Artist Spotlight: Jords


The Pit LDN speaks to Croydon’s-finest on his latest release ‘Almost An Adult’, the eclectic, visual album providing a blueprint of the musicians wide-reaching talent. Jords discusses everything from filming on location in Jamaica to the growth from his first project ‘A Mean to an Ends’.

Emily: With the recent release of your highly-anticipated project, ‘Almost An Adult’, how has the response been and how has the process of releasing this album been, whilst in lockdown?
Jords: It’s been a big adjustment. I’m used to travelling to radio and performing at shows so it is a big adjustment. But with that being said, I don’t think this would’ve been consumed the same way if we weren’t in lockdown.

What was the creative process of this project like and as both a producer and artist, how much did you want to experiment and push your sound with this album?
It was.. cathartic. I was going through a lot and trying to process a lot of emotions without knowing how to.. until I made music about it. It kept me going. Production-wise, I don’t think I made a conscious choice to experiment, everything I created was just an extension of me, and whichever sound I ended up creating felt right.

What was the main narrative you wanted to explore on the album?
The main narrative was growth. Listening back, it’s all about growth, a coming of age. My favourite films/albums all tell stories of coming of age. Falling in love, dealing with grief, dealing with new expectations and pressures, growing through all of that.

How important is working with live instruments and how do you feel they add to the atmosphere of your sound?
For me, it’s essential. I’ve always worked with the vision to intertwine live instruments with electronic sounds/samples. I think it creates a sound that can easily translate to a live show, which for me is the pinnacle of music.

How was working with the featured artists on the project and what do you feel they individually brought to ‘AAA’?
Very organic and a wonderful experience. All of the features brought something to the project that cannot be replaced or replicated. I really enjoyed creating with other people too, every feature felt like an extension of conversation, especially Jaz and Thea’s, as we were all in the studio on the same day.

What was the influence behind creating a visual film for the album and how important are visuals to you in relation to your music?
It’s always been a dream of mine to create a film.  Myself and the label thought the musicality in the project was so broad, that the best way to show all sides of my artistry was by creating a short film.

How was shooting the visuals and who did you work with to create them?
We worked with a collective called 33Bound, and Christina Nwabugo, and the experience was.. eye-opening. Spiritual, powerful, and so refreshing. Going back to Jamaica to create art has long been a dream of mine, one that I didn’t expect to be doing so early in my career to be honest. But it was a beautiful experience, even if it was a lot of work.

Visually, what influences you and have you always wanted to do something on the scale of the ‘AAA’ film?
I used to watch a lot of films. Coming Of Age films. City Of God, The Perks of Being A Wallflower and Boyz n The Hood especially. Everything I do has to be on the scale of the AAA film from now on, if not bigger. That is just the first step of my journey.

How do you feel your sound has grown or changed since ‘Means To An Ends’?
I think it has grown and become a bit more diverse, as I’ve explored new styles of music, but I don’t think it’s changed that much. I still love ‘Means To An Ends’.

Have you found that your creative process has changed, since that project?
I can do it myself now. I couldn’t produce a song from start to finish on my own back then, and now I can. This helps when working with other producers as well. I know how to get to what I hear in my head quicker.

How did you first get into music and what would you say to artists on the come up today?
I remember watching Wretch 32 freestyle on 1xtra, and thinking I have to start writing raps. My friend Matthew from school had a studio set up, and I went there for a day and recorded three songs, put the songs out on YouTube, and from there I just carried on making music. I did that when I was 16. I’m 26 now, so what I would say to artists on the come up today is don’t put a time limit on what you want to do. Things will happen in their own time.

How did you get involved with Key Changes Charity and how do you feel music can play a massive role in helping young people with their mental health?
To be honest, they approached me, to judge a talent show they hosted a couple of years ago. When I saw the amount of real genuine talent there, and the general good energy of everyone in the place, I just wanted to help out more in any way that I possibly could, using my platform and knowledge to give other people an opportunity to have their stories heard. I think music is very important right now, as it is an outlet to say things about how you’re feeling that you wouldn’t necessarily say to a friend or family member.

Which artists influenced you to get into music and who is inspiring you today?

Two artists in particular. J Cole & Wretch 32. ‘Wretchrospective’ and ‘2014 Forest Hills Drive’ in particular took me through some difficult times. Today, I am inspired by a lot of Jamaican artists, Chronixx, Protoje, Mavado and Koffee in particular.

What’s coming up for the rest of 2020?
More music and projects that are bigger than music.

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