The Drop Radar (August 2012): Kill Paris...

This past summer has graced us with a bunch of new and emerging talent in terms of EDM producers. New genres have popped up since these new producers continue to push boundaries and create sounds for kids to rock to in the club or bob their heads to at home. And we can’t think of anyone better that has exemplified this push and hard work better than Corey Baker a.k.a. Kill Paris. After taking the blogosphere by storm late Spring with his Beth Ditto remix & his mashup remix of M83′s Midnight City, Kill Paris started to consistently release a steady stream of quality remixes and original mixes, all branded with his trademark “Panty Soak N Dropstep” that once you get a taste of, becomes super addictive. We sit down with Corey for a whopping 30 minutes near his LA home and he had a lot to say. With big plans for the rest of the year as well as a clear agenda to take his place amongst some of today’s biggest musical innovators (as a result of taking cues from past ones), Corey Baker is a gigantic blip on our Radar!



Spurge: Sup guys, I’m here with The Drop Media chilling here poolside on the roof of Ten Ten Wilshire with Corey Baker, you know the one and only, also known as Kill Paris. Im sure you have all heard the name quite a bit as its been setting ablaze to the blogosphere.


Kill Paris: The deep realms of the internet.


S: He’s been featured on multiple big name blogs, all over hype machine. You released a full LP ‘The Beginning” a few days. Doing big things and getting shows lined up for the end of summer and the rest of the year. So we are just going to try and pick his brain a bit and see what’s been going on with him and his music career. So go ahead and start off for us with your full name, hometown, and how old are you?


KP: Im Corey Baker, and also Kill Paris is my stage name,  im originally from Roam City, Indiana and I am 25 years old.


S: Hear that ladies? Yeah so I guess lets get right into it, how long have you been producing?


KP: Ive been making music for about 9 years, I started playing guitar when I was 16, and have been doing the electronic stuff, since like the modern electronic stuff for about the last 5 years.


S: What got you into electronic music?


KP: When I went to college, when I was 18, I went to Tampa to go to school and we went to Miami in like 2007ish for WMC (Winter Music Conference) and that completely just changed my life. All the music, DJs, energy, it was totally crazy and that’s what really got me into it.


S: Yeah a lot of it seems to have to do with being around these talented DJs


KP: Yeah well once you see it and feel it, its unlike anything else you’ve ever seen.


S: So we actually have a question from a follower  @kArLizZiE_J “Your style touches on so many different genres… what are some of your biggest musical influences?”


KP: Um yeah as far as groups and bands, Al green has gotta be the biggest, like I oculd listen to Al green like all day every single day and have no problems, hes got the funk hes got the soul. Besides that I don’t know, everybody says they listen to everything, but seriouslyi lived in nashiville for like a year and played bass in country bands, and I mena legit country bands, so I respect all music. I think as an artist these days since evertyhting is so open and genres are mixed in its important to take influences from completely different genres. To be honest this last year , I cant even remember that lsat time I really listened to dubstep or some electro like wolfgang gartner, I listend to a lot of old school hip hop, like people under the stairs I got to give them a shout out because they are my favorite, and they are from LA too. I mean good music is really all that matters good music is good music.


S: Where did the name Kill Paris come from?


KP: Im not going to say where it came from but I did somebody did post the coolet lline about it, it was “nobody knows what it means but its provocative,” which is exactly what im going for and ill leave it at that.


S: So the whole theme of sort of sensuality is going very well, and like you said your kind of funk based you know your really able to bring that out.


KP: Yeah I just think name Kill Paris, Kill is like ahh, and Paris is like a really nice sounding word, so a bit of a ying and yang.


S: So are you affiliated with any labels currently?


KP: Um, sort of there is stuff in the works, but as of now I have been completely like a rogue artist because like all the stuff I use or most of the songs I make have samples in it and obviously I don’t play the samples when im not selling any of the songs or making any money of f of it which is really cool to me because its really about the music and yeah just giving that directly, I upload something and then people download it and then they share it with their friends. Im not trying ot be something, trying to be like hey check out my tracks because I just don’t think that’s what its about..


S: Yeah, they’re gonna like it they’re gonna like it


KP: Yeah if they like it they’re going to share it, so like why, you should just put the time and effort into making good music


S:  I feel like a lot of artists today, like you said most don’t really even need labels nowadays.


