COFLO RELEASES 'COAFEELIA' ON OSUNLADE'S YORUBA UNDER RAWB BOSS GUISE

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Coafeelia is the new album from Rawb Boss, the other face of Coflo. As head of A&R at Ocha Records, he has released a huge amount of soulful, deep house records made for dancers and dance floors. A master of the dance himself, his understanding of what makes bodies move is what makes his music standout on the floor. His breakout single ‘Stress Relief’ put his name on the map, as well as a remix he went on to do for the mighty Ron Trent. The album ‘Coafeelia’ drops this week on Osunlade’s Yoruba Soul Records. We get the chance to have a chat with Rawb Boss.

Thanks for taking the time to talk. Where are you at this moment and how are you spending your day?
I am currently at home in my studio in the San Francisco, Bay Area of California (USA).  I am going through emails and arranging travel details for a small tour in the UK and Portugal.  I plan to tighten up a few tunes before the day ends and try to get myself from out under all these demo/sketch projects I keep working on.

What do you love most about where you live?
I was born and raised here in San Francisco. The geographic beauty of the San Francisco Bay Area, is absolutely gorgeous.  We have it all, from giant redwood trees, to the gorgeous mouth of the bay (pacific ocean).  We have an iconic west coast skyline in the City and the Golden Gate bridge.  Living in a place that the majority of the world can recognize by a post card or a silhouette is pretty inspiring.  I also have dozens and dozens of friends that I consider family with many 20+ year relationships that all live, work and play here; probably what I love most about living here.  Culturally the Bay Area has changed a lot, which in part has not been fantastic but with change there is always something new and exciting and a lot of new folks in our scene as of the last year or so have really added some new energy into our scene.

 You were a dancer before a producer. Is that correct? If so, how old were you when you started to dance?
That is correct, I still study and practice dance.  I started dancing around 12/13 years old. I started messing around with the idea of music production around 16, but things didn’t really start to be a major hobby/passion until I was in my early 20’s.  Dance has never left me, although things have changed in terms of what my physical focus is for my movement practices.  As I have gotten older I have advanced in my dance (and music) but physically can’t do as much “crazy shit” as I could when I was 19….not an uncommon story lol.

 Tell us about your life and Capoeira.
Capoeira is kind of what started everything in a weird way.  Short story is, I rented a VHS tape (movie) from my local video store called “Only The Strong”, which essentially is a 90’s action movie based in Capoeira.  I was absolutely infatuated with the movement and the concept of moving in that way rhythmically.  From there gave way to me studying dance and finding “dance music” genres.  Obviously giving way to my passion for collecting and making music etc..  Capoeira as an art form I have dabbled in my entire life since 12/13 but in my early 20’s I joined a Capoeira group called UCA, which was founded by Mestre Acordeon and ran by him, Mestra Suelly and the late Mestre Ra.  My teacher at the time was a good friend and dancer in our scene by the name of Recruta (now Mestre Recruta).  Just about 2 years ago I graduated from our school leaving me with the ranking of “Formado”.  In our group it’s kind of like having a “black belt” if you were to compare to other martial arts.  All this is to say, I have been practicing and studying the art for a fairly substantial amount of time and I contribute a lot of my methods for learning new things, respecting various opinions/cultures/art forms and just being a quality human being to the discipline and lessons I have learned studying that art form.

I play a number of instruments rather poorly, but I have a true musicianship level of rhythm that dancers generally don’t develop because of my studies and practices in Capoeira music.  Club dance styles and Capoeira are long lost lovers of movement, and I really don’t know any different in terms of movement foundation.  Almost everyone I grew up around dancing was studying Capoeira to varying degree and  so much of what I do has been intertwined in the art.

How often do you train? Do you perform at Capoeira too?
Needless to say, its been a massive part of my life; and while I don’t have ambitions to open a school or start a group of my own, I continue to practice and use the art as a moving meditation and continue to infuse its ideas into my dance.  As of this year, I have spent more time traveling as a performing music artist (DJ’ing/performing with artists), so my training schedule hasn’t been as regular as the past 10-15 years or so.  Under normal circumstances without much travel scheduled, I tend to train 4 to 6 hours a week.  When I cannot stick to my schedule I train to make sure I at least train a couple hours of a week on my own, to just continue to maintain some muscle memory.

