, I had no real clue about the
music industry or anything like that, or I guess what,
you know, the kind kind of you know, logical path
would be for me. It was just kind of putting
the music out there, you know, and feeling like Hey,
here's this thing I made. Now people can go on
the internet and listen to it at any time. And
(04:14):
so yeah, for me, I think the the learning kind
of you know about you know, exposure and the music
industry and how things work and even more, you know,
in depth aspects of production. Those are kind of things
I picked up a little.
Speaker 3 (04:33):
Bit later on Nice. But yeah, at first it was
just I was kind of just.
Speaker 2 (04:38):
Like, hey, yeah, which I which I love? I love
love that. You know, growing up in metro Detroit, how
did the city techno and industrial legacy shape your sound
and artistic vision.
Speaker 3 (04:55):
Yeah, so.
Speaker 4 (04:57):
For me, I think my music reflect the qualities of
Detroit techno music, specifically the rhythmic qualities of Detroit techno music.
Detroit techno music, it's kind of characterized by this you know,
(05:19):
kind of robotic, kind of mechanical sound that is, you know,
partially rooted in the fact that Detroit is, you know,
at one point it was a factory city, you know,
big you know legacy of you know, the automotive industry,
and the fact that you know a lot of artists
(05:41):
you know, were kind of inspired by their surroundings. I
think when you know, making music and So for me,
I've always kind of been fascinated with electronic sounds, and
I like machines, and I like a little bit of
science fiction and you know, robots and things like that,
(06:05):
and so it was kind of a natural fit, I
guess for me to, you know, be drawn to Detroit technow.
Speaker 2 (06:14):
I love that. I love that, you know. I'm just
so curious. What does the alter ego j x X
nine jh X nine represents for you personally compared to.
Speaker 3 (06:29):
Justin so j X nine.
Speaker 4 (06:35):
I guess I'll start out with what the letters mean.
The first two are kind of obvious. Those are my initials.
Speaker 3 (06:42):
The nine is because I was born in nineteen ninety nine,
and then the X in there is just because.
Speaker 4 (06:52):
I think there is the with the alias JHX nine
that I use. There is what they call, you know,
that that X factor, right there's that it's that different.
Speaker 3 (07:04):
And unknown, uh kind of element.
Speaker 4 (07:07):
And what the alter ego jh X nine kind of
represents for me is a perfection of all the qualities
of myself that I think are I guess, the best
(07:27):
qualities of myself. If I think of jh X nine
as a separate person or a separate persona. I'd say,
I'm the man and then he's a machine.
Speaker 2 (07:43):
I love that. That's actually really cool. That's really cool. So,
you know, I want to definitely get into, you know,
this new single that you released. I'm curious of the process.
What what was the process of making this single like
and why? Now?
Speaker 4 (08:04):
So the single I started recording heavy Water I want
to say last year, probably about spring of twenty twenty four.
And instrumentally, the song started with that melodic line in there.
There's a kind of floaty, melodic hook. It's got, you know,
(08:26):
this kind of melancholy sound. I used synthesizer called roll
in D ten. It is actually an old it's an
old synthesizer. It's an old digital synth from nineteen eighty eight.
Speaker 2 (08:41):
Wow.
Speaker 4 (08:41):
And from there, I kind of built the rhythm around
that melodic line. I developed a bassline, I you know,
developed a you know, drum loop, and I you know,
built those elements out.
Speaker 3 (09:00):
And one of.
Speaker 4 (09:01):
The cool aspects about my music, and you know it
applies to this song as.
Speaker 3 (09:07):
Well, is that the sounds that you hear.
Speaker 4 (09:10):
In there are all programmed by me nice aside from
my voice, of course, but the sounds themselves the all
the synth sounds I programmed by hand, even the drum sounds.
I created them all and I recorded them into my
(09:31):
daw and you know, built the song out from them.
Speaker 3 (09:34):
But I feel like that's a unique way.
Speaker 4 (09:39):
As a songwriter as a producer to give my music
a sense of identity that it's mine.
Speaker 2 (09:48):
Nice. Yeah, I'm just gonna ask that. I was just curious, like,
do you usually choose instruments based on the vibe you want?
Or do the instruments aspire the vibe? So it's interesting.