KP: And that’s the thing, everybody, or at least a lot of artists I talk to nowadays, everybody want to be on a label. They think oh if im on a label ill sell my stuff and makea  shit ton of money and its like dude you don’t want to pay for music yourself, nobody wants to pay for music, so why are you going to put yourself in a situation  where your selling your own music and you expect people to buy it when your whole DJ set is stuff you downloaded for free off the internet. It doesn’t make any sense and then even with labels, the labels make money before you make money. So with the internet and everything you really, like im not going to say you don’t need albels because they defeinitely have a place and for certain artists for certain genres they definitely need to be there but I don’t know, if you just focus on the music that needs to be the first thing. If you are trying ot get signed by a label right from the get go no ones going to sign you because your music is not good, and so your missing the first step.


S: Whats you live set up, studio set up.


KP: It’s always changing, im just one of those people where I cant be happy with just one thing. Its not different every show, but right now I have a pretty basic set up. I have the ipad running touchable, which is a really great app if your into music into ableton its like the best thing ever. And I use that because you can actually see your set, see all the clips, and all the tracks, so I play with my laptop when im on stage so I don’t have to look at the laptop, because if there is one thing I hate more than anything is seeing pictures of DJs typing something on their laptop, like I understand some people gotta do it and however you want to do it is cool, but  I just have the Ipad and a Launchpad that im playing some key stuff on, then I have the apc 40 and that’s about it for right now, but in the past id play live bass, live guitar, live keyboar, and now im just working back to getting the right equipment to do that right. Definitely like certain things like if your playing live bass with a DJ set theres a certain process that your bass has to have to make it sound good, like making it sound like something you recorded. Im in the process of kind of getting the last final pieces to get the live show huge, like even bigger than it is now.


S: Yeah I agree, so what do you think about the live set versus the DJ set?


KP: I don’t know theres certain people that are like okay well whats the difference between a live seyt and a DJ set and to be honest I don’t care about the difference. Im playing like 99 % original stuff so it doesn’t matter how I do it, it should be about the music and if a DJ set is just palying one track into the next then that’s a DJ set and I don’t know I don’t think that matters. Regardless if it’s a DJ set or a live set, if the people walk out of the venue happy and energized and are like that was an awesome set, then it doesn’t matter who cares if it was a DJ set or a live set. If you have the time to bitch over whats a DJ set and whats a live set, what they’re doing live what they’re not doing live, then I don’t know you should spend that time making music. Do something creative, do something good.


S: So we noticed that you’re ableton live certified.


KP: Yep, got the tattoo


S:  Got the tattoo


KP: Yeah got it before I was even certified..


S: So I guess what entails doing that, and why did you decide to do that? What are some of the prerequisites for that?

KP: So basically being an ableton live certified trainer means that you can answer everybodys questions about ableton, and I love doing that. Seeing people learn ableton, and just like without it I would not be doing the music im doing right now. Its opened so man doors and allowed me to be so creative, and a lot of people have found that like its totally touched on different genres. Like Gotye did a video for Ableton where he shows you how he does it, his live set up, in the studio, so the crazy crazy power of it. And like with getting certified I still teach people, and when im around the city not working on music ill do like private lessons, its awesome. It’s a good way for me to keep myself in check and keep learning stuff and not getting stuck doing the same thing. And also becoming certified theres a certain, like an interview process you go through you have to make a 30 minute video of you doing something and why, and explain it. Then you get chosen out of a group of like 7 or 8 people and its just like a two weekend or a two day weekend event where you have to talk on a certain topic in front of like all these crazy ableton ninjas like your there with everyone who’s getting certified so everyone already knows the information so well, so if you mess something up or say something wrong they like call you out on it right then and there. So its very vigorous thing, but its really really amazing and really really fun. Ive also been doing tutorial stuff like a lot of the stuff I learned a lot of the music production stuff was through tutorials so its just kind of a way to give back especially with like the internet and youtube, theres just people like 15 minutes long saying like so um… and if anybody’s seen my tutorials I go as fast as possible, and ive gotten comments about that where people hate that, but like it’s the internet and you can start and stop it, slow it down, bring it back like it’s a video. I just try to give people real life, like stuff that people would actually use that would make their production better so yeah of course I mean that’s how I learned.


S: So being certified are you at this point, are you currently subsiding  off of your endeavors?


KP: To a certain extent its kind of, really music as a profession or job is kind of like weird, and nowadays and especially for me cause im not really selling music, so im not making a ton of money off it but like its like the shows where you make the money. Right now im in that weird stage where everything is starting to pick up so im making it by but in no way am I rich or anything. But on that note, if your watching this im not rich so hear my music so that I can continue to…


S: To make a lot of money


KP:   Yeah (haha) , well not to make a lot of money, I don’t really care about money, I got everything I need right now. So like I mean yeah theres I don’t know your main focus should be the music first then everything else will follow. So if your just worried about making money then your music is probably going to be shit.


