Dj IV

I was recently asked who the most slept-on rapper is in Houston right now. The answer is undoubtedly Jax Yohana.

I pride myself on having a ton of “I told you so” moments when it comes to Houston music. So far this year, I have amassed moments with Open Source, Lyssa, Mike C, and mark my words when I tell you, Jax Yohana is up next.

I recently introduced the Day and a Dream audience to Jax Yohana in the series I did on must-see Madness on Main artists. Now is your chance to listen to me if you didn’t the first time: Jax Yohana just released a single on all streaming platforms called “In a Minute,” where he warns in the hook, “You gon’ see in a minute.” Sounds like Jax, along with his producer, the “lowkey legend” DJ IV of Killem Collective, are in the studio, preparing some additional heat for the summer. By no means an introduction (the artist and producer both have multiple projects out on the Internet), “In a Minute” serves as a halfway point from where the artist was to where he is going – all the way up.

The song, which features another obscure rapper, Alonzo KNOW, talks about the mission Yohana and his team are on. One thing that I have noticed about the Killem crew is that they are the Houston indie rap Frank Oceans – they aren’t always on the scene just to be seen. If they out, they are working, networking, or thinking about going back to the studio and working. Jax Yohana says, “I just came for the business,” and that is the mindset he and the Killem crew have when they show their faces at functions. That kind of diligence pays off in all of their final products, which are well thought out and smart.

In the rap, Jax Yohana mentions that he and IV “killed it, nigga, Madness on Main.” Easily one of the most energetic sets at the festival, the Jax/IV Project ripped the outdoors stage at the festival as Jax rapped while DJ IV backed him up on the turntables. “In a Minute” rides that wave smoothly, and one could effortlessly imagine the track as the easygoing, calm yet poignant interlude on an album full of bangers. Only time will tell what the artists do together, but if I were you, I would strap in for the ride now. - Day and A Dream

DJ IV, or Ichikara Valdez, has been a behind-the-scenes staple in the Houston hip hop scene for years. The CEO of Killem Collective, a group of local creatives destined to blow up, grew up around hip hop as he hung out with his father. Music is in his roots, and he’s finally ready to go out and blossom in front of the scenes. His latest project was debuted at Dean’s Downtown on the patio. The aptly-named Paper Maché Muscle is a mixture of a super hard series of music. The project is available to hear on the Killem site now.

HC: What’s your Houston history and how is it associated with music?

IV: Born and raised in Houston. I spent the first 13 years of my life in Northwest Houston amongst what was probably the most culturally diverse areas of of the city in the ’90s. I was able to soak in how these cultures integrated and cooperated with each other early in my childhood. This time also showed me how universal hip hop music was, as my friends consisted of every ethnic group from Asian and Middle Eastern to Latino and Black, our common bond was always Hip-hop music. I moved from this neighborhood to Alief, a suburb on the West (Originally Southwest! aka S.W.A.T.), shortly before starting high school. This period is where I began producing music and making my first incarnations of beats and songs. A local neighbor gave me my first computer program called Fruity Loops, which was essentially a sound sequencer. From that point I began to study sound, sequence and song structure. Using my parents’ record collection as a guide, I started to try recreating some of the records I’d grown up with.

HC: Super dope. I bet all of that exposure had a huge effect on your music.

IV: I think my senses soaked in a lot of the changes between cultural integration from one side of town to the next. Where I was exposed to the peaceful and harmonious side of this concept from from the Northwest, a largely middle class community, I experienced the chaos and tension of that concept in the mixture of classes and how that affected the groups around me in Alief. I drew from the dichotomy and, for better or worse, began to understand and empathize with the fragile relationship between members of the community in Alief. This is probably most evident in my selection of multi-genre and international sound sources for inspiration for my work.

HC: So then, what’s your style like now?

IV: My style is a fusion of hip-hop, with nuances from various genres including, but not limited to, psych. rock, progressive rock, soul, funk and jazz – with harmonious minimalism being the ultimate goal.

HC: What would you call your personal style?

IV: I’ve been described as everything from an old soul to a hipster. While I don’t conform to labels, I will describe myself as an “introverted enthusiast,” paradoxical from day to day at best. My style reflects how I feel about the world around me. This comes through in the music, as much of what I created draws from emotion or vibes in a room. Aesthetically, I try to mimic a warm gray painted wall, slightly worn, leaving room for optimism and interpretation.

HC: Well, that was actually really beautiful…you’re definitely unique. What would you say is your place in today’s music. Like, if there were a Grammy category created specifically for you, what would it be called?