Capoeira is one of those arts that your brain learns how to do all the things after thousands of hours of practice, but for your body it’s not as easy to remember.  You may be able to “do the thing” but the next day or two, you will be unbelievably sore if you are not careful.  There is a saying in the world of Capoeira, that even someone who is in really good shape is never in Capoeira shape unless you train constantly.  I stay in shape….I always want to be able to dance…forever, but more than a week off of training Capoeira and your body KNOWS IT!  
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Before you started to make music, who were the artists you were into?
My parents inspired me a lot.  I grew up with my parents having a band and would rehearse, perform and record around me from my earliest memories of life.  I would strum guitars, bang on drum sets I made out of the couch cushions and piss off my uncle for slamming around on his keyboards/synthesizers. When I developed my own taste in music and felt the urge to create music and I gravitated instantly towards a few particular producers.  The more I learned the more I REALLY studied what they were doing.  Those artists were and in a lot of ways still are: Osunlade, Joaquin Joe Claussell, Ron Trent, Atjazz, Trinidadian Deep and a bit later Kuniyuki Takahashi.  They each had there own thing I felt drawn too, but universally each of them were able to make something that inspired my dance.  

When did you first start dabbling in making music as Coflo?
As “Coflo” around 2007.  By 2012 ish I think I kinda knew what I was doing, even though I wasn’t making something I felt was very good.  By 2014 I was really ready to start demo’ing and releasing some music.  Once I had gotten over rejection and the lack of DJs never playing my music, I was liberated to continue developing my skill.  

What was your first release?‍

The first time my music actually was “published” was a remix I did for a good friend of mine “Stephen Rigmaiden”.  He was working out of my first iteration studio back in 2011/2012 and he had done a tune for King Street Sounds called “Take Chances”.  I asked him if I could remix it for fun (I would remix a lot of stuff to just learn),and he said sure.  He actually really liked what I did and asked King Street to include it on the package.

What do you think was your record that made the biggest impact?
In America it is without a doubt my song “Stress Relief”. My big homie, Osunlade, did an insane remix…with his production and my song…it was and still is a MASSIVE tune. It was the first time something I did went from a few people checking it out to people all over the world.  I still till this day meet people and folks say “wait you’re the guy that did the.. Don’t F*ck With Me song?”.  I have had bigger tunes and remixes in terms of downloads/streams and probably market penetration.  However, “Stress Relief” is going to forever be my breakout tune.

Tell us about Ocha and how you first came into contact with the label?
Carlos Mena is an old friend.  He used to live in the Bay Area and used to throw a few parties.  I was a big fan of his music and the parties he would throw here in the Bay Area were always filled with the type of people I loved to party with.  I always danced my ass off and if he was involved in something I would follow!  When he moved back to Brooklyn, he had taken a break from doing releases on Ocha and I had contacted him trying to shop an EP.  He was very receptive and helpful and our relationship grew from there. Carlos/Ocha has been one of the most important things for me and my career in music. He was the first and one of the only people to really help me at first when so many just would even answer the door I was knocking in.  

Headed up by Casamena. He’s a vocalist too, right?
Yup that's him -Carlos “Casamena” Mena.  Vocalist, producer, and quality human.  Got a lot of love for my big bro.

 And you are head of A&R for Ocha right? ‍

Yea I am actually the label manager and head of A&R. Carlos wanted to take the label from a few releases a year to weekly releases, opening the doors for lots of new talent and pushing the range of sounds to all corners of “house”.  I had to search out and curate everything from classic Detroit sounds of an Alton Miller project to a futuristic broken beat/deep house mashup from emerging SA artists like The Heavy Quarterz.  I am responsible for every release in the catalog from OCH042 to today’s latest goodiesOCH283 - Ain’t No Grave, which is a remake of an old country tune by DJ Cecil and powerhouse jazz vocalist Tiffany Austin. The project has an incredible second line styling house remix by the master producer Ezel from the DR. Needless to say, there are some fantastic tunes and projects I have been a part of over the past, almost 7 years with Ocha.

 There is a connect between Ocha and Yoruba not just in the labels but in a spiritual sense?
 I can tell you that we are very much like a family.  My relationship with them is how I have learned to seek out honesty and “realness” within the music industry.  While I am not opposed to working with any one in particular; I want to make dope art after all… I definitely know when a real relationship is there and not just a business relationship. I very much believe that feeling is tied to the spiritual path that both of those “labels” represent.. but really it is the men behind those labels.