So your music blends like a lot of different influences,
you know, J pop, industrial, right at techno. How do
(10:11):
you keep all those styles cohesive while sounding like like
you distinctively?
Speaker 4 (10:17):
You so in the past for a long time, I
kind of felt like the songs that I created, I
kind of had to like silo them into one genre
or one subgenre or another. And I kind of operated
(10:37):
that way for a long time. I even had another
project it was called Sandstone, where I collaborate with a
guitarist to make you know music, you know, where it's
synthpop music with the guitar. For me, the material that
I'm working on now, specifically the stuff that I've been released,
(11:00):
you know, in the past, you know year, you know,
with this single, what that material kind of represents to
me is an expression of my versatility as a producer.
So whereas before I might have said, oh, well, this
has got to be this has got to be an
electronic body music song, and this one's going to be
a synthwave song, and you know, I got to kind
(11:23):
of you know.
Speaker 3 (11:24):
Silo them off.
Speaker 4 (11:27):
Now I feel less constrained by that idea. I feel
like I can blend the genres, you know, as a
as a producer, because most of the music that I
that I'm influenced by kind of exists in that dance
music sphere. I can kind of you know find I
(11:49):
feel like I can find unique and interesting ways to
you know, meld and blend these different subgenres of electronic
music together in ways that I think a lot of
people maybe haven't heard.
Speaker 2 (12:03):
Yeah No, And I think that's really really cool that
you're doing that. I mean, because music to day is
just so it's just so different, and it's just so
much going on with music, and you know, you're here
a day gone tomorrow and there's like, you know, there's
a hit and then there's like something else and moving on.
It's just like, you know, you don't really hear really
artistic music and people that are daring to do something different.
(12:25):
So thank you for wanting to do that, because a
lot of people, you know, I guess it's like people
want the popularity and all that, but it's like everything
sounds so like the same, And.
Speaker 4 (12:37):
Yeah, I think I think some of that maybe has
to do with the way that a lot of people
consume music has changed so much over the years. But
I definitely, I definitely kind of see what you're saying
though there with kind of the stuff that gets the
(12:59):
most exposure is kind of the music that maybe is
the most homogeneous.
Speaker 2 (13:04):
Yeah, yeah, for sure. Who are some of your biggest
musical influences outside of electronic, you know, industrial scene that
might surprise your listeners.
Speaker 4 (13:16):
So aside as far as like my favorite musicians go
or musical groups, there's some that are probably obvious to
listeners like New Order and depeche Mode, two of my
favorite bands. But another one of my favorite bands is
(13:37):
a group called The Jesus and Mary Chain, And they're
a really interesting group that originated in the nineteen eighties
and they are I think a great blend of you know,
guitarists and drum machines. I love music that's able to
(13:58):
blend your organic and the technological element like that. And
the Gees and Mary Chain were really influential as far
as like creating, uh, you know, the the genesis of
like shoegaze music and all that. So that's one where
(14:22):
where it's it's a group that is not entirely electronic,
but they're one of my top five favorite bands.
Speaker 2 (14:31):
Nice. Nice. If you could produce a song or something,
or you know, maybe like a joint album with you
could be an artist or producer, who would it be?
Speaker 4 (14:47):
So earlier one of the genres you mentioned, I'm glad
that you caught that that I like, uh is jpop.
I mean getting into a lot of of Japanese pop
and electronic music lately, and there's recently there is a
(15:09):
small you know, a smaller kind of upcoming, up and
coming idol singer named Nano Ayasaka. And I listened to
I listened to her music, you know that she's released
in really recent years. I think it sounds really really cool.
I think it's really cool the way her music kind
(15:30):
of uh calls back to.
Speaker 3 (15:34):
The kind of the.
Speaker 4 (15:36):
Earliest era of what would now be considered jpop music,
which is like kind of like the late eighties, and
so it's got this really cool throwback sound. And that's
that's an example of an artist that I think would
be really really cool to collaborate with.
Speaker 3 (15:57):
Yeah, that's cool.
Speaker 2 (15:59):
Your mouth to gods that it will happen. It will
definitely happen. So you described, you know, heavy Water as
if fluid and danceable all at once, Like, you know,
what do you think or what do you hope listeners
feel when they hear it.
Speaker 4 (16:20):
When people listen to heavy Water, I hope that they
feel a sense of depth to the music.
Speaker 3 (16:32):
I hope that.
