Moneyjaw’s latest single Visions leans into a minimal but muscular groove, pairing clipped percussion with a sense of low-slung pressure that never quite resolves. It’s part of a broader run of tracks that feel self-assured without needing to overstate the point—music that sits comfortably in its own lane.
We caught up with him to talk about how the track came together, his long-running creative partnership with ZEALE, and why his current sound might have as much to do with probation terms as production choices.
Your recent output feels deliberately restrained. The grooves are tight and bass-heavy but with a lot of character. What guides your decision-making when stripping things back?
It’s funny that you noticed that. I wouldn’t have thought of that myself. But now that you mention it, there could be a few things that cause the sound of “restraint.” I did restrain the envelope of the high hats which significantly brought the percussion in tighter. But from a vibe perspective, I feel more restraint right now because I am still on Federal Probation and it fucking sucks. I can’t travel unless I get it approved by a judge and they are all up in my bank accounts asking questions about how I spend my money. Maybe that shows in the music.
You’ve worked with ZEALE across a few different projects now. What keeps pulling you back into collaboration, and how has the creative dynamic between you two evolved?
He’s a pro. He’s also multi-talented. His video production is top quality. He is an insane MC and a true performer. It sucks that he lives in Austin because we would get a lot more done if he were in LA or Miami. Check out his Blackilac stuff.
The Anderson .Paak version of Visions is floating around online. It’s unofficial, but it’s sharp. What led you to pair that vocal with your production, and how do you see that version in relation to the original?
That IS the first version I made. I have the original song on my playlist and I noticed that the tempo would match a house beat. I made the instrumental one day and tried it out and it just worked. IMO, it’s one of my better tracks. I played it for this chick I banged that knows Scott Storch and she said that my shit sounds better than his right now. I wonder if she liked the D better also lol. After Zeale heard it, he wanted to jump on it as well. So I made the “original” version so we could release it on legit.
You’ve shared different versions of the same track before, sometimes featuring alternate vocals. What’s your thinking behind that kind of dual release?
Have I? Usually I have multiple remixes of a vocal. I can’t remember what you are talking about. But the thinking is that I didn’t want the bootleg to go to waste because I like it better. But also you cant really get away with releasing bootlegs. So hopefully people will get their hands on the version they like best. I also included the instrumental just in case people hate rap.
Your background ranges from live-electronic bands to more sample-based beat experiments. How do those past experiences feed into what you’re making now?
That’s a really good question, thank you for noticing. I have a really diverse background in music and in life experience. I used to think it was a disability but now I see it as a strength. Every experience, whether it is real or imaginary comes into play when I make my next attempt at creativity. But I did return to tech house because it’s hot right now and I have been making it since day 1. I am an expert in the tech house genre.
Having spent time in both LA and Miami, what aspects of those scenes or sound cultures have left the biggest mark on you?
I’d say LA has kept me underground since day 1. Miami got me enthusiastic about tech house and house music in 2025. I like the culture of LA better than Miami. But Miami has the aesthetic and music scene to fuel the modern era of underground house and techno.
When working with vocalists, how do you navigate the space between structured songwriting and something looser, more instinctive?
Another great question. For now, I just let Zeale do his thing. In the past I was very involved with the songwriting process. Check out Honey Claws to hear some of the great songwriting that I helped write and produce. Since the new style is super cut and paste, the songwriting is as well. Sometimes we just get Zeale’s vocals and stick them over any beat to see if they work. Or I’ll sample certain lyrics and just use those. It’s super casual.
In past interviews you’ve talked about returning to your early 2000s roots in tech house. Was there a specific moment that triggered that shift back?
Yes. I played an event in Santa Barbara at my buddy’s bar called Studio. I saw a gang of kids in their early 20s jamming to the same music I used to play in Santa Barbara when I was in my early 20s; which was bootleg and tech house. So nothing had changed or maybe it came full circle. Then when I played events in Miami I noticed that all of the girls liked the tech house better than the afrohouse!