For a producer with such a dedicated, on-the-ground following, Roberts has released surprisingly little music. His series of “Recent Works” mixes is the largest view into his studio catalog, with his actual EPs being even sparser. This tightlipped, frugal approach keeps Roberts a step ahead of the game; You have to catch him live to catch the music. It’s partially why he’s so prized on the touring circuit, rinsing a revolving treasure trove of VIP’s, bootlegs, and spicy, unreleased cuts. Because of the intrigue around his project, we felt the need to poke and prod his brain a bit more. We last corresponded with Joe in 2017 after a Brooklyn performance supporting Jade Cicada. As JadeStation approaches, it felt like the proper time to finally catch up with him again, this time about breaks, production, life on the road, and breakfast necessities.

The Rust: What inspired you to begin producing and playing out break beats lately?

Joseph: It's always been something I've done on the side. Breaks, more specifically of the 123-138 BPM variety, have always resonated with me. When it's good it's equal parts hip-hop and drum n bass both at their wrong tempos. It’s the intricacy and wild sound design of bass music combined with the infectious groove of house. When I lived in Austin, Texas, it was quite common to catch me playing breaks all night at an after party. The recent push I've been making with the breakbeat sound has been something I've been wanting to do for a long time, and with the momentum I've got going it just felt right. There was a certain type of sound that was being pushed from 1999-2005 and I think our dance floors are missing it dearly. My aim with all this is to bring that style back with modern production for the discerning listener. I absolutely love all the heavy sound-design-laden, hip-hop type music we're all pushing right now, but that has always felt like head-nod, arm throwing music, whereas breaks have been a full body dancing experience for me. With all that said, I by no means intend to change styles, and you can expect plenty more heavy hip- hop infused bangers.

The Rust: What are the ingredients for your ideal drum break? Are there any sounds or instruments you’re especially fond of?

Joseph: Excellent question! A good drum break is essential to a groovy tune, and I spend a lot of time trying to source mine or make my own. Lately I've been trying to find old sample CD's from the early 2000s, before online sample packs were a thing. What I like to look for in a drum break first and foremost is vibe. It's hard to describe, but certain breaks just have this dusty airiness to them, and the drums hits will just flow one into another. It needs to have a certain level of crustiness mixed with attitude. Drum breaks that have little snippets of vocals in them are especially delightful, such as the classic "Think Break". Good groove and swing on the back beat snares is another thing I look for, they really help keep the beat flowing between the main snares and kicks. Lately I've been trying to create my own drum breaks to use in my tunes using simulation drum kits in Kontakt. “Obscure” is an example of a tune where I've done this. I still have a long way to go in this area - the vibey bit I was talking about earlier is especially hard to recreate, but I enjoy the challenge.

The Rust: Can you talk to us about the process behind the breakbeat tune "Vibrate" on your last EP?

Joseph: That tune was actually a rather last minute addition to the EP. I had the release pretty much ready to go by the end of April, and sort of on an impulse decided I should include another track to make it more of a showcase of the different styles I can make. I probably put more individual focus on this tune than any other ones in the EP and wound up rewriting it a few times during May. It originally started out sounding far more like a psychedelic Detroit electro tune and went through a few iterations until it sounded more like a slow Nu Skool Breakbeat tune. A few elements in the track, including the "Melinda" vocal sample - which is just a recording of me pitched down - come from an old breakbeat tune that I wrote in 2016 called "Dimensional Sound" but never saw release. I did my best to make the track both a nod to the past and an indication of the future.