IV: I am a part of the whole, so I don’t feel I have a place, per se. Maybe it’s more of a role to play, in revealing the act and lifting the curtain every once in a while to let some light in. I’m just here to contribute what I can, in hopes that my work received as I intend it to be.

HC: Your music styles represent a huge range. Who are your influences?

IV: D’Angelo, Prince, J Dilla, Dre, Madlib, Pete Rock, DJ Premier, and a slew of hip-hop, soul, funk, jazz and latin artists and producers (past and present) too vast to name.

HC: If you could record with one artist, living or dead, who would it be and why?

IV: ?uestlove of the Roots, because it would be fucking bananas and we’d get to reinvigorate the sound scape of hip-hop again.

HC: In your words, what do we need to know before we go see you at Madness on Main?

IV: I’m currently producer and DJ of the JAXIV project with artist Jax Yohana, creating the hip hop music the world needs, as well as alternatives that have yet to be discovered. We’re producing the current project together and will be performing at this year’s Madness on Main festival with our band. Looking forward to dropping ill content this summer.

HC: OK, and one fun question to balance out the universe. Who you got in a cage match, Chris Brown or Soulja Boy?

IV: Chris Brown, all day.

If you want a sneak peek of what you’ll hear from DJ IV this weekend, head to Dean’s Downtown Thursday night for The Score. This week’s edition will serve as the pre-party for Madness on Main. - Day and A Dream

Much like mixing water and flour, DJ IV mixes hip-hop and soul to create something solid.

Ever hear people talk about how music sounded better on vinyl or cassette? I think it’s more accurate to say music was just better back then, regardless of the medium. What we’ve been missing as music-lovers is that grit, the rawness of sound that goes along with feeling out the textures of a song. Producers are over-processing songs for the sake of digital reception, and it’s a problem.

Enter DJ IV from Houston, TX.

His newest project, “Paper Maché Muscle,” is described as “a hazy, psychedelic mash-up of popular and obscure vocalists, paired with an eclectic blend of manic record chops.” As a lowkey legend in the music game, the CEO of Killem Collective, and a lover of quality music, DJ IV has combined the depth of texture we’re used to hearing in classic hits with the funkiness and vibiness of the new school of hip hop. If you’re a fan of Childish Gambino or Kendrick Lamar, there’s no doubt you’ll be able to appreciate this project. (Also, congrats on the impeccable music taste.)

DJ IV managed to solve a lot of the problems we have with musical predictability in this project. He says of today’s popular music, “A lot of times you’ll hear an album that sounds like one you’ve already heard because no one is paying attention to texture; they’re paying attention to loudness. A lot of the soul that was within music came from the textures everyone used because everyone had signature way of recording – Sly recorded differently than Parliament Funkadelic, etc. It’s OK for things to be rough around the edges.”

My personal take on the project is that it is refreshing, vibey af, and that there is no one (and probably won’t be) anyone else out there doing it like this. DJ IV definitely chose the correct name when branding the project. The art of creating sounds is just as tedious and delicate and mixing together ingredients and perfectly sculpting a figure. The figure, in this case, happens to be a sound that we have gotten used to missing – the feeling embodied in music.

Pop in your virtual VHS and check out the video above for a trippy taste of what you can expect to hear in Paper Maché Muscle. - I Am the Industry

Starting the Summer off right, Houston’s Jedi Jae releases a new video “Life’s A Beach” featuring Tony Badd off the upcoming EP “Midnight Cowboy” set to drop July 25th. The song is produced by Ichikara Valdez. - Nu Mainstream

Killem Collective presents the premier video for T.A.O.’s first single, “Sick Flo”, off of their upcoming EP “Tex Winter”, to be released later this fall. The trio consists of emcees Rob Dinero and Milli, with producer/DJ Ichikara Valdez (IV) manning the boards and the wheels of steel.

This is hip-hop, not rap. This like on the corner New York flow but it’s right here in Houston. It’s been a while since we’ve heard from these guys, but hopefully they’ll stick around. - Houston Trend Mag

One Friday night in mid-January saw a meeting of minds at the Killem Collective studio in the East End.

The soirée was organized to encourage partnership among Houston’s diverse creative class. Legendary hip-hop DJ Tony Touch played after touching down from New York City and hosting a session at Break Free’s Hip-Hop School. The night set a tone for the new year, and felt especially festive with the celebration of Killem Collective founding member IV’s 30th birthday.

