Jelani Aryeh

Photography by Daniel Lang and Natasha Tilly. Interview by Heather Hawke.

21-year-old Filipino/African-American artist Jelani Aryeh is about to release his debut album I’ve Got Some Living To Do in a mere four days (July 30) via No Matter/IMPERIAL. His intention with the new album was to make a guitar driven record that also saw him exploring new sonic territory; re-imagining classic sounds of indie rock, alternative, and folk through the lens of a mixed-race kid who grew up in suburban San Diego. 

Starting back in 2016, Jelani, inspired like everyone else around that time, start releasing personal raps over instrumentals and “[insert artist here] type beats” that he pulled off of YouTube. As his sound began taking shape, he noticed his aching desire to add more substance to his music and pulled away from the clout-chasing “mumble rappers” that he grew up around. Aiming to produce music similar to that of his favorite hidden gems on SoundCloud but to put his own spin on it, he eventually bought himself a midi keyboard and decided to sing rather than rap, creating an immersive sound that interweaves R&B, hip-hop, and an alternative experimental sound. He’s since released his first seven-track EP Suburban Destinesia (which debuted in 2017) as well as a nine-track project that dropped in October of 2019, Helvetica.

Jelani credits much of his growth over the years to his close friends in Raised by the Internet, an online collective started by himself over a love for Frank Ocean, Odd Future, and BROCKHAMPTON. 

Having spent 2020 alone and indoors, he used the time to work on new music. The first offering from this period of isolation was the single “Stella Brown,” an upbeat ode to brunettes and young love. The next single, “Decide,” came in December 2020 and in March of this year, Jelani showed another side of his upcoming debut with the release of the bright and joyous single “Marigold.” 

Jelani’s I’ve Got Some Living To Do stands out from the masses. Bringing emotional depth, spirituality, and substance to his songs which carry far beyond his years. You can really get a sense of that with previous album single (“From These Heights”) as it explores darker territory while still embracing that swirling electric guitars undertones. Reflecting about the topic of the track, he says, “I wrote this song around the time when George Floyd was killed, there were wildfires everywhere, and it genuinely felt like the world was coming to an end. It was a chaotic time, and everything felt like it was in flux. I think that made me want to escape this reality a bit.”

In an era of memes and social media notoriety, Jelani wants to keep growing as a young adult and an artist; expanding his sonic palette, working with new collaborators, and writing with newfound confidence about matters of the head and the heart. Adding, “For a lot of kids my age, I see that we numb ourselves in order to carry on with our lives. I want to make people take a step back and reflect on those times where we turned the switch off.”

Jelani’s web/socials: Website – Soundcloud – Facebook – Instagram – Twitter 

Hi! So, things are pretty unsettling in the world due to the pandemic, civil rights issues, government upheaval, climate change, the list goes on… Before we began, how are you doing with everything? How has this last year been for you and how are you feeling? How have you been coping with everything?

I’m definitely doing better than last year for sure. It seems there’s an actual light at the end of the tunnel and it’s getting bigger. There were times last year where I couldn’t see that light at all, and it was scary as hell. I kept asking myself is there always going to be this loop of chaos? I think being forced to be inside leads someone to live on their phone. With that, it’s inevitable that you’re going to be exposed to everything. I got caught up in that headspace for a bit. Then I made it a priority to take care of my mental and would wake up early every morning make some toast and matcha (while listening to Francoise Hardy or Belle and Sebastian) then would go to my backyard and read for hours. I was still living with my parents at the time, but we had the best talks as a family. I think with the world being in the state that it is/was, people are yearning for warmth and love and I definitely felt that with my family.  

I feel like the music industry has shifted even more so during the pandemic. How has it felt, to you, as an artist? Has it been freeing? Is it scary trying to question how to approach music making and then how to or if you want to creatively release it to the public? 

I mean I wasn’t so much focused on that side of things. My process kind of remained the same and I’d facetime my producer and we’d make songs over facetime. It was already very insular to begin with, so I think the pandemic just threw me farther into my own world. Felt like I had more time to organize my thoughts and get down what I really wanted to say. It sucks because we had a lot of shows planned but honestly, I’m glad I got more time to perfect my craft and train my voice. Definitely freeing in a way for sure. I don’t think I was scared to release because I knew that everyone would be on their phones, so it’d be hard to miss a release. I feel like all of the big artists were refraining from putting out their projects, so it gave space to us smaller artists. 

Going back to the beginning. What was your childhood like growing up in San Diego? Did creativity/music/art play a big part of your childhood? 

I’d say I had a really nice childhood. I wouldn’t change a thing about it. For the most part I’ve lived in this suburb 4S Ranch from 05’ up until now. It’s crazy to think of life before smartphones lol. I just remember reading books in the back seat of the car. I was the only child in my family for the longest time, so I was spoiled by all of my aunties & uncles. I wouldn’t be who I’d be without my auntie Alma. She took me everywhere. So many trips to blockbuster, so many drives listening to Green Day & Weezer, so many trips to the beach & museums. I owe her the world. She also bought me my first red Crayola art case that I brought literally everywhere. If someone asked me what I was drawing, I would always correct them and say, “I’m doing ART.” My uncle Anthony always brings up that story whenever we’re together. He also uses to rap when I was little, and his studio was next door to my bedroom, so I’d always be sitting in sessions as a little guy.

