TroyBoi | Part III

TroyBoi | Part III

Interview and Photography by Sarah J. Edwards

Art Direction and Styling by Sally A. Edwards

Troy wears Wild T-Shirt by BLAG, Top by Givenchy and Leather Shorts by Billionaires Boys Club.

Part III of our interview with TroyBoi from BLAG Vol.3 Nø 5


Listening to your music, you leave an element of surprise in each composition, the listener isn’t necessarily able to pinpoint exactly what’ll happen next, drawing them in. Is not being predictable intentional?

“When I make music, I don’t have a plan of what style of track I’m going to make or make next, I just go with what I’m feeling at the time or work with what initially sparked the idea to make a beat. I do subconsciously want all my tracks to have a unique feel to them so in some ways, yes. I try my very hardest to give the listeners a unique and new audio experience in every track. I truly believe in the freedom of expression in music and would hate to be considered a single genre producer with zero flexibility or be barred from evolving my sound. Being predictable would be a little boring so I’m grateful that my musical epiphanies when I’m making a track have taken me in the directions they have done so far.”

Let’s talk a bit about the history of bass and how far the Brits have come. Influences have gone back and fourth between the UK and US. The UK didn’t originally have the facilities to really get bass heavy for some time.

“The evolution of bass in the UK has evolved greatly over the years. The technology and synths are way more advanced and therefore you have greater abilities to manipulate the bass to your taste. UK Garage and Grime basses have those very droney sounding attributes and now in Trap, the sub bass is like a drone bass on steroids. As the years have gone on, the basslines have become heavier, especially when Skrillex introduced his style of dubstep into the scene. Even when I first heard the new breed of dubstep, I was like...rahhhhh, thats a lot of bass! Nose bleed music! [Laughs] I like all kinds of bass, especially the live bass on disco and funk tracks. The most iconic – and an example of a perfect bass line that defines the power of a bass line – is Michael Jacksons ‘Billie Jean’. The moment you hear the groove of it, you can’t help but to nod your head, the tone is perfect and the moment you hear it, you know exactly what song it is. It has set the bench mark for how powerful a bassline can be for a track. It is very inspiring and drawing inspiration from music like that, it feeds the growth in my musical evolution.”

Can you tell us any stories or experiences associated with that and what do you think it is about the allure of bass in music?

“I like all kinds of music, but I’m always sucked into music that has a sick bassline. Whether it’s the slickness of the groove or the filthiness of the sub, it’s always one of the first things that I pick up on in a track. In general bass music, a good bassline is like a big blanket that keeps the body of the music nice and warm. I find that the more bass music that I’ve made, the more methods of bass manipulation I’ve discovered. There are endless ways that you can be creative with a bassline, with that in mind, this is what causes the addiction and hunger for discovering more possibilities.”

Let’s talk about vocal chopping, you have just enough to deliver a message but don’t overwhelm the music. Can you talk about how it becomes the track’s personality with almost simple narration?

“Vocals in tracks are super effective, especially if the lyrics strike a chord with the listener. I love chopping, distorting, pitching, stretching and generally manipulating vocals. The voice is such a unique instrument so I constantly like to see how creative I can make it each time. Usually, when I do this because a vocal has such a strong presence in a track, it creates the personality of the track. When the song sounds quite dark, I’d usually use pitched down vocals to give it that deep mellow feel and when it’s quite an up beat track, I’ll pitch up vocals to give it a hyped up feel. Sometimes when you make a solid beat, all you need is just a phrase or even a word to create a feeling for the overall track. When I made O.G, I knew it needed a vocal before the drop. I was going through all my samples and found a section of a long rap vocal which said ‘I’m O.G, y’all new to the game’. At first it didn’t sound effective at all because the vocal was faster and higher pitched. I then pitched it down, EQ’d, slowed down the vocal a bit and placed at the point before the drop. It sounded completely different and it brought a completely new feel to the track...I couldn’t imagine the track without it now.”

It’s been scientifically proven that if a song provokes both happy and melancholic emotions it’ll likely be a hit - you definitely have that in tracks like Forgive Me Not - was that a conscious process? Are you aiming to tap into different moods with each track, making them versatile? “Definitely. I like making tracks that play with peoples senses and heightens certain emotions. Forgive Me Not was definitely one of those tracks. I grew up listening to the RnB group 112 and was particularly fond of the acappella at the end of their song What If. It was one of those acappellas that struck a chord on my heartstrings and I wanted to translate that feeling in my own way via my own rendition. I find that tracks with emotion stand out a lot more because you tap into peoples personal feelings that makes the track more memorable. I tend to remember particular things in life based on how that thing made me feel, whether good, bad, happy or sad. I feel that the emotion in the music is what makes music ‘Music’ and I try to stay true to making ‘Music’ at all times.”

Sampling and multi-genre instrumentation is at the forefront of a lot of your tracks, but again used in a super contemporary way and feels very soundtrack- esq, is that something you’d like to pursue? “Thank you! I’m sure sometime in the future or if an opportunity was presented my way I’d be up for it. Blending instruments and sounds from different genres is what I love doing the most. The possibilities are endless...and knowing that makes me very happy! [Laughs] It’s like painting, when you mix two colours together, you get a new shade or a new colour to use. For me, when I mix up my sounds, it creates more doors for me to explore using the new sound I would have created. This really helps me to be creative and harness a distinctive niche sound that I look to achieve in all my music.”

Let’s talk about sampling.