The party tipped off around 9 pm. The ground floor of the studio quickly filled with guests donning black outerwear, fitted caps with flat brims, and an array of footwear that would have made any sneakerhead tilt his head sideways and smile knowingly. DJ Baby Roo of Roologic Records set the starting vibe by spinning classics, while in the background the complementary refreshments began flowing, graciously provided by true Texas darlings Topo Chico, Deep Eddy and Saint Arnold’s Brewery. A feast’s worth of Frenchy’s came later, donated by the long-loved Houston establishment.

On the patio, a couple of fire pits roared into the chilly night. A glitch visual installation by FLCON FCKER graced an entire wall. The artist, who has exhibited work at MFAH, illuminated the space with a generative feed in his trademark style, an utter distortion of technicolor. Meanwhile, Killem’s Joey Flaco set off a bold, global-infused set in the rear studio, blending traces of jazz, hip-hop, funk and soul over vocals in various languages and pronounced beats. Flaco’s visuals, on display behind the decks, pulsed in time to the music while depicting imagery rooted in the musical expressions of urban culture.

As the evening picked up, legendary DJ Tony Touch, in from NYC, took his spot behind the decks. The mood hit a fever pitch as the bass and drums of a seamless old-school hip-hop set seeped into the atmosphere of the night itself. Break Free, Texas’ only hip-hop school, hosted Tony prior to his performance, as he delivered a workshop on his origins as a DJ and pioneer of the culture.

It is no shock a party hosted by Killem Collective drew a crowd rich in creative agency. Killem Collective harmonizes the work of music producers, visual artists, writers, curators, and designers. Flash Gordon Parks, an ethnomusicologist and DJ with Houston roots, was spotted, as well as Kay of The Foundation. Local legends, each in their own right ✊ - Free Press Houston

UNIVERSAL FUNK
The Score, Dean’s Downtown
It’s nearing midnight and the 1975 classic Sheba, Baby is on the big screen. You’re sipping whiskey and Coke, body is partway melted into the comfort of the sofa, and you’re admiring Pam Grier’s timeless beauty with the TV volume down. That’s when the bass notes of Bernard Wright’s “Just Chillin’ Out” strum up, and you edge your way off the couch, your legs suddenly moving and your hips swiveling to the funky, funky beat.

“Funk just has a way of tapping into whatever it is that makes people wanna move,” says DJ IV, one of three resident DJs introducing new audiences to forever classics. “That’s why you continue to bring it back.”
This is The Score, the Thursday-night dance party at Dean’s Downtown (316 Main) that brings the funk back in a major way.

“It’s like this is your living room. Come on in and let’s listen to some records,” says Flash Gordon Parks, who along with IV and cohort DJ Good Grief has been inviting people to their downtown den since November 2016.

In a short amount of time, the night has built a solid following. Young, hip crowds wander in from nearby Notsuoh or Nightingale Room. Mumbling “Y’all don’t know nothing ’bout this,” older patrons mix in too, summoned by the strains of James Brown, Rick James, even Pharrell. The music at The Score isn’t confined to any specific era; all it must be is funky.

The night works, according to DJ IV, because the funk is universal; the genre has had a global following for decades. But Melesa Martin, The Score’s marketing manager, says it’s more than that. Fans can tell these DJs are well-versed; each one brings different strengths. Good Grief is the record-picker, with crates of albums and 45s he’s collected since his teens. Flash is the music historian. IV is the self-described “Padawan,” learning from his fellow Jedi masters even though he is a producer himself; his own father was once a video producer for Rap-A-Lot Records, and he spent time around DJ Screw as a child.

“Everybody seems to know everyone once they get here. You’re hanging out and you feel like you already know these people even if you don’t,” says Martin, likening the environment to that of Cheers.

Sorry, but Sam and Diane never got down like this. While starting around 9 p.m., the night heats up closer to midnight. That’s when, according to Good Grief, the room is filled with “B-boys, pretty ladies, funkateers.” They dubbed the night The Score because, Parks says, “imagine yourself in a movie. You gotta have theme music, right? We represent the soundtrack for the night.”

It’s a night that can be as sexy as Pam Grier or as fun as a Soul Train line, and has become the unofficial weekend-starter for many downtown music fans.

