5 Questions With Alexx Antaeus

At the 66th Grammy Awards ceremony on February 4, in Los Angeles, it was announced that Colors of Royal, an album by Julian Marley and Antaeus, had won the award for Best Reggae Album.

Alexx Antaeus has been involved in recording, remixing, or producing for artistes such as Young M.C., Falco, Lonnie Gordon, Malcolm McLaren, Nusrat Fateh Ali Khan, The Rolling Stones, The Boys, Herbert Gronemeyer, Earth Wind & Fire and Julian Marley. His personal albums include Byzantine Meditation, World Prayer, zero4, and Chromasounds.

Born and raised in Patras, Greece, Antaeus immigrated with his parents to the USA when he was 17 years old, and studied at California State University, where he graduated with a Bachelor of Science in the Music Industry. He familiarised himself with the American music industry, built his own studio in New York, made contact with renowned people in the industry and eventually took the opportunity to visit Jamaica, where he established himself as a restaurateur and music producer.

On Grammy night, he dedicated his award to the people of Jamaica “who have accepted me as one of their own. And they have lived up to the motto of the country, Out of Many, One [People]”.

In this week’s 5 Questions With ... he tells more about his love affair with Jamaica and music.

1. Congratulations on winning the Grammy Award for Best Reggae Album.

Did you and Julian set out to make a Grammy-winning album when conceptualising this project, and how did this musical link-up manifest itself?

Winning a Grammy was not the goal initially. We embraced the idea of submitting Colors of Royal for consideration after it was released. A Grammy award should never be one’s goal when creating a body of work. Music is a gift that we all receive from the divine. I am just a lucky one to be able to filter the inspirations, and send them back to the universe for people to enjoy.

When Opa/Reggae Mill was still active, one evening Julian stopped by for a drink. Inside the compound I had built a recording studio, so I could wear the hats of restaurateur and music producer at the same time. I invited Julian into the studio and played some of the songs I had written. We first recorded and released a single. That led to the album Colors of Royal, which eventually won the Grammy.

2. Tell us a bit about your journey into music overall and reggae in particular.

I have been in the music business for as far back as I can remember. I graduated from California State University with a degree in Music Industry. Started working as a club DJ ... that led to remixing jobs, and eventually to productions. My first memories of reggae (other than listening to Bob Marley as a kid in Greece) are during the mid-nineties at my studio in L.A. I met some Jamaican creatives, and we did a few dance and techno records incorporating “toasting”, long before the concept of Jamaican artistes dee-jaying over a dance beat became popular. I guess I was ahead of my time.

3. Are you currently working on any other reggae or dancehall-related projects, and which artistes of any genre would you like to work with in the future?

I am working on several projects with Jamaican artistes, and not just reggae/dancehall ones. Along with Magnus Johansson, my business partner at Monom Records, our goal is to introduce talent from the Rock to new audiences around the world. Afrobeat, Reggaeton and Dembow owe a lot to Reggae. We need more recognition and financial benefits for Jamaican artistes. By the way, if anyone out there knows of a great Jamaican opera singer, please let me know via my IG account (@alexx_antaeus).

4. In your ‘thank you’ speech at the Grammys you mentioned being embraced by the Jamaican people. How important is this to you and your success as a restaurateur and music producer?

I consider Kingston as one of my three homes (along with New York and Athens, Greece). My wife is Jamaican and I feel a deep connection with the island. Many easily criticise Jamaica and its people, but they don’t understand. My mother, who spent a lot of time with me in Jamaica, said it perfectly, “It’s easy to criticise the shortcomings of a 60-something-year-old country (a baby), but think of all the old democracies, including our 3,000-year old Greece, who still cannot get their acts together. Give Andrew time.” (She met and liked the PM).

5. Give us your take on what is needed for reggae/dancehall artistes to start dominating global music spaces.

Great music is important, but only a small part of the equation. Young artistes need a professional attitude and a marketing plan ready, well before they even release a single song. And remember, just because you made a hit in Jamaica and local radio or concert promoters are willing to accept your 2-3 hour tardiness for an interview or to go on stage, does not mean that you can get away with that overseas.

Specifically, regarding the Grammys, I encourage everyone who qualifies, to become a member of the Recording Academy. You cannot complain that your project was not entered, considered, nominated or won if you don’t even understand the process. The more Reggae and Dancehall artistes get involved with the Recording Academy, the stronger the genres would become.

BRAWTA

Share with us one thing that people would be surprised to know about you.

I constantly keep on surprising myself… But, overall I’m an open book.

yasmine.peru@gleanerjm.com