Brooklyn-based DJ and producer Saint Velez has emerged from New York’s notoriously industrial scene, earning his teeth in warehouses from Bushwick to Bedstuy. Having released a slew of singles and EPs in 2021, including their number on the charts, ‘Load of My Mind’ via Back In Black Recordings, and ‘Cigarette Cuts’ via T78’s Autektone Dark, the talent rising is looking to re-enter the launch radar with its debut. Full-length LP, Warehouse Poetry via De-Konstrukt Records. Warehouse Poetry is a serious work, painstakingly cared for, that lends itself to starting it and not returning to reality until it’s finished: the headphones are like the oxygen cylinder that allows you to design that great sound twist to the bottom, of this cosmic orbit, and being there in a state of hypnotic fascination, which allows us to reflect, through folklore, on our past.
We have had the pleasure of interviewing Saint Velez and this has been the result.
⁃ Can you tell us a little about your experience in music so far? Where are you from / how did you get into music?
Been in the New York Nightlife for roughly 11 years now. Born and raised in New York, I started off young; going to Kandi Raver parties at first when they were big back in 2012. Those were such different times. Music taste evolved along the way and by 2016 I found myself in Techno and saying to myself "yeah this is it". I still find the beauty in new shit that comes out but Techno has been a foundation of some of my best work so far. ⁃ How is your sound evolving? What artists and genres do you enjoy mixing right now? I really like the album, because it's a collection of influences I've developed over the last few years as a techno artist. Digging up new music that I'm like "wow that's insane" and then having a collection of different mixes. You can clearly tell that the track "You aint ever heard of " from the album is nothing like "More than the last" I love to mix anything that's good. I don't like to be elitist with my selection. Not every set I do is like the rave scene from blade, I like to have a wide range. Dusky makes some very good break tracks that I like to play in experimental sets. Everything that Carlo Lio releases is undeniably great, while at the same time David Strasser is just relentless with some of the music he released. If you know those 3 you're well aware none of them really align well in a mix but a great variety of tracks.
⁃ How does it make you feel knowing that your music influences and impacts your listeners? I'm so awkward when I'm told that. I've had a few fans reach out to me and describe how my music to them is like nothing else. I don't think I know how to correctly describe my gratitude to match their feelings sometimes, I'm just taken back by the fact that they even listened. ⁃ What projects are you working on right now? What can you tell us about Warehouse Poetry? Warehouse Poetry is my debut album on my home label De-Konstrukt Records. I've worked with some of the best in my network to provide an album like ever before. Subfractal has been nothing but a great friend to me and Rolando Hodar was such a huge help making the album what it is. I can't be more thankful having those two by my side alone, as well as Frank Ross. That whole team helped turn a dream into a reality and I couldn't be more thankful The album itself like mentioned before is an array of ideas and influences that I've collected over the last few years. I've been wanting to do a cohesive album for the longest time but always reset. Back in September I reset the album attempt after a few months, created whole new tracks and had a distinctive idea of what I wanted to create. I'm glad that I finally hit the mark of what I wanted to do with Warehouse Poetry.
⁃ Has your sound changed a lot in recent years? It Changes all the time. My next project won't be like Warehouse Poetry. All artists evolve and create new stuff over time and therefore. I think that all that matters is if the music is good or not, doesn't matter what genre or sound it is. I think the character Hesh from the Sopranos had a good perspective of music. A hit is a hit for reasons we can not comprehend. ⁃ Do you feel comfortable playing more experimental sounds when you DJ live? Like I said, As long as it sounds good. There are tracks that I thought were obscure that I had to try out in front of an audience that landed well. Also just having a mood changer in your mixes is just good to have. Nothing wrong with letting your crowd breathe for a second. ⁃ We all know that the digital revolution has affected sales, but has it affected creativity? Nah, You're going to always make music despite the platform/media. It definitely less profitable, we don't have the markets we did before the digital revolution but vinyl, CD, and even tapes are being sold. It's also less expensive to get started making music as well. Years ago you needed a studio full of hardware. now you just need a laptop, good studio headphones, a little bit of talent and a good mastering engineer. Streaming did take a lot of money out of artists pockets and made being an artist not as profitable or sustainable, but I think the music industry has a bigger foundation than that. We've used streaming platforms to evolve and make a good amount of returns. Spotify is now used as a tool for marketing and tour analytics. Kind of evens it out a little bit and make up for lost revenue from streaming. There's also Bandcamp. God bless that company. ⁃ Can you tell us what you have in store for the remainder of the year, along with any goals?
Just touring for now. I'm going to start off in North America until September/Fall time where I'll be in Europe. I never got a chance to go to Europe and I'm super glad I'm able to off of music along. During the winter I'm going to be tucking myself away and exploring new ideas and keeping my ass out of the cold. getting ready for 2023.