In my early 20s, I knew Justin L. Raisen as a prolific and driven musician from Long Island. His bands often opened for notable artists and had interest from record labels. Five years or so ago, I randomly ran into him at Amoeba Records in Los Angeles as he browsed for music. Then last year, after noticing his name on a Sky Ferriera album, I did a bit more research on the guy. Turns out that Sky Ferreira was only the tip of the iceberg for Justin, who has also produced and/or written music for the likes of Charli XCX, Kylie Minogue, Santigold, and Theophilus London.
After getting back in touch with Justin, I figured him to be an essential subject for a “Really Busy People” column. Not only is he very active creating for other people, but he is one of the people behind Paulie Music, which manages and develops artists. A true family affair, Justin works on Paulie matters with his wife Ashlee, with whom he is currently expecting his first child. Justin tackled these questions in late 2015, before he began working with former Sonic Youth bassist Kim Gordon, had a firm release date on the Lawrence Rothman album mentioned below, or had done all of his work for the forthcoming Sky Ferreira release. My personal highlight of our Q&A was Justin’s explanation of “flying direct versus catching a connection” in the context of how he finds new projects.
Justin can be followed on Twitter, Instagram and Tumblr, while Paulie Music matters are listed here.
I first learned about you through your work in the Long Island music scene as part of The Minor Dimension and The Kites. In retrospect, what did your L.I. upbringing contribute to where you are today?
Justin Raisen: I’d say being raised on the Island has a lot to do with where I am in my life, but even more so who I am. I’d call it the home of my “Battle Grounds.” I somehow lost the accent, but I’ll never lose the spirit. It’s something I can’t leave home without. It’s kind of like “The Schwartz.” I’m in good company with Lou Reed and Jerry Seinfeld.
What were the needed steps between starting in New York and getting to the where you are as a songwriter, manager and producer for other artists?
J: Handing a demo of my band to Christian McKnight at Deja when I was 16, not being afraid of the word “no.” A sequence of events that lead me to Ariel Rechtshaid, who has been a great friend and believer in my abilities from early on. Aside from the obvious support from family and friends, these elements along with a little magic and 10,000 hours has put me in the position to help artists who like me want to express themselves.
What makes your company Paulie Music Management different from other management companies?
J: We’re family.
Paulie is being run by people producing and writing music that is relevant now. Nugget [Charli XCX, Kelela, Santigold, Lawrence Rothman] is a perfect example of having this creative vision. He is a writer and producer Ashlee and I manage. He is one of the most dangerous people in the industry, not only because of his musical ability, but also the vision he shares with us on how we can impact culture together.
Aside from working with label execs and managers in the industry, most of our relationships are directly with the artists themselves. For the most part, my favorite way to deal with the projects we work on are directly with the artist. It’s like flying direct versus catching a connection. It gives us more room to skate on the edge of the confines created by the powers manipulating popular music and culture. If Paulie keeps gleaming the cube, maybe one day we’ll find ourselves in a freak accident and something exciting that wasn’t supposed to happen will.
Having survived the often-painful “artist development” process, what do you think is the biggest fallacy about making a living in music?
J: Well, if you care about what you’re working on, I don’t think the “artist development” process ever ends. It seems in most cases that it becomes more challenging. There’s only so many times you can one-up yourself before you start replaying your highlight reels. I think it’s the kind of career, that no matter how big your success, you will always feel like you’re trying to survive. Plus, it’s a very expensive job.
Do you ever see yourself getting back into the performing world as the lead singer on a project, or even being part of a band?
J: Being part of a band? Don’t think so. Performing? Not positive I’ll perform again, but you may hear my voice. True Happiness, my solo endeavor, will be rearing its head in 2016.
Of everything you’ve accomplished so far, is there a particular accomplishment you’re most proud of?