Tell me about your musical upbringing. What music did you grow up listening to? When did you first become aware that music was going to be a part of your life? What was your formal / not formal music education like growing up? 

I grew up with my dad playing lots of Jay-Z & Kanye. My mom told me she’d put headphones on her belly and would play Mozart and Lauryn Hill while she was pregnant with me. A lot of songs on the radio with my aunt as well. I remember listening to a lot of early Rihanna and M.I.A.

When you were old enough to start seeking out music, where did you regularly find yourself (a certain record store / internet site / getting recommendations from a certain friend)? Who were some of the artists you first found and then were always on the lookout for? 

Honestly YouTube and DatPiff. I remember coming out of elementary school, being obsessed with Eminem and Lil Wayne. always watching their vids. Then having Odd Future come in and completely change the game. Once I found out about Childish Gambino and Because the Internet I was obsessed. I felt heard.

Let’s talk about your formative years. What was the very first concert you attended? Did you play any sports / go to summer camps? Were there posers on your wall when you were growing up?

The first concert that I went to was a small festival that a local radio station put on in 2012. I think it was Channel 933’s Summer Kickoff event. I remember Maroon 5 and Wiz Khalifa played and performed “Payphone” together. I think it had just come out at the time. 

I feel like I was always either in my school’s summer camp e.s.s or at summer football practice. There was a fathead of Ladainian Tomlinson on my wall for the longest time. He’s who I looked up to when I played. I just moved to LA but back at my parents’ house I have posters of all my favorite bands and artists. Solange, Donovan, Toro y Moi, The 1975…I got all of em lol.

I know that around 2016 was when you really started focusing on creating/releasing music, which was at first more so personal raps over instrumentals and as you began formulating your sound, you had a desire to add “substance to music and deviate from the clout-chasing mumble rappers” that you grew up around. Around then, you bought a midi keyboard, and decided to sing rather than rap. Aiming to produce music similar to that of your favorite hidden gems on SoundCloud but to make it your own. Was the desire to shift sounds a pretty instantaneous change or was it more evolving and took a little bit to get to? Was there something specific that happened that led you on this quest for a new sound?

I believe it took a lil time to get to. It did take failing at making SoundCloud rap as well. I think it was meeting my ex-girlfriend that really shifted everything for me. she showed me groups like Milky Chance, The 1975, and Cage The Elephant. At that time everything felt new and we’d play these songs while she’d take me to new places in San Diego. I think making the music I make now is paying homage to that time.

Since then, you’ve released your first seven-track EP Suburban Destinesia (in 2017) and your 2019 project Helvetica. What were the themes surrounding those tracks on those bodies of work? Any favorite songs you wanna talk about? 

I think finding oneself has been a big one for both bodies of work. I feel like that’s always going to be a theme in my work because we’re always changing. I think being stuck in the suburbs was definitely a big theme on SD. Crazy to not be living there anymore. I’d say “Destinesia” & “Destinesia II” are my favorite songs from SD. I remember being obsessed with that movie Palo Alto for the longest time. I guess they just remind of that period of time. that’s when I found out who Dev Hynes/Blood Orange was as well.

Talk a little bit about the how/when/why’s of the online collective, Raised by the Internet, that you started over a love for Frank Ocean, Odd Future, and BROCKHAMPTON.

I formed Raised by the Internet in April 2017 on a subreddit of the artists/groups just mentioned. I think I was just bored and wanted to build of like-minded people. It’s crazy because since then, everyone in the group has developed as really great solo artists. I can’t wait for everyone’s albums to drop. We’ll make another group project eventually. 

What was your songwriting/creative process like for your upcoming debut album, I’ve Got Some Living To Do? How long was the writing/recording process of it and was there an event or a specific timeframe where a large chunk of the lyricism came out?  Where were you at physically, mentally when you wrote the lyrics/music for I’ve Got Some Living To Do?

It would start with me FaceTiming my producer Jack and talking about the stuff I’ve been listening to/stuff that just hits my soul. after that he’d start playing something on guitar or chop up some drum sample. If it were in person, it’d be the same process. Then he’d either send me that loop or if I was with him, he’d just turn on the mic for me and let me go. Crafting shapes/melodies is my favorite part of the process, I think. I feel it comes the most natural to me, whereas lyrics take a while. So, after we have placeholder melodies, we’ll build the song out and I’ll craft lyrics during or after that process. Most songs we made like that. The producers allowed me to work that way too which was cool. I want to see if I can change up my process down the line though. There are so many ways to write a song.

Did you have any parts of the tracks off of I’ve Got Some Living To Do (whether it be lyrics, beats, harmonies) around the time of 2019 project Helvetica or your 2017 EP Suburban Destinesia?

I feel like I had the instrumental for “Stella Brown” on laptop for the longest time before even starting Helvetica. “Trunk Song” and “Marigold” were made shortly after Helvetica came out; I believe. 

