Victor (Apr. 2018)
Independency in the music industry is possibly the greatest challenge an artist can take on, to keep themselves on track and work with what’s available to create something special is an entire talent on its own. For 17 year old Victor, this is just a daily occurrence.
Making music out of his bedroom with whatever is available to him, Victor has created a landscape of soft and soothing tracks which he hopes will empower those who share the same roots as he does, as well as the social hardships he’s overcome.
Paramind has had the unique opportunity to speak with Victor, not only on himself, but also about his story, fans and one of a kind sound.
Paramind: First question as always, how’s your day going?
Victor: My day is going well. I woke up at 6am to shower and I went back to bed and finished a few episodes of Law and Order. My room was cold so I had the heat on blast and ended up falling asleep again until 1pm. I might go to Dave and Busters later with my best friend, Julian.
PM: To begin at the starting of your musical journey, where would you say the decision to take music seriously came from, and more so, what influences in your childhood affect this moment?
V: My decision to take music seriously was a product of stress and boredom. I just woke up one day and said, “hey, fuck it, if I can make trap beats for my friends I can make beats for myself”. It’s funny because the first song that I ever put out was so bad, yet people messaged me everywhere encouraging me to “make more please” and “this shit slaps”. The song was probably a minute and a half in length and it was called “Run”. I released the song last summer in a Facebook video, which was just a Sailor Moon gif of Usagi running, hence the song title, “Run”. While the song was definitely one of my worst, I can’t deny that I had fun making it. That pushed me to start making more. As far as childhood influences go, I owe a lot of this to my family which is made up of musicians left and right. My mom was lead pop singer in a Mexican band called “Ecstasis”, they made a lot of synth-pop. My dad and his entire family are made up of mariachi music and gigs. My uncle is a worship leader at my local church. A lot of this is just experience that I grew up with and learned from.
PM: Would you say you were normal growing up? If so, do you wish you had strayed outside the box more, and if not, what did being an outsider teach you?
I was not normal at all. My close friends will know this and I always bring it up, but I grew up in a very religious household. My parents met at church and at some point they led the worship team there. I wasn’t allowed to listen to any music with labels “explicit” or “dirty” on it. I remember using Limewire on my dad’s computer and I remember he’d get worked up when he saw me downloading “explicit” music. My mom wouldn’t let me watch certain TV shows. She hated Dexter’s Laboratory because he’d say “stupid” a lot and in retrospect, she didn’t want me picking up foul language which I understand now. Although I do wish my parents would’ve let me explore as a kid, I am grateful that I wasn’t “normal”. I was never the cool kid growing up so I didn’t feel the need to try and fit in with anyone. I’d just do me and to this day that’s how it’s always been.
PM: You display very proudly that your roots are Mexican-American, acknowledging its importance into your sound, with a growing number of artists such as Cuco and Omar Apollo doing the same. Leading to the question of what is the importance of representing your heritage in your music and allowing it to influence your sound, especially in the world we’re living in currently?
V: Being a Mexican-American boy has always been hard for me. My first language is Spanish, so up until the third grade, I was in ESL classes. Fortunately for me, I’m a fast learner so I picked up English quickly. My accent was not the best though, so all the white kids (I was living in the suburbs) would make fun of me when I mispronounced something. For a long time I would feel ashamed of being Mexican and I would feel embarrassed whenever my parents spoke Spanish in front of my friends in fear of getting made fun of. Looking back now it was so stupid but I feel that a lot of people like me went through it. We eventually lost our suburban home and moved out to Little Village, Chicago. The majority of Little Village is Hispanic, so I went to school with a bunch of brown kids and I think that is when I felt more comfortable with myself. After stumbling upon Cuco on the internet one day, I remember feeling cool. I thought to myself, “People can sing in Spanglish like this? Over synth-pop beats?” People like Omar Banos make me feel proud to be Mexican and I think that brown kids deserve opportunities in every industry and place. This encourages me to speak about my heritage. It’s who I am. I wanna represent those Little Village kids. I wanna represent my family. My parents are immigrants and although they split and I’m living with my mom now, I still worry about them both and pray that they don’t get taken or some shit. I’d be so bummed. No one should live in fear of their parents being taken away. The evil of this world gets stronger but music is my family’s anchor and that’s what I will always hold on to.
PM: You also work with no management team or label backing, what surprise positives have you found in that route?
V: I had something like a “personal manager” for a few months, my friend Sydnie Giles. We’re both juniors in high school right now, and she’s planning on a music business career. She’d help me by writing out emails and offering advice. She wasn’t hired or anything (we’re both broke high school students) but her passion for music drove her to help me out and encourage my growth as a solo artist. Besides that, I’ve had no real management or label reach out to me or “pick me up”. I remember being on the phone with Omar Apollo a week or two ago and we had a small discussion about management. That discussion was a wake up call for me, and I decided to stop working with Sydnie for now (we are still close friends and it ended on good terms). I’ve found in having no management or label are that I have full creative control and I don’t have to follow any schedule. In other words, I am able to work on my own time and I get to keep any profit that I make. I’m also able to put together my own team and that means that when I win, my friends win as well. It feels good to be doing this at 17.
PM: Now before we can talk about your music, It’s always good to know where it comes from, so what have been your biggest musical influences and how have they changed you?
