We sat down with Montreal native Zach Joss, better known as one half of Canadian deep house duo Prince Club and Forrest, one of house music's hottest vocalist and producer. Zach tells us how he curated his sound, the difference between North American and European house music and what's next.THUMP: How'd you first get into house music?
Zach: When I first started DJing I was playing electro and a bit of everything else. After playing in rock bands I got into Justice and their electro movement. Then switched through dubstep, techno, tech-house… it was all a big blend. I then moved to Berlin for a year, and it wasn't really to learn German or anything, but to actually learn the language of techno and house. That's really where Forrest was born because it helped me create my own tastes and sounds. It also helped me understand more of what house and techno was all about.Forrest was originally my solo indie rock project, then the name grew into what it is today. I incorporated the singing that I took from that project and merged it with my new found knowledge of house and techno. What's funny is that I was originally supposed to go to London for the indie rock scene there and spontaneously decided to hit Berlin instead. I really don't know if I'd be where I am today without that decision.That's interesting because through the research I did I thought Forrest grew out of Prince Club?
Not really, but I guess you're sort of right. Like I said Forrest was originally the name for my indie rock project and Prince Club had already found its sound as straightforward house. Prince Club's sound was a mix of Max and I, but as I grew I really wanted to identify with my own sound; I was just expecting it to be more centered around indie rock.They compliment each other in the right ways because whether I play as a Prince Club or as Forrest my sets have started blending and merging which makes people happy. 2014 is a new time for dance music where there are all kinds of different people and they all have different tastes. I used to try and play very personal or very dark sets and eventually I wanted to get out of that sound, I wanted to make terrace and bikini music, dark classic techno with fun house. I don't think the rules are as strict as they used to be. Depending on who you're playing for, you adjust accordingly.When you started the Forrest project did you ever expect it to get as big as it is now?
No, absolutely not. I was by myself in Berlin and was just doing what I liked. I've always been a pretty ambitious guy but this projects' first set of goals was to release one three-track EP on my label Amadeus. Amadeus was developed while I was in Berlin with Taylor, his artist name is Urulu, and our friend Alex B who's a graphic designer. It all came together on a really small scale and I really wasn't expecting anything.Next thing you know I dropped my second piece, "Masquerade," on Play It Down. It was my first vinyl release and that landed me a lot of respect from the DJ community as well as love on Beatport and Resident Advisor. To be honest what really helped the Forrest project was the fact that I was getting the opportunity to do vocals for so many of the artists that originally inspired me. Take Avatism for example, he was originally a major inspiration for what Forrest started as and next thing you know I'm doing vocals for him. Guys like Eric Volta or Re.You are guys who I really looked up to while I was in Berlin.You tend to get a lot more attention in Europe than you do North America, how would you say the scenes differ?
It's always been that way right? House and techno have always been identified more with Europe than North America. That being said, you can look at groups like Maceo Plex or Art Department and they make me feel that Forrest can really gain some traction in the States. My first really accessible EP, Bad Girls Go To Heaven, got turned down by a bunch of European labels because it was too pop and generic, but that's the music that rocks the hardest on the dance floor so you need to stick with your gut and I play it more now than I used to.When looking at the two scenes do you see North America maturing into the European scene or is it more of a merge?
That's the funny part about today's general culture. You'll find influences of both of the continents within each other. Some people will look at Lee Foss and Jamie Jones and think they're totally underground when other people will call them too mainstream and commercial.In Europe there are more quality underground venues but that's just the nature of their geography and the history of dance music in Europe. Both scenes are merging and growing together. There will always be those purists that hate too many vocals or overtly catchy hooks but they exist in both Europe and North America.So what's next for Forrest?