S: You seem to have a lot of focus on like dubstep and at the beginning of the summer you really started to pick up on this ‘bass funk’ sort of music.


KP: ‘Panty Soaking Drop Step‘


S: Yeah that was one of my questions, what exactly is ‘Panty Soaking Drop Step?


KP: Well PSBM is something I came up with like a year and a half ago and it was just like when dubstep was really starting to blow up and we started to get those weird sub genres where they would just call it some random ass thing and then everyone would be like   oh that’s the new hyped thing like aww have you heard this crazy moombah, indian, rock and roll, death metal. Oh its like the craziest thing.


S: Step


KP: Yeah just out step after it and somehow its affiliated with dubstep. But PSDS was likea  version of dubstep, but its panty soak so the pantys get soaked, and the drop so its like sexy, its sexy dubstep. So yeah I was doing dubstep and drumstep for awhile and I started out making electro, like Electro house very likeAlex Metric, Wolgang Gartner  inspired. Two of my favorite guys. And then like dubstep started coming around when I was living with Alex Zhan and shock to the system, shoutout to them and also dave (friend/photographer/dj) known as DJ Monstar, so like we were all doing kind of dubstep type stuff so we’re all feeding off of each other and we were playing a weekly night it was all just dubstep music and so I was really really into that, and then that was when I was out in Florida and came back to Indiana  for awhile and got really really depressed and upset with my life, still doing some PSDS but realy about to give up on music and then I decided to move to LA  and say fuck it. Life is short and I had to get out of there and I had a really good job and was doing a lot of great stuff, but it was just all work related and the music wasn’t really flowing. Ive always wanted to do like a really funky, like the stuff im doing now, ive been wanting to do the entire time since ive been making music. I just didn’t really have the tools, I didn’t really know how to do it like the right way, and that’s why I didn’t do it before. There were a couple songs before that were really funk inspired but it wasn’t quite the quality that I wanted it to be at. Now  I finally got the tools and I like where im at to be doing what I want. The music that im making now is so effortless, free flowing, and its so much fun. Its not , like I feel like with dubstep stuff, like it has to be the hard metally in your face and I love that stuff for what it is but I don’t know  its so much fun to just express yourself in like a new way that you want to do it without being judged by genres, which is  like that personal struggle where its really easy to get like caught up in the idea that my music has to be in this genre and it has to be like this certain thing. But to aspring artists out there if you just let go and do your own thing, and be yourself that’s what people grab onto.


S: yeah its about finding your sound


KP:  Yeah like that’s why everybody likes Skrillex because he has his own sound. He was Skrillex before anyone else was trying to be Skrillex. Wolfgang Gartner too, he has his sound. All the big people, Lady Gaga, she has her sound.

S: Sort of speaking of that the fact that your pioneering your own EDM sub genre, with PSDS, I guess what are your feelings towards the fact that like with this music there are so many sub genres that keep popping up like Moombah, which was really big last year, and now I sure you’ve been hearing this whole trap house.


KP: I try not to fall into the trap.


S: Yeah its really started to emerge. What are sort of your views on that?


KP: Well the thing about that like I was saying earlier is good music, the music that I like  is just simply about the music. It doesn’t matter what genre it is that’s usually not the problem its not the people who r making the music, I don’t know what yo would call them but like ‘form trolls’ that are like so obsessed over genres and obsessed over putting everything into this little box and being like ok this is you know drum n bass which is at 175, and this certain thing in the middle like.. I don’t know it just doesn’t make any sense. When your thinking about it like that your not really thinking about the music your thinking about the labels that go with it, all the words, your not really listening to the music your trying to categorize it into something, I don’t know  so your brain will perceive a certain way, which is really weird because it wasn’t alwaus like that  like back in the 70s people were just making music. You had Disco,  you had Motown, stuff like that but people weren’t callingit that they were just making it. I think the most important thing  is just the music. Who cares what it is, and then I think once a genre gets like really defined as ok like a certain thing it gets really washed out and stops being creative in certain ways.


S: Yeah I was gong to say Moombahton right now, is like fading out.


KP: Yeah I mean its bound to happen , things change, but its those people who step out of a boundary every once and awhile, but those are usually the best people.


S: Like yourself


KP: (Smile)


S: So speaking of your sort of style, who do you consider to be some of your peers?


KP: Um, like in electronic music right now?


S: Yeah I guess like artists and maybe like people you may just be influenced by.


KP: Man theres just so many people that like like the people at the top like the A-Traks, Skrillexs, and Dillon Francis who are just like really just working their asses off and that’s what counts in music nowadays. You got to be really really quick and keep putting stuff out and definitely respect all those guys. And I mean theres so many people out there its like I don’t know I respect the people who are really trying new  and different things, just pushing the boundaries. Its those people, and it’s a great time to be in music, so many good things.


