Legacy, The Producer: From The North, To The North – Curating nostalgia and innovation to craft a tonic, and sonic tapestry.
In “From The North, To The North,” Legacy embarks on an artistic odyssey, blending personal homage, social consciousness, and creative innovation. His debut project is not just an album but an exploration of sound inspired by his research on music therapy’s effects on Parkinson’s Disease. This unique perspective infuses the project with a rich emotional depth and textured sonic layers.
As legacy, the producer or as I call him, Parsa, lives as multilayered of a life as I hope to achieve one day. Music fanatic, in the AM’s, and Walking ciation, during the PM’s. If you catch on the job, you’ll have to call him Doctor. As of this post, Dr. Shiran, has finally completed the laudable task of finishing his doctorate. Yet, when his album released, and it’s main thesis created, Dr. Shiran was neck deep in literature, and writing a word a minute for months. Chasing a dream, on multiple fronts.
Yet as we’ll come to learn, Legacy’s resolve remained tempered by an inner will, and a determination that makes this more than simply a debut. But I digress, so let’s get back to the narrative…
Legacy draws from the golden age of Canadian hip-hop, reimagining mid-2000s classics with a modern twist. His collaboration with DJ Kemo, a cornerstone of Vancouver’s hip-hop scene, brings an authentic touch to the project. Together, they fuse raw nostalgia with fresh energy, creating a dynamic and evocative listening experience.
Balancing the rigorous demands of medical school and a burgeoning music career, Legacy’s journey is a testament to dedication and passion. He shares insights into his creative process, the emotional resonance of his music, and the drive to inspire authenticity in his listeners. “From The North, To The North” is more than an album; it’s a soulful journey through memory, movement, and the music that binds us all.
Your debut project is a unique blend of personal tribute, social awareness, and artistic expression. You mentioned researching music therapy’s impact on Parkinson’s Disease during your medical studies. Can you delve deeper into how these learnings specifically influenced the sonic textures or emotional landscape of the project? Did you incorporate any specific musical elements or techniques used in music therapy into your production choices?
Man, first off. Thank you for the kind words – I appreciate you. I did my best to tie it all together, and it took quite a while to get all the pieces to my liking, but the timing feels perfect. As for how my sound was impacted by the research – I felt supported to embrace the values I already held. I leaned into that ‘nostalgic sample-feel’ and I ensured there’s a bounce to it.
The research spoke volumes about improving motor movement, the emotional and social sphere, cognition, language, and more. I also saw that dance therapy utilized a variety of musical genres from classical to rock, and they all had various benefits in the movement pattern they support. So I felt that nostalgic sample feel would hit the soul and that the bounce would inspire a physical bop. From the videos I’ve seen, a majority of the music utilized for dance/music therapy was classical.
I wonder if hip-hop will be the norm for this form of therapy 30-50 years from now when it’s our generation that would benefit from music and dance therapy. I wonder if the genre you like most and would be happy to dance to, will have greater benefits and be more enjoyable. Hopefully we’ve arrived to a cure long before then.
You describe the golden age of Canadian hip-hop as a major influence. Can you provide some specific examples of Canadian hip-hop artists or albums from that era that resonated with you and directly influenced the production choices you made for this project? Were there any recurring sonic elements or production techniques specific to that era that you were particularly interested in capturing or reinterpreting?
I mean, The Rascalz and their song ‘Top of the World’ is really the track that started this whole project. I’ve loved that song and video since I was a kid. It was always my favorite Canadian hip-hop song. I couldn’t even believe they were from Vancouver. When I first found out, I said “No way” and continued to be in denial for years – out of surprise that something that dope could come out of here. They really put VanCity on the map. That coastal hip-hop aesthetic was so raw.
The sample choice was genius, the drums hit the soul. I went for something similar. Fast forward to 2023 and I’m locked in the studio with the producer of that song, DJ Kemo – I feel like I went straight to the source, in regards to production choices from that era.
Like in ‘American Gangster’ when Denzel went straight to Vietnam for the uncut product. The OG was there throughout the entire process to add that aesthetic to my take on it, and we would go back and forth. Shout out to Kemo. Real one.
Beyond simply choosing songs you enjoyed, what specific qualities did you look for in the mid-2000s Canadian hip-hop classics you reimagined? Were there any lyrical themes, production styles, or sample choices that made them particularly well-suited for your project’s goals? Did you prioritize capturing a specific mood or evoke a sense of nostalgia for that era?
The first set of criteria (and the most important) in my screening process was whether or not they had a place in my childhood memories. Each of the samples I chose have a personal nostalgic feel to them.
‘Top of the World’ was my favorite underground cut, ‘Movie Star’ was a dope video on MuchVibe, ‘I’m Like a Bird’ was our local Queen before she became a global superstar, ‘Shook’ was an urban classic, Jellee had the dopest hood vibe and hook on ‘Money Pt. 1’, Massari was the first middle eastern to get it poppin and he brought on Loon who snapped on that track, and Mixtape Drizzy was the soulful start to the biggest career in music history.
From there, it was putting my spin on them in a modern way, while keeping that essence of nostalgia. Essentially, identifying what component of that sample I love most, and having fun as I chopped it up. I try not to force an ‘end result’. The flip has got to feel natural so I’m listening to my gut at every moment, and sinking into the feeling the moment has me in.
The track “Happiness” features a distinct sonic texture with a lo-fi, almost radio hiss quality layered over the prominent 808s. This creates a unique atmosphere that feels both nostalgic and raw. What inspired this particular production choice for “Happiness”? Was it a deliberate attempt to evoke a specific emotion or memory, or perhaps a way to pay homage to a particular era of lo-fi production techniques?