“I love sampling. There are sounds, tones, instruments and textures, especially in earlier pieces of music, that just can’t be replicated with modern technology. I think sampling is extremely important because it keeps a lot of forgotten, under-the-radar or specialist music alive. When I was making my track ‘Fyi’ I was on a hunt for ethnic choirs on YouTube and stumbled upon an amazing performance of a song called ‘Ergen Deda’ by the Bulgarian State Radio & Television Female Vocal Choir. It’s an absolutely unreal song from start to finish and the vocals are breathtaking. It’s funny because the moment the main vocal kicked in, I recognised the track straight away because a producer I know called Prince Q also used the same sample in one of his tracks. When I realised, I wanted to find another vocal, but after already listening to the original five times in a row, it was too late, I was already infected by the music. I took the sample, chopped up a few sections and placed it on top of the drums that I already had was a match made in heaven. This was also a chance for me to introduce others to the sounds of Bulgarian folk choirs and make it more digestible to the listener through my style of music. Sampling is the best way of re-introducing classic ideas into modern music. When I sample tracks, it’s like my way of paying homage to the originator.”

Who are your ones-to-watch.

“I’d say to definitely keep your ears out for my boy icekream. Quality, musical satisfaction and a guarantee that your favourite icekream track will be topped by the next track that he releases! Also, watch out for my music collective that I am a part of called ‘Hegemon’. We have a crew of very talented producers and artists from all over the globe and all have very unique music styles.”

Size Chart

Size Chart / Fabric Composition / Finish Details

BLAG Vol.4 Nø 1 measures 297mm x 230mm, high quality stock, full colour, entirely advertisement free. 

All garments are sustainably created using the highest quality yarns and environmentally friendly practises. Care: Cool wash only, don't iron art.

Items are measured flat across under arms and flat down from highest point shoulder to neck. Sweatpants flat across the waist and flat from waist to hem. 

Organic Pullover Hoodie
100% Organic Combed Cotton, Brushed
Finish: Double-lined drawstring hood, with optional pull cords, brushed fleece inside, headphones loop at neck and hole in pocket. Side pockets. Ribbed cuffs and waistband.
XS 19.75" x 23.75", S 20.75" x 25", M 22" x 26.25, L 23.25" x 27.5", XL 24.5" x 28.5", XXL 25.5" x 29.75"

Premium Pullover Hoodie
80% Combed Cotton, 20% Polyester
Finish: Double-lined drawstring hood, with optional pull cords, brushed fleece inside, headphones loop at neck and hole in pocket. Side pockets. Ribbed cuffs and waistband.
XS 18.5" x 26.75", S 19.75" x 28", M 20.75" x 29.25", L 22" x 30.25", XL 23.25" x 31.5", XXL 24.5" x 32.75"

Sweatshirt - Drop Sleeve
80% Combed Cotton, 20% Polyester.
Finish: Ultra soft brushed inside fabric. Beautifully finished drop sleeve, ribbed neck, cuffs and waistband. Superior quality.
XS 18.75" x 24", S 20" x 24.75", M 21.25" x 25.5", L 22.5" x 26.5", XL 23.5" x 27.25", XXL 23.75" x 28"

T-Shirt - Classic Style Unisex
Fabric: 100% Combed Organic Cotton
Finish: Ribbed neck, fitted sleeve at shoulder, side seams.
XS 18.75" x 26.75", S 19.75" x 27.5", M 21" x 28.25", L 22 x 29.25", XL 23.5" x 30", XXL 25.25" x 30.75"

Long Sleeve T-Shirt - Classic Cut
Fabric: 100% Combed Organic Cotton
Finish: Ribbed Neck, side seam, loose sleeve, fitted at shoulder
S 19.75” x 26.75”, M 21” x 27.5”, L 22” x 28.25”, XL 23.5” x 29.25”, XXL 25.25” x 30”

T-Shirt - Bamboo
70% Bamboo Viscose 30% Organic Cotton
Finish: Super soft, Ribbed neck, fitted sleeve at shoulder, side seams.
S 19" x 26.75", M 20" x 27.5", L 21.25" x 28.25", XL 22.5" x 29.25", XXL 23.5" x 30"

T-Shirt - Rolled Sleeves
Fabric: 100% Combed Organic Cotton
Finish: Ribbed neck, fitted sleeve at shoulder, side seams. Rolled Sleeve secured.
S 18.75" x 27.5", M 20" x 28.25", L 21" x 29.25", XL 22.25 x 30 (XXL up available as classic plain white organic t-shirt)

Women's Vest / Tank
100% Tencel Lyocell (Eucalyptus
S 16.75" x 26.5", M 17.75 x 27.25", L 18.75" x 28" (XL available in White, Heather White or Heather Grey unisex style only 21.75" x 29.75")

Unisex Vest / Tank
100% Combed Cotton, Heather Grey: 85% Cotton, 15% Viscose, Heather White: 99% Cotton, 1% Viscose
S 18.75" x 27.25" M 19.75" x 28.25", L 20.75" x 29", XL 21.75" x 29.75"

Baseball Style Shirt
Fabric: 100% Organic Combed Cotton
Finish: 3/4 length raglan sleeve and curved hem
XS 18.5" x 26.5", S 19.5" x 27.25", M 20.5" x 28.25", L 21.5" x 29.25", XL 22.5" x 30", XXL 23.5" x 30.75"

Fabric: 100% Organic Combed Cotton
Finish: Panelled legs, rib finish pockets, drawstring waist and rib cuff at ankles
XS 12.5" x 37", S 13.5" x 38.25", M 14.25" x 39.5", L 15" x 39.75", XL 15.75" x 40.25", XXL 16.5" x 40.5"  

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