S: And it seems easier to break into it


KP: Yeah


S: So I guess thus far, whats been one of your favorite moments being a DJ ?


KP: Umm every set that I play. That might sound really cheesy to some people but it totally is. I was out in New York for the firs titme a couple of weeks ago and it was a really really small venue and its cool like seeing the opening DJ play letting everyone get loosened up you know and its cool and then I played and it was like it reminded me of playing in a really small club to where it can either be really great or suck horribly because its hard to really get people into it. But one thing I try to do for every show is pump everybody up


S: It is what it is like at a festival people are there more because they are there to see you specifically, so its really about the setting.


KP: Yeah yeah, so I don’t know that’s a wild moment for me, playing live, and I guess just getting introduced to like bigger DJs and like ive gotten stuff from people who are really big names who respect my stuff and that’s crazy to me. Im just one guy who like makes funk music and puts it out on soundcloud and like that’s me that’s what im doing but then you get these people who are like yea hi love what your doing. Its crazy thank you.


S: Yeah that is crazy. So yeah whats your sort of current production process like? Do you sit down think about it, write it? Do you have sort of sounds already ready and synthesizers to put on?


KP: Yeah I try not to like do songs the same way every singe time and it might even sound like I do the same sound by sound and people may think that it’s the same process for every sound for every song but I really don’t. I think as an artist its important to like try different things and pushing your boundaries, using different techniques to really like push yourself, push your boundaries, and push yourself as an artist. But when it comes to like songs that I have sampled and made stuff out of that theres a funny story about the song ‘I Do Love You’ like that little track that actualy a lot of people really like and has been getting a lot of good responses. I like that one too, it was a really really fun one to make, but the sample from that song like the original song I had a meeting with this pubisher over in West LA and I ended up parking at a mall  and I lost my car so I was like walking around the parking garage for like 45minutes, I couldn’t find my car. I finally found my car and I had to like walk into the entrance of the garage and find my car like I drove in there, and finally found it. And then the second I pull out and hear the radio and I listen to this old school hip hop station and they were playing that song! So I was like shit im sampling that, that’s going to be the next song. So theres a lot of songs like that that just happen. Especially stuff that I sample like ill hear the song in a really weird area and think like I can do something with that and I get fun out of that. It all happens very naturally and I think that’s really important. If you start forcing it too much then it starts to suck.


S: Its got to be an organic process


KP: Yeah sure


S: My moms a huge prince fan


KP: Oh yeah yeah that’s the same thing like my uh roommate was doing a…he was like learning on the piano ‘I Want To Be A Lover’ if you’ve ever heard of it. He kept playing it and we kept listening to it and it’s the fucking jam and its so good  and I was like I want to make a remix of it. So I started messing with it a couple days later.


S: So how long does it usually take you to produce a song? Like mixing and mashing


KP: Well mixing and mashing all happens at the same time for me theres no distinct different thing, one thing I have been doing is like making sounds and making samples beforehand like spending one night ill stay up till 5 in the morning and ill take songs and just warp them into loops and then also make bass sounds, like key sounghs, so then you have like all you know it may sound funny but its like making a salad you have all the ingredients first and then you make it and it comes together a lot easier. Yeah so um with songs it can take I finish some stuff in like two to three days, thast probably the quickest it can happen for me to be really happy with it like iv edone some stuff where im really really happy with it in one day and ill listen to it the next week and im like I hate I, But spending like 5 or 6 days on omething it depends like it also depends on how much time each day is put into it, but if im working on something when I wake up in the morning ill have my tea, my eggs and stuff and then like work on it most of the day until I cant stand it anymore you know then the next day or stay up till 5 in the morning. Or ill start somethingon an airplane somewhere like when I was in New York I was I the airport for like 12 hours and that was where I finished or halfway finished the new remix for the he drake club sessions catastrophes which is my freidsn abnd in Indiana and I have a remix coming out for that in the next week.


S: Nice, excited for that! Do you have any sort of any good tips for aspring producers for like helping them get that professional sound. You know there is sort of like a boundary between where like a lot of people have something created and where it sounds professional and not amateur-ly done.


