Alexx Antaeus is known in Jamaica mostly as a Greek restauranteur and club operator, but internationally he is a respected musician who rubs shoulders and make music with some of the most notable acts. In this quick interview he tells WMV about his latest album “Colors Of Royal” and what it is like work with Reggae star Julian Marley. He also talks about the Jamaicans can do to get more involved in Grammy awards.
How did you come to collaborate with Julian Marley on the album “Colors of Royal”?
I knew some of the Marleys, like Cedella and Rohan, before I knew Julian. I met him through mutual friends at “Reggae Mill,” my nightclub in Kingston. We connected over single-malt scotches and jammed in the recording studio I’ve set up there. That’s how “Colors of Royal” was born, under my record label Monom Records with Magnus Johansson.
What inspired the Deep House and Amapiano remixes of “Jah Sees Them” for Julian Marley’s latest single?
We wanted to push reggae’s boundaries with “Colors of Royal” by blending various genres, like Dancehall, Afrobeats, Dembow and Reggaeton. The remixes for “Jah Sees Them” continue this experimental approach, which we like to call “neo-Reggae.”
Can you tell us about your experience working as a co-writer and producer on “Colors of Royal” and your contributions to the album?
I collaborated with other producers like Notnice, Sean Alaric, Mr. Sonic and Produced by Prince to create the riddims. Vision Alexander, who has written for Protoje, Lila Ike and Jesse Royal contributed a large part of the lyrics. We recorded Julian’s vocals at Monom, my studio in Kingston, and at Circle House (Inner Circle’s studio in Miami). I mixed the tracks at Monom, and at my other studio, Contrackz Music, in the Bronx.
What role do you believe “Colors of Royal” plays in the contemporary reggae music landscape?
It represents the next chapter in Reggae, period.
“Colors of Royal” has already seen considerable success. What elements of the album do you think have contributed to its popularity?
It’s Julian’s talent meeting fresh production. We brought Julian into new musical territories, and it paid off. Let’s not forget that none of the genres mentioned earlier would have existed, as we know them today, if it wasn’t for old school Dancehall.
What sets Julian Marley’s music apart in the reggae genre, and how do you feel your production work enhances his unique sound?
Julian is a gifted musician who plays several instruments and has great stage presence. He is not just a “Marley” name. My electronic sound has allowed him to step beyond traditional reggae, adding a fresh layer to his innate talent.
Mastering is a crucial step in music production. How did you work with multi-Grammy winner Alex Psaroudakis to ensure the sonic brilliance of the album?
Alex is a pro I’ve known for years. No software can replace his expert ears and the high-end outboard equipment in his mastering lab. I trust him completely to master my mixes.
Talking about multi-Grammy winners on this project, we must also include Mr Sonic, who co-produced and remixed “Roll-Rodando,” and added Argentine reggae star Bahiano to the mix.
Could you describe the significance of Julian Marley’s submissions to the 2024 GRAMMY Awards in the “REGGAE ALBUM” and “GLOBAL MUSIC PERFORMANCE” categories?
As you know, what sets the Grammy® Awards apart, compared to other music awards, is that they are not based on sales or popularity, but they are strictly decided by a group of Recording Academy® professionals. A Grammy® is a peer-validated stamp of quality. In the Reggae world, it could be a game-changer, especially at a time when genres like Afrobeats and Reggaeton are rising.
As you anticipate the awards season ahead, what are your expectations and hopes for Julian Marley’s nominations and potential wins at the 2024 GRAMMY Awards?
We’re optimistic about a nomination and maybe even a win, given the great feedback from voting members. But the process is secretive, and nothing is certain until it’s announced.
The Reggae category experienced a low submission this year, what do you think that is?
Too many in the Jamaican music scene don’t take the Grammys seriously. They all want to win a Grammy®, but most don’t want to get involved with the Recording Academy®. The less involved we are, the weaker our genre becomes, and it might one day disappear. Instead of adding dancehall as a separate category, something we’ve been fighting for, we might lose what we already have. I’ve been pushing for more Jamaican artists and producers to join the Academy, but the uptake is slow.
