Exclusive: Taz Taylor talks Internet Money, 2018, and of course Type Beats.

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Taz Taylor has become a cult-like figure for online producers trying to make a name for themselves. Best known as the head of production crew Internet Money, Taz has created his lane with an outpour of content online including: type beats, live studio sessions, marketing sessions, and more. With recent placements on seemingly every important project last year, we sat down with Taz to discuss his thoughts and upcoming work.

DailyChiefers: Not only are you an incredibly talented producer, you seem to be very business minded. How’d you learn how to navigate all the industry bullshit and build a brand as strong as Internet Money?

Taz Taylor: Aw man, really it’s the people around you. The people around me are grounded; they don’t have big heads when they see famous people. We’re all on the same wavelength. There are rules to this shit, codes and guidelines with Internet Money that a lot of people won’t fully understand until your in it. We’re the most well ran production group, along with business out there. No one can really duplicate what we’re doing because there is such a method to the madness. I’ll get in a session with someone like Yung Pinch and hit the whole team to let them know. We’ll link with nine fucking laptops, everyone with their headphones on, cooking for Pinch. I’m actually helping produce the song, like this is how you should come at it, telling them what beat to pick and all that shit. It’s a family bro, lots of people try and form a group or collective but Internet Money is family. My girl is friend with everyone in Internet Money, along with their girlfriends, my son hangs out with other children from people in Internet Money, it’s really family. I’m not in this to fuck anyone over; everyone in Internet Money understands I’m putting them in a position to win.

DailyChiefers: Why do you think people are so opinionated when it comes to marketing tactics such as producer tags and Type Beats? How have they impacted your career?

Taz Taylor: Bro, people just always have something to say! They’re either mad someone else is winning or mad they didn’t think of it first. Some jealousy shit, you know what I mean? I’ve met industry producers who’ve made nothing. I come from the Internet, where I was making 20 to 40 racks a month selling beats online. Industry Producers don’t understand how that goes. Meeting some of these producers in real life and comparing it to what shit we do, these producers have no idea what we do online. They couldn’t do it even if they wanted to; all these industry producers rely on management, labels, A&Rs, and all that other shit for placements. They don’t have brands, they don’t have logos, and they don’t treat themselves as a business. With the Internet, you’re literally a fucking business, you have no one handling you and you’re your own manager. You decide when music drops, you could release that track you love whenever. You can make whatever type of beats you want; you can make whatever money you want! It’s the Wild West, but you’ve got to understand what comes with that.

There’s a lot of other producers who are jealous, and treat it like your taking food out of their mouth. At least industry producers look out for each other because they’ve all gone through the same shit. Internet producers beef with each other because they never have to actually see each other. Tags and shit, I don’t really have an opinion on that. People can do whatever, but type beats is bullshit. Anyone hating on type beats right now is just fucking stupid. If Internet producers respect industry producers, industry producer should respect Internet producers the same way. Were all doing what we love, making money and trying to do the best we can regardless of label situation.

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DailyChiefers: What do you look for in a producer in regards to joining Internet Money?

Taz Taylor: I mean, ask any producer, beats are subjective. I could be in a session with Trippie Redd and play 100 beats and he could not feel any of them. I could also get in a session with Warhol.SS or Young Pinch and play the same five beats and they use all of them. At the end of the day, all of this shit’s subjective so I don’t really give a fuck about how someone’s beats sound at first. My beats were trash too at one point; everyone’s were. It’s more how do you jive with the rest of the people on our team. Are you in this shit and understand this is a real family? Are you here to bust your fucking ass to get what you deserve or are you just looking for a come up? There are producers on Internet Money that haven’t accomplished shit yet, because they’re still learning and I’m building them up. That goes for everybody on Internet Money; there is no one that I didn’t help build up, even Nick Mira. I met Nick Mira at nothing, I met most of these people at nothing and I’ve helped build them to where they are now. That’s kind of my thing, I don’t want to get with producers who have big egos or don’t want to be helped. You can’t help someone who doesn’t want to be helped. I’d much rather get in, get my hands dirty, and help them become who I see from the jump. All these people blowing up right now, I’ve seen them blowing up and becoming this from the beginning, it’s finally starting to happen. It’s crazy for me, it’s crazy for them, and that’s what I look for in other producers. I want to get in at ground level and build them to a fucking monster! I’m getting a fucking major label deal, just for Internet Money. Some shit where I’m executive producing, I can sign my own artists, build them up, get a budget, drop videos, break them, do all of that shit. There’s no producer out here thinking like me, I’m going to change the game up.