Speaker 4 (16:35):
It's a song that they feel it's compelling enough that
they can listen to it kind of in any setting,
you know, not just you know, on the dance floor
in the club, but also you know, maybe you know,
maybe driving in the car, or maybe just you know,
sitting at home with a glass of wine.
Speaker 2 (16:54):
Or something that sounds great. You know, your track has
been featured on shows, and how does it feel to
see your music resonate in the darker electronic community.
Speaker 3 (17:13):
I think it's uh it's a natural fit.
Speaker 4 (17:17):
I think it feels it feels, it feels good because
that's you know, gothic electronic music, you know, industrial electronic
body music. Those are genres that my parents listen to
a lot, you know, and I was exposed to a
(17:37):
lot growing up. And you know, they're genres that are
probably are you know, prominent in my.
Speaker 3 (17:43):
Own music taste.
Speaker 4 (17:46):
So it feels really good to see people that that,
you know, like that kind of music.
Speaker 3 (17:53):
Have you know, latched onto my music that.
Speaker 2 (17:58):
This is a question. I'm just curious curious about if
heavy water or a film scene, what kind of visual
world would you imagine it soundtracking?
Speaker 4 (18:12):
I think, uh so maybe uh kind of you know,
darker kind of scene. But I'd imagine, like, you know,
I when I listened to the to the song, I
imagine like sinking, like sinking you know under uh you know,
like a current or the ocean or just like endless
(18:34):
endless waters.
Speaker 3 (18:35):
I imagine I imagine someone.
Speaker 2 (18:37):
Drowning, like a loop of endless drowning.
Speaker 4 (18:41):
Yeah, yeah, or like a car like sinking into the
ocean or something like that.
Speaker 2 (18:46):
I like that. I like that. That's cool. Do you
feel like the music world and you know, you've been
in the music industry for a minute now, do you
do you feel like the music world is changing for
the better and in in favor of the artist, you know?
Speaker 4 (19:07):
Unfortunately, Well, there's two aspects to it, I think, in
my opinion, I think nowadays people have easier access to
the tools necessary to create music than they ever had before.
And I think that it's great that you know, people have,
(19:31):
you know, access to the vehicles that you know, allow
them to express these ideas in their mind. On the
other side of it, it is.
Speaker 3 (19:42):
Harder, I think than ever.
Speaker 4 (19:46):
For you know, people to get their music heard though,
and to like actually like make money.
Speaker 3 (19:53):
Off of music.
Speaker 4 (19:56):
I So I'd say, like trend wise, there are good
things that are happening, you know. I see a lot
of artists that you know, are kind of you know,
they're not afraid to, you know, make a stand for
the things that they believe in.
Speaker 3 (20:14):
I think that's good.
Speaker 4 (20:15):
Yeah, But but there's a lot there's a lot of
I guess I feel a devaluation maybe of music and
kind of art in general, which is kind of unfortunate. So,
I mean there's a good side and a bad side
(20:36):
to it.
Speaker 2 (20:38):
Yeah, I mean you know, I think it's it's you know,
I appreciate you sharing that because you know, you see
the just like social media, we see the best, you know,
the best photos, the highlights, not the not the late
night staying up at you know, five am, trying to
figure out how we're going to make something happen, are
(20:58):
putting music out or to create process. And I think
a lot of people don't necessarily understand the like you said,
the work that you have to put into your art
so that it is, you know, on a on a
level that's like wow, you know, and doing it on
your on your own as an indie artist is i'm sure,
(21:19):
just really hard. But the fact that you make it work,
I just I just find that. So you're right, we
have the tools. But there's those people that were like,
I want to be signed to a big label. But
then you see the other side of that is that
you know, they're not getting the creative space or you know,
they don't really have They're in these contracts for so
many years and can't get out of them, and you know,
(21:41):
don't have any freedom. And then the indie side, it's like, oh,
you have more freedom, but it's like it's so it's
a it's like a yeah, I don't know, it's good
and bad, I guess, but yeah, you make it like
you make it look easy.
Speaker 3 (21:56):
Thank you, thank you. I'll take that as a definite compliment.
Speaker 2 (21:59):
Absolutely absolutely. You said that versatility is a goal for
your newer music. What's something you're experimenting with that fans
might not expect, so you.