I just got back to Montreal from spending one year in Berlin and two years in London and I'm good being back home. To be honest my visa expired but I'm very happy to be back. I just finished building a new studio in Montreal that I'm excited to focus in and to make some music over the summer. I am in talks with 2020Vision to do a full-length album and I'm pretty excited to get the chance to work with some more artists I look up to.My plan is to release more underground tracks on the labels I really respect and give out the more crossover vocal tracks as free downloads to the people who want to hear them. I know some songs may not be good for the labels I like but I know those songs are still good and I know that my fans will get a kick out of them. I want to take the politics out of the music. I want my old friends from college to get a kick out of what I'm doing and still get a nod from my idols.
Zach: When I first started DJing I was playing electro and a bit of everything else. After playing in rock bands I got into Justice and their electro movement. Then switched through dubstep, techno, tech-house… it was all a big blend. I then moved to Berlin for a year, and it wasn't really to learn German or anything, but to actually learn the language of techno and house. That's really where Forrest was born because it helped me create my own tastes and sounds. It also helped me understand more of what house and techno was all about.
Advertisement
Not really, but I guess you're sort of right. Like I said Forrest was originally the name for my indie rock project and Prince Club had already found its sound as straightforward house. Prince Club's sound was a mix of Max and I, but as I grew I really wanted to identify with my own sound; I was just expecting it to be more centered around indie rock.They compliment each other in the right ways because whether I play as a Prince Club or as Forrest my sets have started blending and merging which makes people happy. 2014 is a new time for dance music where there are all kinds of different people and they all have different tastes. I used to try and play very personal or very dark sets and eventually I wanted to get out of that sound, I wanted to make terrace and bikini music, dark classic techno with fun house. I don't think the rules are as strict as they used to be. Depending on who you're playing for, you adjust accordingly.
Advertisement
No, absolutely not. I was by myself in Berlin and was just doing what I liked. I've always been a pretty ambitious guy but this projects' first set of goals was to release one three-track EP on my label Amadeus. Amadeus was developed while I was in Berlin with Taylor, his artist name is Urulu, and our friend Alex B who's a graphic designer. It all came together on a really small scale and I really wasn't expecting anything.Next thing you know I dropped my second piece, "Masquerade," on Play It Down. It was my first vinyl release and that landed me a lot of respect from the DJ community as well as love on Beatport and Resident Advisor. To be honest what really helped the Forrest project was the fact that I was getting the opportunity to do vocals for so many of the artists that originally inspired me. Take Avatism for example, he was originally a major inspiration for what Forrest started as and next thing you know I'm doing vocals for him. Guys like Eric Volta or Re.You are guys who I really looked up to while I was in Berlin.You tend to get a lot more attention in Europe than you do North America, how would you say the scenes differ?
It's always been that way right? House and techno have always been identified more with Europe than North America. That being said, you can look at groups like Maceo Plex or Art Department and they make me feel that Forrest can really gain some traction in the States. My first really accessible EP, Bad Girls Go To Heaven, got turned down by a bunch of European labels because it was too pop and generic, but that's the music that rocks the hardest on the dance floor so you need to stick with your gut and I play it more now than I used to.When looking at the two scenes do you see North America maturing into the European scene or is it more of a merge?
That's the funny part about today's general culture. You'll find influences of both of the continents within each other. Some people will look at Lee Foss and Jamie Jones and think they're totally underground when other people will call them too mainstream and commercial.In Europe there are more quality underground venues but that's just the nature of their geography and the history of dance music in Europe. Both scenes are merging and growing together. There will always be those purists that hate too many vocals or overtly catchy hooks but they exist in both Europe and North America.So what's next for Forrest?
I just got back to Montreal from spending one year in Berlin and two years in London and I'm good being back home. To be honest my visa expired but I'm very happy to be back. I just finished building a new studio in Montreal that I'm excited to focus in and to make some music over the summer. I am in talks with 2020Vision to do a full-length album and I'm pretty excited to get the chance to work with some more artists I look up to.My plan is to release more underground tracks on the labels I really respect and give out the more crossover vocal tracks as free downloads to the people who want to hear them. I know some songs may not be good for the labels I like but I know those songs are still good and I know that my fans will get a kick out of them. I want to take the politics out of the music. I want my old friends from college to get a kick out of what I'm doing and still get a nod from my idols.