My spirituality, faith and beliefs are very progressive and it’s because of all the close relationships with so many people from so many different backgrounds that are in my life. No need to look at the names “Ocha” and “Yoruba” and think “Coflo must follow Ifá”, rather I would convey that I have an understanding that I carry with me a legacy of those before me.  My spiritual path is as important as all those before me. It’s not about me being “this or that”…its about my mind set as a quality and creative human.

How did you first connect with Osunlade?
Big bro Carlos Mena!  He connected us for me to do some engineering for Osunlade.  At first it was a learning curve and for whatever reason, even though I would f*ck up, Osunlade kept things moving and gave me an opportunity to learn his creative needs.  From there we just continued to work together musically and become friends.

Osunlade has been a mentor to many. What impact has he had on you, and what have you learned from being alongside him in music?
The biggest impact he has had on me is being available.  He listened to my music.  For someone who grew up idolizing him as an artist, what that would do for me ego and creative drive is probably incalculable.  He has obviously put me on with many projects, gave me fantastic remix opportunities and connected me to many fantastic people in the industry.  None of that really has as much of an impact as actually being a friend being available to object/subject to the music I am making.  He has been an incredible supporter and has always been good on doing friendly favours and been there to help me.  I feel very fortunate to be in his musical timeline as history is written around him.

What was your first release on Yoruba?
I did a remix for his po-lar-i-ty project in 2020; however, my first “original project” was a collab I did with my homie SACRED H3ART called “soul 2 souls” in 2021.  I wrote a song about my cat who had been through some trauma and ended being a super dope tune haha. The following year I kicked off Yoruba’s catalog with a really cool tune featuring Rawb Boss called “Peanut Butter Lover”.  Which I feel like is a song that will continue to have more and more “come backs”. 

On this new album you explore a whole new you. Where does Rawb Boss come from?
Rawb Boss was invented when I made that song “Stress Relief”.  Even though not credited; it was the first time I wrote a song from a very emotional place that departed from “giving a f*ck” about what people thought of “Coflo”.  In the dance world, you are who you are, and your name is synonymous with your art regardless of what style or approach you take.  In the music world we have these aliases that can represent different genres or ideas in music.  While not a foreign concept to understand the idea of Coflo having an alias is still REALLY weird.  When I did the song “Peanut Butter Lover”, I featured Rawb Boss because it was another song that I wrote from an emotional place.  I really like peanut butter, and I thought it would be dope to do something super dance-able but about peanut butter.  I never thought someone like Louie Vega would be rinsing it in Ibiza party after party.  

Rawb Boss is a liberation of my music that allows the brand of “Coflo” to do something else I suppose.  In dance, if I do something dramatic, I do something educational, or I do something in the dark corner of a club.. it’s all just Coflo. In music it’s hard to develop a fan base that understands that.  Osunlade once told me that Afefe Iku (one of his aliases), is just a vessel.  I felt like I could identify with that idea more. Rawb Boss doesn’t need to be intentional, just needs to be a vessel for something.  I think fans of Coflo may or may not get that so I let Rawb Boss develop his own fans.  Osunlade is the friend that really told me to lean into it and said “do a Rawb Boss project, people already follow Coflo…Rawb has something to say!”.

What is his vibe and musical direction?
Uncensored and wherever creation takes him.  I’d like to say that Rawb Boss will always have this vocal component to the music but that would be me trying to direct the creativity in a way that I already do with“ Coflo”.  Rawb is raw.

 How does the music of Rawb Boss compare to that of Coflo?
I would like to make it sound like there is some super esoteric explanation of the comparison or lack-there-of; but the truth is - it's just another avenue for me to be creative.  It’s liberating to have more outlets of musical exploration.  I love making music so much, it would be a dream to wake up every day and just make music.  No emails to answer, no planes to catch, just make music and dance!

