Taz Taylor: I think it's kind of still SoundCloud. Everybody looks at the golden years when the bigger artists came from there. Because they're not on there anymore, and they're on DSPs, people think they're not a favorite little secret anymore. They're like, "Oh, it's over. It's dead." But in reality, SoundCloud is the one place where, if I made a song tonight and I really fucked with it, I don't need no labels. I can just go put it out tomorrow, and it can still go up. Even with YouTube and all that, you still need to go shoot a video. But you can literally just record a song in your bedroom and still put it up tomorrow. If it's good and it reaches the right person, you could really change your whole life off that one record.
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Taz Taylor: When we first started it, we didn't even care about the music industry in general. We were all "type" beat producers, just selling drum kits and beats online. We never cared about what placements we were getting or anything like that. We got to the top of the beat-making game online, and it's like, "Well, we've got to go up from here, so what are we going to do?" Then I got a publishing deal and Nick got the XXXTentacion placement with "Fuck Love." Juice popped off. It was just one after another. We can't go a month now without having some crazy shit happen. We're working with the artists we've always wanted to work with. I just feel like the whole motive shifted, and everybody's focused on trying to build the next Interscope or the next Atlantic Records or the next Republic. Work From Home
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