“I think what makes this special is all the cross-pollination, everybody coming together under one umbrella,” says Parks. “We rarely get DJs that have such different backgrounds say, ‘Hey, we’re gonna unite like Voltron.’” — Jesse Sendejas Jr. - Houston Press

JAZZ 4 DAT AZZ
The week’s overcast skies had me tuned into Angelo Badalamenti’s Twin Peaks score on Spotify for the abbreviated work week. It was a cool throwback at first, but by yesterday morning I was beginning to see the Log Lady on the MetroRail and ordering damn fine cups of coffee from dubious baristas all over town. But, just in time for the afternoon, Jazz 4 Dat Azz dropped. The first edition of the Killem Collective’s Kollective Crates Mix Series is a half-hour of Afro-soul power you need in your life today. The mix was curated by Ichikara Valdez, or, DJ I.V. True to his moniker, he delivers an infusion of fusion jazz and a slow drip of funky stuff that will rejuvenate one’s mind and body. The whole thing is arresting, but the mix opens with an amazing spoken-word think-piece that my search engine still can’t locate. Good, rare stuff 4 dat azz. JESSE SENDEJAS JR. - Houston Press

Soul of Mind was the show you didn’t know you didn’t want to miss.
Killem Collective’s showcase, Soul of Mind, at the House of Blues Sunday, November 22 was way more than I expected –in the best way possible. I had heard of a couple of the artists before, but I don’t think I had ever seen them in their fullest glory yet.

The first group to hit the stage was Milky Wayv (Bobby Earth and Peyton). Bobby Earth was 100% in the zone during the set, taking time to step away from the laptop we’re so used to seeing him behind and take a dance break. Peyton’s voice was as clear and sweet as always, and she seemed to be completely comfortable on stage, standing nonchalantly as if holding a microphone has now become second nature.

I wasn’t very familiar with Tony Badd (OK, I’d never heard of him before), but I was very impressed. His guitar skills and use of falsetto showed that he has put in work on his talents, and he’s not just a guy who decided to sing some stuff one day. One of the highlights of his performance was a collab with Houston rapper Doeman, who no one knew was going to attend the show, let alone come up and perform. I got a chance to talk to Doeman backstage, and apparently the performance was a surprise to him, as well, having just gotten a text to show up that same day! For an impromptu performance, it went off seamlessly.

Next up was the guy it seemed everyone in the extremely diverse audience came to see: Soul of Sherif. Now, I had beef with Mr. SOS for doing an interview with Alphie Numeric, and when I told him maybe I would come to the show and do a writeup if I decided to forgive him, he promised me I would have a lot to write about. Well, Sherif, you were correct. Soul of Sherif’s show definitely tenderized our beef. If I were giving Soul of Mind awards, I would give him “Best Stage Presence” and “Most Lit Crowd.” For a guy who I first met while he sauntered up to me wearing loafers and shades, I would have never expected his energy to be through the roof, jumping across the entire stage and taking a mini pop-lock break. The audience fed off of his energy, jumping with him, singing along, hands in the air the whole time. OK. Perhaps I forgive him, now…

Last but most certainly not least was Mélat. From her looks, I was really expecting some chilled out, ethereal vibe from her, something more reminiscent of Milky Wayv’s sound. For such a tiny person, Mélat can B.L.O.W. –she has one of the strongest voices I’ve heard in a very long time. Doeman came back up on stage to do another flawless feature with her, their vibes melding together perfectly. For those who left the show early, they missed out on a treat.

If you missed the show altogether, Killem Collective has a Soul of Mind playlist on SoundCloud. Check it out to see what you missed, and follow these artists on their SoundCloud profiles and social media. These are people you’ll want to be able to say you knew “before they got big.” - Hive Society

Starting the Summer off right, Houston’s Jedi Jae releases a new video “Life’s A Beach” featuring Tony Badd off the upcoming EP “Midnight Cowboy” set to drop July 25th. The song is produced by Ichikara Valdez. - Underground Hiphop Blog

Killem Collective presents the premier video for T.A.O.’s first single, “Sick Flo”, off of their upcoming EP “Tex Winter”, to be released later this fall. The trio consists of emcees Rob Dinero and Milli, with producer/DJ Ichikara Valdez (IV) manning the boards and the wheels of steel.

This is hip-hop, not rap. This like on the corner New York flow but it’s right here in Houston. It’s been a while since we’ve heard from these guys, but hopefully they’ll stick around. Killem Collective presents the premier video for T.A.O.’s first single, “Sick Flo”, off of their upcoming EP “Tex Winter”, to be released later this fall. The trio consists of emcees Rob Dinero and Milli, with producer/DJ Ichikara Valdez (IV) manning the boards and the wheels of steel. - Houston Hiphop Fix