 Some people say you make music for dancers. How much does being a dancer impact the music you make and in what ways does dance have an effect on your productions?
It’s an absolutes stylistic prison I have a hard time escaping. It’s hard for me to hear any song and not see dance-movement in my mind.  Regardless of genre…mind you.  When I make house music, lean into how it makes me feel with regards to being able to express myself through dance.  I also know things that can be done that a dancer will gravitate towards; but that sometimes will be at the sacrifice of other creative choices that may be more dramatic or capture the heart of anon-dance listener.  House music is strange in that way.  It is so evolved now that its a valid form of “listening music”. It is no longer just a full body, dance your work week off, style of music.  Well, I still think about the full sonic range and the syncopated treats house music has to offer and I can’t escape those choices and how they affect someone wanting to dance to it.

Have you felt constraints before with the music that you have put out in past?
Constraints, no not really; just wanting to make something good. As I have grown in my music and as of recent years put more practice and study into performing as an artist and DJ…I have learned that sometimes what I have made in the past requires a certain ear and skill to be played correctly at a party.  The constraint, if any, that I have felt was being able to get DJs to play my music…or play it correctly.  My wife told me I need to start playing my music, because I will most certainly play it best.  If I were to re-look at this question and re-interpret the idea of constraint with the idea of a challenge; then the answer would be different.  I have challenged myself to do music that is more dance-able jazz funk vs. tracky ass bangers.  So constraints have been put on my music for various reasons, but never for the reason of “not being able to do what I wanted”.  I want to contribute great works to the legacy of American house music producers in history.  My timeline isn’t someone who comes from the inception of the music, so I gotta be versatile!

 Coafeelia. An intriguing title. Can you shed some light on this..
Coafeelia is a made up word that is a play on the idea of a “phobia”.  Rather than an irrational fear of something, Coafeelia is “an extreme or irrational attraction or affection to another human’s vibe”.  Hence the title tune and its vibe/lyrics.  “Co” being what many people call me in place of “Coflo”, or close friends / family have called me since I was a little squirt. “Feel” to represent that attraction and “ia” like phob”ia”.  I am from the Bay Area.  We are infamous for making up words and slang.  Its culturally just how I grew up… you can thank E-40 for that.

 Did the album just fall out of you or was it a long labour of love?
Actually ya.  I did “Coafeelia” and Osunlade started playing it out before it was finished. He said, man we need a whole Rawb Boss project.  I think I finished the album (which was supposed to be just a 3 or 4 track EP), in a couple of months.  It really did just fall out of me.  lol

 Are there some other musicians and artists you want to shout out on the album?
Yea, shoutout to Miles Bonny for the horn bits he did on She Bad also my sister from another mister CEE. for the writing and performance on ZiggityGiggity.  Of course big bro Osunlade for the push and support.  Also my wife “Tsunami” and my little sister MF Rose for their help with the artwork on the project. Next Rawb Boss project needs a collabo with him.

Does the album have a concept? I First, I am very proud to be from the Bay Area and Santana’s first two albums are some of my top favorite albums of all time.  The cover art (and vinyl art) is an absolute copy / homage to their first album.  I literally took the idea and said “what would this look like in Rawb Boss’s universe”. Musically, I wanted to be able to write simple songs that captured a feeling so that each person that listens can develop their own personal story with what the lyrics or vibes are creating. I think the coolest thing about music with vocals (regardless of complication) is how humans can find some way to relate.  I tend to voice my frustrations horribly in real life…so musically it was a nice bit of therapy to try some of that in the album.  I didn’t set out with any of these creative intentions.  My art is jazz for real…. I am improvising and dynamically creating always.  Don’t mistake not having creative intentions with not being intentional.  I am very thoughtful in everything I do, but I really believe that in some cases, creatively…you are just a vessel for something else.

What are you most proud of with Coafeelia?
Letting go of Coflo and letting Rawb Boss be its own thing. It is still strange to me.

What was the most difficult part of making it?
Letting Rawb Boss be its own thing haha.

 What can we hope to see next from Rawb Boss?
Collabs with Coflo and others then hopefully come next year another full length or feature project.

Tell us something about RB that we would never know.. Rawb Boss manifests in my mind as a chimera.  I know that sounds weird but for some reason it seems really cool to me.  I like the idea of him being this “beast” of a creature. He has the attitude and personality to be somewhat scary but is really just a thoughtful creative person.

'COAFEELIA' BY RAWB BOSS IS OUT ON YORUBA 27TH SEPTEMBER 2024.

GRAB IT HERE: Coafeelia | Rawb Boss | Coflo (bandcamp.com)

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