KP: The important thing is just time, and that’s what a lot of people don’t want to put into. Everyone wants to be this superstar DJ overnight which just like it could happen and maybe it does happen but if that happens it sucks cause like you just got really big off of something and yeah off of nothing, and then you have to try and sustain that which just wont happen. The more time and effort you put into your craft, if you really want to be a big DJ, whatever it is like a movie star or something, theres so much time that goes into it and that’s like the one factor that nobody really wants to understand or they’re like no it doesn’t really take time you just ..and its like no its time. Its time, its discipline, its respect, its so many things, so spend as much time as you can and watch tutorials, be yourself too! That’s the most important thing because for the longest time I was trying to do dubstep this certain way and like kind of riding coattails of other big producers, and sometimes that works and there are people who make careers out of that but that sucks. Its hard, your just trying to keep up with what everybody else is doing and not being yourself, not making your own thing. And also amking your own audience, like the social media and just being cool and being a cool person will help you out so much. Just be down to earth, don’t be so like dick because like yeah nobody likes that. This isn’t the 80s.


S: Especially I think uh people forget that the easiest way to keep pace is being yourself and if you’re going to try and emulate somebody else its almost not helping you.


KP: Yeah no its not, you’re kind of just copying what somebody else is doing, but you know some people will make careers off that so im not trying to say anything against that all..


S: So I guess like lets delve more into the technical aspect of it, within Ableton what VSTs are you using?


KP: Will tell you the stuff that has changed that has really change dmy game is the UAD stuff and the good and bad thing is and most people will hate this stuff but its basically a box that runs their plug ins on it so theres no way to steal or pirate the irplug ins, which I think is amazing actually because if you are serious about making music and you want it to sound really really good, really professional, you’re going to have to pay for it. Eventually, eventually, like there are tons of people who obviously pirate everything and then make money off it but the UAD stuff is all classic emulation like legit emulations that they spend years on making all the bose filter and the electriccon reverb from like the 1980s which is like the sound of the 80s that I use and it just sounds like nothing else ive ever heard of, so uh yeah get a UAD box, you will thank me later.


S: So who would you want to produce with most right now?  For any collaborative efforts.


KP: Um Dillon Francis and I have been trying to put something together for a little while like a couple weeks. Yeah hopefully we will get something up pretty soon. Other than that there was the bass player from Disco Biscuits gave me a shout out on twitter like last week which I thought was insane, but I think like doing like I would like to do collaborations with actual musicians like a bass player or keyboard players, singers, um im really interested in bringing the like more musical the more like musicianship to electronic music. There’s already tons of it so im not saying like that’s what I am doing but I would llove to collaborate with more of those people.


S: So I guess whats your touring schedule like for the rest of the summer and the coming year?


KP: Um oOoO, ask my agent (Chuckles from both). Right now in August im doing Salt Lake City well actually im doing LA AT Seismic dubstep which is downtown here on the 8th and ill be in Salt Lake City on the 10th and then the 11th im in Portland, Oregon, and then I have some other scattered dates, its kind of all over the place right now. Theres dates for all of August and September, but yeah just keep checking my facebook and twiter and stuff. I stay pretty connected.


S: Okay so last question, your music you know to put it frankly is very sexy.


KP: The only thing I ever strived for is to make that sexy music and that’s the truth.


S: Yeah so I wouldn’t say its too far fetched to say that your music makes the boys and girls sort of you know rub up and down together.


KP: Baby making music.


S: Yeah baby making music exactly. Not to put you on the spot here but if you had to make a top, best bed shaking  playlist what exactly would it go in that?


KP: Okay I can tell you that ive always kind of liked R.Kelly but like it wasn’t until like the last couple of months that I really listened to him and his voice and the way he uses it is so sexy. Like he just has it! He can sing anybody into bed, so like R. Kelly is definitely and he had his legal stuff with the whole peeing stuff but its cool like he makes great music so it doesn’t matter. But yeah like r. Kelly, Brian Mcknight, like for sure just kills it every single time, every song is just like amazing but other than that like Al Green again is a really good example of that sexy baby making music and like theres a lot, 70s funk, and like theres a lot of really good one hit wonders from that sort of era is the music that really gets me going and gets me pumped because its so sexy and people grab onto that. You know like the love aspect of it and everything and especially after dubstep and everything where its been really heavy people need something to lean back on.


S: Yeah to really soothe thing out, well listen thank you for chilling by the pool with us and we’re The Drop Media and this is corey baker, kill Paris, stay in touch he released an LP a coupleof days ago so go to his bandcamp and buy that.


KP: It’s a name your own price so you don’t even have to buy it, its free. The main reason I put it up there is because on soundcloud its all MP3s, but with the stuff on bandcamp you can download the .wav high quality stuff, so if your like an audio file person and especially if you’re a DJ like if your DJing you should be playing .wav.


S: Yeah especially for that special lady or guy where you can play that good .wav sound vibes for your baby shaking music but alright thank you man it was a pleasure


KP: Thank you!