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DailyChiefers: Do you still plan on selling a majority of your beats online now that you’re getting some major placements?

Taz Taylor: Realistically, right now I just can’t. I’m out in LA so much and my schedule is so crazy when I’m out here. I don’t check the Internet, Twitter, Instagram; I’m just working in sessions. My schedule is: get in, go straight to the studio by noon, and stay there until 8am everyday. I go straight back to the Air BNB, wake up and go back to the studio on that same schedule. I don’t have time to upload music or handle any of that shit, I’m just present trying to make timeless records. That’s the reason I’m thankful all the Internet shit happened when it did, it’s not like I need that money now I’m good. At the moment it’s just focusing on making classic records and that really shows in my work. I  can’t upload right now, although we’ve got people on the team still doing it.

DailyChiefers: How’d you place the beat for XXXTentacion’s Fuck Love? When you first hear it did you know that was a hit?

Taz Taylor: It’s actually crazy; we just did a whole interview with Spotify, breaking down that record. That should be coming out in the next month or two, but we didn’t know about the song until the album dropped. Dex Duncan used a loop Nick and I had created, we didn’t even know. It’s funny, Nick Mira turned 17 on the day it dropped and the album is named 17. He was listening to it, found the track because it was the only one with a feature, and realized that was our loop. He hit me and I was like your bugging, but he responded no one else had put these sounds together, this is our loop. My label had to pull some strings to get us credited on it, but we did the paperwork and everything’s fair right down the middle. Now it’s like damn, we’re a part of one of the best records to come out last year!

DailyChiefers: You’ve had a big hand in projects for some exciting new acts this year, like Lil Skies and Paris. How have those experiences been?

Taz Taylor: We just finished Paris’s album. We started it on a Monday and finished it that Tuesday night, eleven whole songs created from scratch. We drew heavy influence from Blink 182, New Found Glory, all of that Pop Punk shit. This is an alternative record, not a rap record, even though it has crazy 808s and hi-hats, you can’t call it a rap record. We’re really huge into doing all of this crazy shit together, we shot a video yesterday and got it back next day. We could drop that whenever we want! This is a crazy time; the label Paris just signed to, 300, announced he was going on tour with Post Malone and 21 Savage. No one has a work ethic like Paris and I, his album is going to be insane. We got fucking Travis Barker playing drums over one of my tracks, it’s insane! We did a song and Paris’s management sent it to Travis, who sent it back within 15 hours just killing it. I played live guitar and bass on this entire album, so it’s crazy for me, I‘m playing a fucking song with Travis Barker! This album is going to change the game.

The Skies shit, I got in with him in September and we knocked a bunch of records off a vibe. I fuck with bro, we killed all of that shit. I think I did the most records on his album, 4 or 5 songs. We did more than that though, we did those four that made the album, a crazy one with Pollàri called Battle Scars. I also did one with him and Landon [Cube] that’s not out yet. I got one with him and Pinch that went viral, which should be dropping soon. He just sounds good on my shit; I don’t know how else to word it.

DailyChiefers: What else can we expect from you this year?

Taz Taylor: Right now executive producing this whole Paris shit, 6ix9ine’s new album, new shit with Skies, and plenty of records with Pinch. I’m supposed to be getting in the studio with Trippie Redd soon, I’m about to have a big ass glow up and the whole Internet Money team is coming with me. They come to every session; I’m getting them on records and getting them placement, along with money. No one’s doing what the fuck I’m doing right now

On top of that I got a label deal coming, with a major record label! Signing my own artists, motherfuckers never expected this. I got a record deal to do my own albums, break my own artists; it’s going to be crazy. I’m excited for what this year’s going to bring!


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