Did the writing process for I’ve Got Some Living To Do change since the last time you worked on music? Is that process something that’s shifted for you over time?

I think what changed is titles. I used to make songs after coming up with the title whereas now, I let the song kind of grow in front of my face and then name the child. Bringing in more producers was also a big change.

Do you find it helpful to be intentional when it comes to writing the lyrics / music? Like “I’m going to sit down and work on a song.” Or is it more ephemeral, like you’ve been kicking something around in your head for days, weeks, months, and then suddenly it comes spilling out? Or is it a mixture of both?

I feel like it’s definitely a mixture of both. I’ve yet to sit down every day at the same time and make something. That’s probably super healthy though. Having a routine to work in and seeing what builds from sitting down every day slowly tinkering away. I feel like this album it was more sporadic. It took me really being in the thick of my feelings to write something of substance and I feel like those instances are rare. 

As this was your debut full length, what mindset did you have going into the creating / recording process? Did you feel any sort of limitations when writing or recording it? Which songs were the easiest / most difficult to create? What are two or three songs you are most proud of on this record? Why?

Before I even released any music, I had a dream of making a guitar driven record. That was one thing I made sure of. Also, that I wanted it to be a bit more cohesive than the other two projects. I felt limitations when covid hit because a lot of in person sessions were no longer going on, but we found a way to make it work. “Trunk Song,” “Stella Brown,” and the last track [“I’ve Got Some Living To Do”] came super-fast. Songs like “Marigold,” “From These Heights,” and “Someone to Hold You” took some time. I’d say I’m most proud of the last three songs [“Love Dies At Dawn,” “Someone To Hold You,” “I’ve Got Some Living To Do”]. They all strike a certain chord to me and their songs I never thought I’d be able to make. it’s more that I surprised myself after finishing them. “Someone to Hold You” is clearly a track for the nighttime and gives me the same feeling if get listening to Beach House and old Coldplay.

When and how did the album title I’ve Got Some Living To Do come about in the album creation process? What is the significance of the title? 

The origin of the title came to me when I was driving back to San Diego from LA listening to Velvet Underground. I’d say it was this January. I was thinking about the project after this, let us have our time and was wondering what I would talk about in the songs. In my head I said, “Well damn, I’ve got some living to do.” I immediately knew that it was the title. Something about it feels very casual and universal. I feel like it captures being young, 21 years old and just figuring out life. I also feel like it forces me to confront the way I’m currently living and propel me towards living differently. I don’t necessarily look back on these experiences fondly but find an appreciation for them happening and for being a part of me. 

Physically, mentally, emotionally and spiritually, this is where I’ve been at since late 2019. The songs themselves don’t feel like this grand realization of any one thing, but more snapshots of moments where I’m feeling certain things or the lack of feeling altogether. Other parts feel like fantasy or a reality that I’d like to live in someday. 

I’m such a fan of the “Marigold” video! What was the treatment for this video? Any fun behind the scenes facts from the making of it? 

Thank you it was super fun to make! My boys over at Fengari had a couple spots they knew of in Santa Barbara and wrote a treatment around them. We actually got in touch with this beautiful couple Darin & Sierra who owned a ranch and acres of land in Buellton and shot mostly on their ranch. Darin also actually runs a bus company, so we were able to source that black bus from him. the main treatment was me trying to escape this ethereal/midsommar version of myself and at the end not really sure if the two become one in the same.

I read that it’s a goal of yours to make a video for each single on the album. On that topic, how hands-on are you with the making of / direction of the visuals (music videos, press images, artwork) that accompanies the music? Do you feel like the art that accompanies one’s music is more / less important than it used to be? How do you feel like social media impacts the intention behind all of this? 

Very hands on. The visual aspect of this process is my favorite part. I wanted to make short films before ever getting into music. I usually pull from my favorite directors or films that I’m watching. I’d say it’s definitely more important now. People nowadays don’t care as much. It’s there for a second and gone the next. We’re in the era of playlists. I feel like us artists owe it to ourselves and to the fans that genuinely fuck with us, a whole world to live in. Make as much of its material as possible so there’s something to hold onto and sit with. That’s what my favorite artists did, and I want to continue to push that forward. I think social media in a strange way is your catalogue or history book. 

Does traveling influence you as an artist? Are you inspired by the places you go, or do you think your work would sound about the same no matter where you created it? 

It most definitely does! My goal for the longest time has been to travel the world and play shows overseas. I feel the most alive when I’m in a new place. My dream is to live to London for a short period of time. I think my art definitely depends on atmosphere and setting. 

How do you recalibrate before getting on stage and at the end of the day? How do you get in the correct mindset? 

Remind myself why I do this and who’s lives I’ve touched. Remembering that this gift isn’t just for me but for the people that care enough to listen and come to shows. 

Have you had any mentors along the way?

I’d say my dad. And watching a bunch of Childish Gambino interviews.

What was your favorite part about the I’ve Got Some Living To Do writing / album creation process?

Honestly traveling to Arizona and converting Jack’s pool house into a studio. It felt like work and a vacation all at the same time.