by mariah estran
photo by melissa tesillo
The Los-Angeles-based producer/recording artist Kashaka, New-York area director Patricia Gloum, and production company BRAWHAUS recently joined creative forces to create the lively visual for “SHABBAS GOSPEL.” The music video shifts from shots of the treasured “Everyday Afrique” dance parties in Williamsburg to stunning contemporary choreography on a sandy beach in Queens.
It is a story that supports the tune's groovy, electronic nature enveloped in a hypnotizing bass-filled beat. But it all started as a few organ chords combined with a night of analyzing how the artist felt about his insecurities and anxiety.
Kashaka took the time to tell us more about the story of “SHABBAS GOSPEL," his production process, collaborating with Patricia Golum, and what project he is working on next.
Your latest single, “SHABBAS GOSPEL,” is a fun, groovy tune that started as isolated vocals over organ chords and bass. What was the production process like for this track?
Kashaka: “It started with those organ chords in the beginning. Then I recorded the vocals, just humming and not saying any words. After that came a couple more synth layers and the drums. Eventually I started thinking about the ‘B’ section which was the drop where things get a lot more simple and straight forward — I wanted the drums to dance and groove and be this melancholic dance track so I focused on a kick and sub bass pattern that had similar energy to Vybz Kartel and Major Lazer’s ‘Pon De Floor.’ Then I sped up the vocal from the first section and chopped it up for the breakdown section. The risers and build up fx, as well as the outro section and overall arrangement all followed.”
What story did you want to tell and want listeners to feel with this track?
K: “When I made the song, I was just alone in a studio in the middle of the night and was reflecting on some of my feelings of insecurity and anxiety. Music has always been therapy for me as it has for many others, so this song was just a way for me to process some of those feelings. If listeners can relate to the music on that same level, or reinterpret and enjoy it for their own reason, or even just dance to it, then that’s a blessing and a bonus.”
I’ve read that you were the co-founder of “Everyday Afrique” and resident DJ at the Output in Williamsburg. Why was it important for you to showcase the “Everyday Afrique” party in the video for “SHABBAS GOSPEL”?
K: “I really wanted to put Everyday Afrique in the video because it was a good setting to explore someone dealing with and then overcoming social anxiety at a party. But I also wanted to show the party because it’s a really warm, energetic and welcoming environment full of beautiful people in a gorgeous setting. It’s also the first place I played ‘SHABBAS GOSPEL’ to a crowd, years before its release.”
These dance parties are few and far between now due to the pandemic. If any, how has this new way of life affected your creativity?
K: “Yeah, I think we’re all missing dance parties and any gathering, really. I would go to the worst bar or a terrible house party if it meant I could safely hang with a bunch of friends right now, that’s how desperate I am for social gatherings. In terms of creativity, I’m still inspired by music I hear, just at home or while I’m in the car or something I hear in an IG story or a TikTok video. Not going out means I can’t Shazam a song I’d hear at the function, but staying in has also given me the opportunity to do deep dives into different artists’ full catalogues. It can be hard to write new songs cause the days are kind of monotonous right now so you can’t write about new life experiences in the same way. At the same time boredom often sparks creativity so there’s been periods in this year where I’ve been incredibly creative and prolific with writing new stuff.”
The music video captures the energy of the single. How did you and director Patricia Gloum work together to develop this imagery?
K: “I have to give a lot of credit to Patricia and the whole crew. Especially Kiko aka Erēz 5k — he had never acted before and he really showed up and was able to portray a wide range of emotions within a fairly abstract video. For the imagery, I had several calls with Patricia and gave her my feelings of the arc of the song and the emotions it represented and then she was able to actualize that with visual representations. We talked a lot about locations and visualizations and then she actually sketched out some shot ideas like a comic book.”
How do you feel like the video compliments the song?
K: “I think the video creates a world for the song to live in. That’s the best you can hope for when making a video. It’s a bit abstract but I think it’s visually beautiful and compelling.”
Lastly, regarding the future, I heard you’ll be releasing a full-length album! What can you tell us about this upcoming project?
K: “I’m writing a lot of songs for my solo project under my name, Eli Evnen. There isn’t a full-length album finished yet but that’s the plan for this year. I have a handful of songs I really like and I’m going to keep writing til I have about 10 or 12 that go well together, and then I’ll start plotting a release. :) As far as Kashaka productions and releases, there’s a lot of songs I’m excited about putting out this year, whether they’re under my name as an artist or produced for other artists. Topaz’s album is coming soon and I co-produced a song on there that I’m really excited for people to hear. People can stay in the loop for upcoming releases by following my artist page Eli Evnen and producer page Kashaka on Spotify and Instagram.”
