At some point in recent history, the music producer switched roles from artist to artisan, churning out a comfortably ordinary, “relevant” product no focus group could refuse. If such a producer is what you seek, you’re in luck. You can find them pretty much anywhere, just not here.
Dissatisfied with the current nomenclature of his craft, Jesse Coulter AKA Juicy the Emissary has dubbed himself an “aural architect,” using old organic sounds in modern synthetic ways to build worlds of sonic structures for listeners to inhabit and explore:
“Sonically leading through dimly lit tunnels and entering spacious chambers guarded by pointy, mysteriously shimmering crystals.”
– Matt Jost, rapreviews.com
“It was hypnotic — like being placed inside a cocoon of sound — and breaking away was more difficult than I anticipated.”
– Preston Jones, Fort Wort Star Telegram
Born and raised in Denton, TX, Juicy the Emissary grew up surrounded by musicians and artists. The inception of Brave Combo was as the musical accompaniment group in his Mom’s improv dance class at UNT in the late 70s. He started young, his earliest found recordings made with a tape recorder at age 4. At 9 he began Classical Guitar lessons and by his first year of high school, he was studying Jazz with Fred Hamilton at UNT, playing shows, and expanding his skills to include bass, keys, drums, turntables, mixers, samplers, and 4-track tape decks in a room filled with his Dad’s records. Oh yea, and a Barbershop Quartet.
After graduating, Coulter studied music at UNT, taught guitar and bass at The Music Conservatory of Texas, and started working with groups like Vortexas, Fab Deuce, and New Vintage. His eclectic repertoire quickly developed a dynamic CV, sharing stages with acts like D-12, Bernard Wright, and DJ Logic.
More recently, his live beat shows have been featured with Jonwayne, B Lewis, and Eliot Lipp. He also currently raps with Fab Deuce and plays bass in Los Patos Poderosos, a Peruvian Cumbia group “with an army of percussive instruments, powerful vocalists and guitarists.” (Matt Wood, North Texas Daily)
But like any self-respecting producer, Juicy spends most of his time in the studio and it shows. Besides his 10 self-released projects and dozens of other producer credits, he has composed original scores for Modern Dance in collaboration with UNT, TWU, BYU, and The University of Delaware, featured in events from New York City to Kingston, Jamaica. In 2014, he won Dub Academy’s Keeper Remix Contest and DJ House Shoes’ Flip Sessions Vol 2. His music was featured in TRU TV’s Impractical Jokers and Fox’s Dish Nation as well.
“He has a really distinctive chop style that is always super glossed with sick basslines and crisp drums… like if Todd Edwards or Akufen made hip hop.”
“This kid Juicy flipped the shit into a ray of sunshine. It was a perspective I would never had had from that source material and that’s what makes producers better.”
– DJ House Shoes from watchloud.com
Social commentary is recurrent in Juicy the Emissary’s works. His nostalgic Cultural Refugee muses on the developmental casualties of the evolving media market. His 2013 release, TIMBER!, was hidden on his website, challenging listeners to find music on their own in the face of an increasingly pacifying trend of centralized digital distribution. His rap project Frank Ponecall’s release I’ma Be Frank “makes fun of Hip Hop’s incorrigible juvenilia while being nearly lyrically flawless.” (Lucinda Breeding, Denton Record Chronicle)
Sadly, in the 21st century, beat-making has become a despicable hobby of the uneducated “musician” with delusions of grandeur. But with the help of producers like Juicy the Emissary, perhaps this massively misunderstood art form can salvage some dignity in a world that continues to exploit it.