Good catch. It was deliberate. It was about the feel. When I flipped the sample, I felt a specific kind of nostalgia – a vision of playing a cassette off a boom box or in your early 2000’s car, and having gritty & raw drums layered overtop. The choice of having Open Hats layered with the Kicks in the way they do reflected this as well. It all starts with a feel. I just follow my gut and see it all the way through.
Your collaboration with DJ Kemo sounds like a perfect meeting of experience and fresh perspective. Can you describe how your creative process unfolded when working with him? Did he primarily contribute his knowledge of the original songs and era, or were there instances where his own production sensibilities played a role in shaping the final sound? Any tips or tricks you’d like to pass onto the Sublime crowd?
He did all that. It was super fluid, man. I would do my thing, put my take on it. He would add his take. We would alternate at various points, while the other’s provided feedback and input. He had stories for nearly every song and every artist. I loved picking his brain and asking him about some of these dope artists, and their come-ups on the scene, and movements they started, and lessons learned trying to expand into the states.
At the time, it wasn’t nearly as easy as it is today for a Canadian artist to break into the states and beyond. As for tips and tricks, collaborate with people you genuinely connect with and be open to their way of creativity. We all have different lived experiences and views on the world, so when you openly collaborate with someone on the same wavelength, dope shit happens. Find a mentor. & Most importantly, be confident in your taste and go with your gut.
“Movie Stars” has an infectious energy that makes you want to move. What was your creative vision for this track? Were you aiming to capture a specific feeling or mood? How did you use tempo, instrumentation, or other production choices to create this energetic atmosphere? Does this upbeat style represent a direction you’d like to explore further in your future work?
Movie Star was a unique one. That was the first song Kemo and I flipped from the ground up together. It’s also the only song we went straight to the source for. I couldn’t just flip The Rascalz’ version the same way 95% of producers would have, which is to isolate the sample vocals from the hook, it had to be different. We sampled the original song, Havana Candy by Patti Austin (1977), and put a completely different spin on it. Honestly, there wasn’t anything we tried to capture with this one, we just winged it and added layers we felt were dope and would complement one another.
The tempo was what the sample flip felt best at, the hi-hats and rest of the drums felt great on the sample/tempo, I wanted to add a setar and we did, I wanted to add choir vocals and we did that too. We had fun creating this one, and I think it translates to the energy the listener feels. For sure, I’ll find myself doing more of these upbeat energy kinds of productions. They’re fun for everybody.
You’ve mentioned having “heat in the vault” and a desire to work with established artists. Beyond chart success, what kind of impact do you hope your music will have on listeners? When considering potential collaborators, both artists and producers, what specific qualities or creative approaches do you find most inspiring or complementary to your own style?
The impact I want to have on listeners is for my music to hit the soul or touch the spirit. I want for my hip-hop to hit the soul, or be nostalgic, or resonate with a certain feeling the listener is going through, or even simply be so gas that it makes you wanna take on all your goals with elite-level confidence.
I’m a complex individual and the range in feelings I communicate through my pieces reflects that. I’ve also had an artistic and spiritual breakthrough with some of the afrobeats and amapiano music I’ve been creating recently and I’m looking forward to sharing them with the world.
They’ve been hitting the spirit at a level completely free of ego. Some of my music can be so raw that as long as the listener is receptive, it can resonate with them at their deepest core, which is my goal – to access the most primal parts of ourselves. I want to connect with people at the realest versions of themselves, and I hope that this brings out the authenticity in people’s daily lives.
When I think about the individuals I want to collaborate with, the common denominator is that they’ve all leaned into their authenticity and saw it all the way through. They’ve developed their sound to the elite heights and it perfectly aligns with their character and personality. They’re not hopping on trends or factoring in what others would find cool – they do what they think is cool. I love that.
I love people who are real as fuck, and don’t conform to the masses. I can collaborate with these individuals through any genre. Rock, country, afro, jazz, it doesn’t matter. I’m happy to go on an adventure.
Balancing a blossoming music career with the demands of medical school is no small feat. You’ve mentioned residency as the next stage in your medical journey. How do you envision managing your creative pursuits alongside the intense schedule and responsibilities of residency? Have you developed any strategies or routines to ensure you can continue to dedicate time and energy to your music? Any tips?!
These next two years definitely won’t be easy hahahaha. I’ve prepared myself the best I could. 2 years worth of music and media assets in the vault. I mean, I have the foundations laid for ‘From The North, To The North’, Parts II & III already laid out. I have a lot of beats ready to send out.
I envision my future creations over the next two years to be attended to when I’ve responsibly completed my daily medical commitments. I envision rollout campaigns to be timed strategically to when I have larger gaps of free time from school so I can be as attentive as possible. My strategy thus far has been to be efficient with my studying and school work, so that I still have time for myself to create music. I don’t waste time. I can’t be wasting time when I’ve got big dreams to pursue.
& Since you asked for tips, I’ll get real with the people that are reading this and are really wanting to know. I feel like people underestimate how much they can accomplish in a day, week, or month with the power of consistency and focused efforts.
Most people (and I’ve been guilty of this, I’m far from perfect) don’t realize how much time and energy they spend into time pits. An excess of video games, or social media, or even just hanging out with people they’re not even sure they like let alone love, lmao.
So you can feel comfortable? I say this from a place of love. People gotta stop playin’ with their dreams. They’re playing with fire when they let people and things feed off of their energy, when they could be using that energy to build the life they desire.
With that finally complete I have very few closing remarks. Dr. Shiran, as the world will come to know him as will become a mainstay in the city. And so i’ll close it out like I always do. I bid you godspeed, many of your name. May your titles becomes an anagram to your destiny, one day.
Photos courtesy of Danny Astefan!