Speaker 4 (22:13):
Actually hear a little bit of it on Heavy Water.
I'm experimenting with the use of vocoders, actually not necessarily
as a forefront, you know, you know, to turn tables
in a microphone kind of you know thing up front,
(22:35):
you know, but actually as like a backing vocal.
Speaker 3 (22:40):
And for those who don't know.
Speaker 4 (22:41):
A vocoder is basically kind of a precursor to auto tune.
The auto tune that we know kind of nice today,
you know. Vocoder is a little bit of a simpler technology,
but it allows you to give your voice this synthesized tone,
to explain it simply, and I've been using that to
(23:06):
kind of layer with my vocals. Another thing that I
think maybe people don't expect so much given my track
record for having made you know, kind of a lot
of a lot of maybe more industrial tinged kind of
dance music is the material that I'm working on now.
Speaker 3 (23:28):
I'm kind of stripping.
Speaker 4 (23:29):
Back some of that distortion, you know, stripping back maybe,
you know, some of the filtering and stuff that.
Speaker 3 (23:39):
I use on my vocals.
Speaker 4 (23:41):
And that's partially for me because I really want to
let the sound design stand on its own. And I
feel also at the same time that I've also improved
kind of as a vocalist over time.
Speaker 2 (23:56):
Nice. I love that you opened up for Oh My
Gosh the first time in twenty nineteen live first time performance,
which I'm sure was huge. What did that experience? You know,
you know, I feel like for like a live setting.
Speaker 4 (24:19):
So opening for Lovatax when they came around in twenty nineteen,
they were doing a tour of the US, and it
was actually it was actually kind of before they had
as many resources, and so they were kind of just
doing it on their own actually.
Speaker 3 (24:39):
But they needed someone to.
Speaker 4 (24:45):
They needed a few bands to play a show with
for you know, Detroit show, and so I was one
of the bands that opened from. I was one of
the bands they contacted. And the show itself, actually it
wasn't not that many people showed up, but I think
(25:06):
Partially that was because of logistics. We actually had to
change the venue twice in setting up the show, So
it wasn't I guess, like a big crowd turnout kind
of situation, but as a first live show to you know,
(25:27):
be able to play alongside, you know, a somewhat established
gothic band like that who were on tour, I thought,
you know, that's kind of another you know that, it
was like another milestone for me.
Speaker 2 (25:40):
Nice I love that.
Speaker 4 (25:41):
I love that.
Speaker 2 (25:42):
So I love asking this question for every guest. And
there's no wrong answer. I promise the three levels of influence, money, power,
and respect, And if you could choose only one of
those things, which one would you choose? And why.
Speaker 3 (26:00):
I choose money?
Speaker 4 (26:02):
And I know maybe that sounds maybe that sounds a
little shallow.
Speaker 2 (26:07):
No, I think it's great.
Speaker 3 (26:09):
Yeah. The reason is.
Speaker 4 (26:13):
My dad kind of has this phrase that he always
tells me, and he says money equals freedom, and so
when you have money, you kind of have an easier
I feel like you kind of have an easier route
to obtaining things like like fame, And for me, I
(26:34):
feel like that kind of applies to my situation as
a musician because when I was starting out, I didn't
have access to you know, many resources when I was
in high school. You know, I didn't I didn't have
a job or anything. So, you know, it was the
(26:57):
financial aspect of it when is way scaled back to
compared to where it is now. You know now that
I have a job, and you know, I can buy
you know, by myself, you know, things like studio monitors
and you know, funge releases and things like that myself.
So I feel like, uh like money is kind of
(27:19):
a good gateway, uh into into into a lot of
into a lot of things that I desire.
Speaker 2 (27:28):
Yeah, no, I think I think it's a great answer.
I mean most people say I respect, and I'm just like,
you know, like really, who cares.
Speaker 3 (27:38):
No respect won't feed you?
Speaker 2 (27:39):
Absolutely not, absolutely not. So I thank you for sharing
the real answer, like what you feel and not like
be you know, because I hear you know, respect, I
hear it sounds it sounds nice, you know, but it's
like what we actually choose at if we could. So
I appreciate that, and I'm and I'm with you. I
told really agree. Your your music often feels you know,
(28:04):
obviously in a human and robotic emotional yet mechanical. Do
you see your art as reflection of where technology and
humanity are heading?