V: It’s difficult to point out influences when you’re constantly influenced by everything around you. I listen to Blonde at least three times a day, but it doesn’t make me want to get up and work on a new song. Sometimes my friend will tell me about her boy problems and that will strike up a song. Sometimes I’ll be scrolling through my camera roll and admire my girlfriend for like fifteen minutes. That will make me get up and write a song. I don’t really have big musical influences, but I do enjoy listening to Omar Apollo, Frank Ocean, Michael Seyer, and HOMESHAKE. These are all people I look up to as artists and I have many more. I find that my friendships shape me more than anything else.
PM: Who do you hope to inspire with your music and what do you want your legacy to be 200 years from now?
V: I hope to inspire the kids with broken computers and broken families. I’ve been through a lot of shit but it hasn’t stopped me from creating and doing the things that I love most. You don’t need a studio to make bangers. It’s okay if your family is financially unstable. It’s okay if your dad isn’t around. It’s okay if you’re not poppin’ at school. Do what you gotta do and pour your heart into it. My legacy in 200 years? Shit, I don’t know. I don’t know if I’ll make it that big for people to remember me 200 years from now. I know what I want 200 years from now to look like, though. I just wanna see more brown kids making cool shit. This alternative pop scene is whitewashed and I hope more brown kids show out. Use whatever resources you have. Steve Lacy started with just an iPhone. I started with a Gateway desktop computer someone at church passed down to me. You can get it done if you work hard.
PM: Onto your music, you have cultivated an aesthetic of a striped back sound and lyricism, does this come at all from the way you make music and the resources available to you?
V: I’m always telling people, “I just make the shit I’d listen to” but that’s the biggest lie I’ve ever told. I actually don’t like listening to my voice in songs, it’s weird. Would I rather teleport or fly? I don’t know, I think teleportation would be cooler. I’m always late to things so this would help a lot. Unless I accidentally teleport to school in nothing but my Calvin Kleins. That’d be so stupid.
PM: Do you think there’s been a shift to a diy approach to music such as yours? And if so, why?
V: This shift is stupid. People have turned a real life struggle into a musical genre. “Bedroom pop” is what they call it. Really, it’s just a bunch of kids with cracked softwares making what they can. Borrowed microphones, cheap VST’s, all that shit. None of this is intentional, I just find comfort in my bedroom and I don’t have money for studio time. Would I still go to a studio if I had the money? Probably not. In my room, I can eat Cinnamon Toast Crunch while working on a track. You can’t do that in a professional studio. I like the fact that I can make an entire album from my bedroom.
PM: Do you think if given the chance, you would become more studio based and label managed?
V: I like being independent. I don’t think I’m ready for contracts and paperwork. I’m only 17. I’m actually looking for a job right now, I might check out Panera. I heard they were hiring and they have cool discounts for employees. Again, if I could work in a studio, I probably wouldn’t. It depends. I like working by myself. It’s just me and my thoughts, it feels cute and intimate. I do need a manager though with a lot of money. If you qualify, please hit me up. I don’t have money but I can make you trap remixes of your favorite songs.
PM: Do you believe you’ll have to innovate your sound to continue to stay as popular, or is that growth not always necessary?
V: Honestly I’m just going to keep making whatever sounds good to me. Chris Brown has been making the same shit for years now and he’s still popping. 57-track album, nothing groundbreaking in there but some of his singles went gold/platinum. I don’t wanna be pretentious and try reinventing a genre or some shit like that. If it hits me, I’ll just do it naturally. I don’t go into working on music with these things in mind. It’s usually a very natural process for me. I trust myself.
PM: But finally, what is the core element to Victor that will have to stay even through change, what can’t ever be lost if you are to still be yourself through the musical journey you’re embarking on?
V: Good taste. I have good taste and I feel that I don’t get enough credit for that! You have artists that make music solely for the people. They make shit that the masses wanna hear. You have artists that are genuine and do their thing. I’m a good balance of both. I know what the people want, but I don’t always give it to them. I enjoy experimenting with different genres and trying new things out. At the end of the day, I have good taste and if I want to try something new, I’ll make it work so that everybody can enjoy at least one part of my work.
PM: Do you have anyone/anything you’d like to shout out to promote? Do you have any projects coming soon? the floor is all yours!
V: I grew up without any older siblings or cousins to look up to, so shout out to Omar Apollo and Holladay. Whether the feeling is mutual or not, Omar has inspired me from the No Pulp days and I used to idolize him (low-key). Since we became friends, I’ve been constantly amazed by his work and impact on the community. He is that older sibling to me and I appreciate him. Holladay, for being passionate about the brown community and always talking about this idea of “passing it down”. He’s done a lot for me by putting me on although we are miles away and I will forever be grateful for his efforts. Shout out Blake Saint David for giving me a chance and giving me my first show ever. Shout out my best friend Andrea Reyes for doing my cover art and always supporting me when she doesn’t have to. Shout out Omar Banos (Cuco) for retweeting my song and giving me a small platform. Lastly, shout out to my amazing partner and best friend in the world, Brenda Millan. My girlfriend is a huge part of who I am and she is always pushing me to do my best. I love that we can support each other’s work and root each other on. I love my friends, fans and I love the internet.