Few artists embody the evolution of modern dance music quite like JKriv. A musician, producer, DJ, bandleader, and co-founder of the ever-influential Razor-N-Tape, he’s spent decades moving fluidly between genres, scenes, and eras — always with a deep musicality that sets his work apart. From early days immersed in rock and jazz to shaping the sound of contemporary disco and soulful house, his journey has been anything but linear, and that’s exactly what makes it compelling.

JKriv stops by to reflect on the tracks and producers that shaped his beginnings, the shifting landscape of club culture, the balance between community and solitude, and the creative instincts that continue to drive him. He opens up about personal chapters that influenced his music, the collaborative spark behind his new EP with Jason Lindner, and the ongoing energy of the Razor-N-Tape label and Brooklyn shop. What emerges is a portrait of an artist who has grown, adapted, and stayed true to his ear — always chasing feeling over formula.

WWD: Welcome to When We Dip! When you began making music, was there a track around at the time that marked your production beginnings or that inspired you to make the music that you do?

I began making music when I was 12 years old and at that time I was into rock and heavy metal. I worked my way through many musical styles from 70s funk, to studying jazz through college before ending up where I am currently. But I would say Metro Area’s “Miura” – which came out at the time I was developing an interest in dance music production – was very inspiring in the way it a really fresh approach to familiar sounds.

Were there any producers at that time who made an impression on you?

Metro Area, Luke Vibert, Kerri Chandler, Larry Heard,

WWD: When you started out back in the day, did you have a vision of what sort of music you wanted to make?

Not really, I just wanted to make club music that felt organic but modern.

WWD: Does that musical vision remain the same today?

It does in the sense that it’s just as broad as before. Stylistically I go in a lot of different production directions, but I generally lean toward soulful, rhythmic, organic vibes.

WWD: What advice would you give to a 25 year old self about the music industry?

There are times when you need to focus on community and connection, and times when you need to go it alone. Make space for both.

WWD: What was the first track you ever put out?

My first solo track was ‘Another Night’ featuring Adeline (now Adi Oasis) on my own label Deep&Disco in 2010. But I had released a bunch of music with Tortured Soul and other projects prior to that.

WWD: Which of the records you produced do you think made the biggest mark?

I think I often get associated with the edits I’ve made…my Bukom Mashie rework is a big one, some of the Brazilian things I’ve done as well. But for my original music, ‘Make It Hot’ seems to be one of my most enduring songs.

WWD: As someone that has been around a long time, you will have seen a lot of changes over the years. What aspects have remained the same, and which ones are fundamentally different?

So much is wildly different than, say 20 years ago — music discovery, the mainstreaming of DJ culture, and the impact of social media on nightlife. But small dark rooms with a red light and a loud sound system are still the same. 🙂

WWD: You manage one of the most active and important labels right now. What is the secret to its longevity?

Razor-N-Tape has been a project of love and we largely just go with our instinct when it comes to signing and releasing music, rather than chasing trends. We put a lot of effort into every release, from an A&R and promotional perspective because we really believe in all the music that we release and want to give it every opportunity in our power to succeed. That, and we just have good taste.   

WWD: What inspires you to make music?

To be honest it’s a hard one for me to answer because the desire to make and share music has always been there for me. Since I can remember music has been my constant companion; I’ve been passionate about it and/or making it in some form for almost 4 decades. Inspiration can come from all sorts of places…sometimes it’s more deliberate and heady, other times it’s just capturing a feeling or emotion, sometimes it’s as simple as listening to street noise around you.

WWD: Where do you dig for new music?

I’m constantly going into rabbit holes based off personnel involved in records I already have and love, but I also listen to sets and radio shows by DJs/selectors past and present, and I make an effort to listen to the at least some of the promos that land in my inbox.

WWD: Are there ever personal events in your life that influence the music and its direction?

My personal life always influences my artistic direction, sometimes in more tangible ways than others, and sometimes in unexpected ways. For example during lockdown, the quiet and solitude had me making more introspective music like my Within EP, but while I dealing with cancer treatment at the end of 2024, I was very driven to stay connected to world of clubs and nightlife that I was necessarily removed from, and during that time I completed my Intuition EP.

WWD: Can you tell us about your relationship with Jason Lindner?

I’ve actually been aware of Jason’s work since the early 2000s when he was leading the Small’s Big Band, but we only connected about 4 years when I asked him to be part of the A Joyful Noise band. During the 3 year residency of A Joyful Noise at Public Records, J and I got closer musically and started making some music together as well as performing live DJ/keyboard hybrid sets at Razor-N-Tape club nights in Brooklyn.

WWD: Was there a particular inspiration for your ‘Real Ones’ EP?

I just wanted to build some music that captured J’s incredible musicality but was also very dance floor driven. I created rough sketches of the tunes which began with beats, bass lines and basic chordal ideas. Then J came into the studio and I recorded tons of his virtuosic live improvisation, then worked it all into the final arrangements.

WWD: Are you working on some new solo stuff right now? What can we hope to see from you next?

I’ve just completed 5 remixes since the start of the year and at the moment I’m taking a little studio break. However, I also just finished production on a live album of the A Joyful Noise band, from multi-track sessions of our live shows at Public Records. The album will be released in the fall and I’m really excited about it.

WWD: What artists do you think are making great music right now?

I love what the Make-A-Dance guys are doing, Frits Wentik, my homie Toribio, Takuya Matsumoto, and Shy One’s new album is fantastic.

WWD: How is the Brooklyn store going for you guys?

It’s been a great experience. We have a great crew of workers who are very passionate about music and an excellent program of DJ events every weekend, and we sell records and merchandise. The shop is a special little community space that we’re very proud of.

WWD: What is the most recent record you purchased? Not in your own store of course…

I just recently bought myself a copy of Mr Fingers – ‘Introduction,’ which is one of my favorite albums of all time, but I didn’t have it on vinyl. It was pricey too and shipping from Italy, so I better check that tracking…

WWD: You’re incredibly active on the gig scene. Do you have any plans to play in Montreal at all?

I love Montreal and I come frequently! I will actually be at Sans Soleil on April 10th and Sonnolux April 11th 🙂

WWD: We’ll be there! Thanks for the chat 🙂

The ‘Real Ones’ EP is available here