Speaker 3 (28:16):
I think absolutely.
Speaker 4 (28:19):
The material I'm working on now, I'm working on actually
an album's worth the material. The tentative title of the
album is Behind the Firewall, and thematically the album actually
deals or you know, deals with the two sides, the
(28:41):
dualism between the digital world and the I guess physical world.
I like, I like dualism, and I like, you know,
I like the idea of, you know, two different sides
of things, and so I think that with the digital
(29:04):
world versus the physical world, you can explore things like the.
Speaker 3 (29:11):
Permanence of things.
Speaker 4 (29:14):
Heavy Water is, you know, kind of fits into that thematically.
But I feel like in the physical world, where you know,
we might see places in things and people, you know,
change and fade away around us, in the digital world,
there's almost like this sense of permanence where you can
(29:38):
turn up media like pictures or writing from pretty much
any point in recorded human history, and it's almost like
those things become.
Speaker 3 (29:51):
Immortal through the digital world. And so that's a facet.
Speaker 4 (29:55):
Of the album actually thematically that I'm explored.
Speaker 2 (30:00):
I love that. That's awesome. Where do you see j
h X nine evolving in the next I don't know,
five years, both sonically and as a performer.
Speaker 4 (30:13):
So right now, I'm I feel like, specifically with the
release of this single and the past you know month
or so in particular, I've put a lot of energy
and effort and resources into my music. I kind of
(30:34):
for a while, I kind of had a hiatus after
I after I graduated college and became employed, I didn't
have as much time for the music, and I didn't
have as.
Speaker 3 (30:48):
Many ideas, I guess to express. And so.
Speaker 4 (30:55):
After twenty twenty, I kind of, you know, went into
this kind of dormant state. But now I've got you
know this, I feel like I've got this vast horizon
of ideas that I'm exploring for music, and so I'm
gonna make you know, I'm really making a conscious push
(31:19):
to expand the reach of jh X nine and just
put out the best music I possibly can.
Speaker 3 (31:31):
So I feel like.
Speaker 4 (31:34):
In the next five years, who knows, you might see
me touring, you might see you might see my my
music videos on MTV still play music videos.
Speaker 2 (31:48):
I think so, I think so.
Speaker 4 (31:51):
So It's honestly, that's the brilliant thing about the future
is that, you know, the uncertainty principle. You we don't
know what's going to happen until it happens.
Speaker 2 (32:03):
Mm hmmm. I like that. I like that. Where where
can people find you on social media to follow everything
you have going on?
Speaker 4 (32:12):
So I am on Twitter or I guess it's called
x now it's at jh X nine official. I'm also
on Facebook. Jhx nine has a Facebook page. I have
(32:32):
a band camp page as well. That's a great, a
great platform for releasing music. You can actually buy physical CD.
Speaker 3 (32:43):
I love that. Yeah, yeah, I was really that was before.
Speaker 4 (32:47):
I kind of went on hiatus, like after twenty twenty
h I made a point to kind of release, do
this milestone kind of release, and.
Speaker 3 (32:56):
I wanted, like, I'm going to do a physical CD.
Speaker 4 (32:58):
I'm going to have this, you know, I'm going to
send these songs actually to be like printed like at
a CD FA actually like not just burning it myself
and like the disc player yeast.
Speaker 3 (33:11):
And so that's uh.
Speaker 4 (33:14):
There's there's a CD on my band camp page called
a Collision and it collects kind of some of my
what I consider my best work up leading up to
twenty twenty and then Now with this next album that
I'm working on, I'm hoping to have that one made
as a CD as well, with you know, this time
(33:36):
with with bonus tracks, and I'm looking at doing maybe
a little booklet in there, you know, so nice way
you pop the CD and the CD player, you look
at the booklet and you can see all the great
pictures and content inside.
Speaker 2 (33:56):
That's awesome. That's so that's so cool. Yeah, it's yeah music.
It's it's so good to see like a physical copy,
you know, instead of streaming music. So that's really cool.
Congratulations on on that, and thank you so much for
coming on. It was it was a pleasure talking to you.
Speaker 3 (34:13):
It was a pleasure to be here, Miyosha.
Speaker 2 (34:15):
Absolutely absolutely, and thank you all for listening and always
remember to live, love, laugh. We'll see you guys next time.
Good Bye,
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