J: It’s not all out there yet, [the new album by] Lawrence Rothman. It also was pretty cool co-writing “Picture Me Gone” with Ariel Pink and my mom, who goes by Mumzy. Also, really looking forward to producing Angel Olsen’s next album in early 2016. I think she’s one of the best songwriters of our time.
How did you come onto the radar of Billy Corgan with him complimenting your production work in Billboard?
J: Last year, Billy executive produced the Ex Cops album Daggers, which I produce and co-wrote. We’d e-mail a lot and talk on the phone occasionally. First time I met him was at a Coffee Bean in a strip mall in Laurel Canyon. It was just him and I. We chatted for a few hours. He told me the best David Lynch/Shaq story ever, as there’s probably only one in existence. I really like Billy. He’s “no B.S.” No one like him. Once upon a time he could straight up [slam] dunk one-handed.
How do writing opportunities usually come your way? Does your publisher often play a role?
J: Always different. I’m pretty picky about what I work on. A lot of people wanted to work with me after Sky Ferreira’s album. Each job kind of began to lead to the next one for me. Before this kind of cycle began, I almost exclusively collaborated with my long-time friend Ariel Rechtshaid and the artists he was working with at the time. He also introduced me to my wife Ashlee about 10 years ago and walked her down the aisle at our wedding this past March. So if I ever fuck your record up, call Rechtshaid…On second thought, call Ashlee as she is my manager and co-owner of Paulie.
What do you wish more people knew about you personally?
J: Pass.
Okay, when not working, what do you like to do with yourself?
J: The phrase “when not working” currently does not register with me. These last two years have been pretty wild. Even when I’m not working I am. It’s hard to shut off the creative part of my brain. It could be coming up with hypothetical television show plots, song titles, melodies, etc. But when I actually escape it all, unless through a movie or television show, it usually happens through some form of competition or competition spectating. It could be Texas Hold ‘Em, golf, chess, watching the World Cup, or going to the Clipps Show. I have the kind of mind that must stay busy. Since I was young, the intensity of the focus involved in competition seems to keep the brain worms away.
As you have both creative and business-minded functions in your day-to-day work, how do you shift between the two modes?
J: It’s very difficult actually…On my best days it’s more of one smooth stroke than a shift. I’ve also got my Paulie family to back me up.
Are there particular apps or tools you rely on? Or even credit your success to?
J: I work in Pro Tools but other than that its different every day. That’s the only way to keep pushing yourself. Right now my best friend has been the Voice Memos app that comes with your iPhone.
Is there a field you haven’t worked in which you one day hope to? Something outside of entertainment?
J: Lately, people have been comparing me to Robert Evans from The Kid Stays In The Picture…If they’re right, I guess anything is really a possibility. I also hate flying. I’d love to figure out some sort of commercial teleportation.
Is living in Los Angeles essential to your making a living in music? Or could you envision a time in which you’d be back on the East Coast?
J: It’s important that I am here now, but I don’t necessarily need to be forever. New York, I don’t know. Maybe if I had a floor in the Dakota…But otherwise you are probably going to find me somewhere that has a climate like San Francisco, Washington or Vancouver, ‘cause I like the 60s.
I hear you’ve been working on the forthcoming Lawrence Rothman album. Can you tell me more about that?
J: This album is more than just an album. It’s about trying to open people’s minds. Pop culture needs this. I’m hoping it’s the freak accident I talked about earlier in this interview. When all the stars align and you find yourself in chaotic times, just maybe there will be a revolution peeking at you from around the corner. Our aim is true. Enjoy the videos “California Paranoia” and “Oz vs Eden” by Lawrence Rothman, which are currently online.
Finally, Justin, any last words for the kids?
J: If you’re trying to have a career in music, the first thing you must not be fearful of is rejection. If you don’t ask for what you want, you’ll never know what could have been. Take as many shots as you possibly can, otherwise, it’s purely about how much time you devote to whatever craft your trying to master. It’s all about those 10,000 hours. That’s from one outlier to another, Darren.
-by Darren Paltrowitz
