The Hausa-inspired sounds running through FirstKlaz’s “Tsammani”, “Gen-Z Arewa” and “Gen-Z Fuji” took years of experimentation to develop. Behind those records is Ipusu Sonter Isaac, professionally known as Monster Soundz, a producer whose musical foundation began in church, but whose creative influences stretch across traditional sounds, jazz and R&B. His partnership with FirstKlaz grew from a chance meeting in an Abuja studio into a shared effort to build a distinctive musical identity.
Afro Soundtrack sat down with Monster Soundz to discuss the journey behind that sound, his creative partnership with FirstKlaz, the importance of cultural influences in music production and what he has learned about the business behind his work.
How did the name Monster Soundz come about?
I was always a reserved person. Not necessarily quiet, but I kept to myself, so most people didn’t really get to know me beyond what they saw from a distance. I wasn’t particularly big in stature either.
But my sound was different. My productions were always full because I knew how to play the keyboard and several other instruments. I liked bringing different elements together in my production.
I felt the name Monster Sounds captured that side of me and the kind of music I wanted to make. I actually gave myself that name in 2015, before I even started producing. It just came to me, and I’ve been using it ever since.
When did your journey into music begin, and what first drew you to production?
I started learning music theory when I was about 11 years old. My parents are Christians, so they introduced me to music through the church. They handed me over to the choirmaster, and our church focused mainly on choral music and reading sheet music, rather than the contemporary style of music we hear today.
That’s where I learned to play the piano and keyboard. By the time I was 11 or 12, I already had a good foundation in music.
Fast-forward to 2017, I had a friend who knew how to produce music, and that was my introduction to music production. I started producing that year, and I’ve been doing it ever since.
How did you discover the kind of sound you wanted to create as you developed your skills?
I’ve always had particular sounds I was drawn to. I enjoy different types of music, but I was especially drawn to traditional and cultural sounds because I grew up listening to a lot of them. I also love jazz and R&B, and those influences helped shape my musical taste.
When I started producing, I knew I needed to develop something that would make my sound distinct. While researching and studying Afrobeats, I noticed that the drums often play a major role in giving a record its identity. I started developing my own style of drums, and that became one of the things that helped define my sound.
How did you and FirstKlaz first meet, and how did your working relationship develop?
We first crossed paths around 2017, the same year I started producing. I remember my brother watching one of his videos on WhatsApp. I heard the song and asked who he was. I found out he knew someone my brother was connected to. I told my brother I liked this guy and that one day I would work with him.
Funny how things turn out.
In 2019, I started working at a studio in Abuja, and FirstKlaz began coming there to record. I was still very junior at the time, almost like a studio errand boy. Whenever he came in, they would send me to buy fuel, get food and run other errands. One day, he asked me to help him remake a beat. I did it, and he liked the result. We eventually linked up, and he told me he liked my work and wanted us to work closely together for a long time, like Wizkid and Legendury Beatz. I laughed because I thought he was just an artist saying nice things.
From there, we started building our sound together from scratch. That’s how it all began.
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What prompted you to start paying attention to the business side of music, and how did that eventually lead you to Afro Soundtrack?
FirstKlaz is like my guy. We’re always together, so I discovered Afro Soundtrack through him. I figured that if he had chosen to work with you, then you must be good at what you do. I had received different offers, actually. I even spoke with someone at BeatStars, but because of my relationship with FirstKlaz and the confidence I had in his decision, I chose Afro Soundtrack.
How did “Gen-Z Fuji” come together?
It was a very random session. It was one of the easiest songs I’ve ever made. It just came together.
Would you consider “Gen-Z Arewa” one of your best productions so far?
I think my best work is yet to come. FirstKlaz is very particular about what he releases, and we’ve made some really good songs that haven’t come out yet. I believe they’ll be released eventually.
How has your experience with Afro Soundtrack been so far?
It’s been good. I haven’t had any bad experiences.
How do you feel about the way producers are credited and recognized in the music industry?
I think this is one of the areas where we have problems in this part of the world. From an African standpoint, I feel that, until recently, we weren’t as informed about the music business and how the industry works. Producers weren’t given the recognition they deserved from the beginning.
Now that we’re becoming more aware and beginning to fight for our rights, sometimes it makes us look greedy, as though we’re asking for too much. But the truth is that we’ve made a lot of sacrifices along the way.
I’ve made sacrifices too, but I always tell people that you have to find a balance. You need to understand what you’re sacrificing and what you stand to gain from it. Sometimes, I might let something slide because I know the relationship I’m building could be more valuable in the long run. You have to weigh your options.
What’s been your biggest challenge as a producer?
My biggest challenge has always been the financial side of the business.
You put so much into creating a record. Sometimes, the idea comes entirely from the producer. The artist walks into the studio, puts something down, and the producer helps bring the record to life. Then a label chooses the song, it becomes a hit, and the artist gets recognised as the person who delivered that hit.
But producers don’t always receive the kind of advances or financial benefits that artists do. Sometimes, I wonder what we would have without publishing. That can be one of the few ways we continue to earn from the work we’ve put in.
Has Afro Soundtrack helped you earn more from your productions?
Yes, it has. Before now, I didn’t really pay attention to publishing. I used to think, are the songs I’m producing even worth enough for me to earn from publishing, beyond the fees I already collect? But when I started working with Afro Soundtrack, I began to see things differently. I started seeing the value of publishing, and that’s when I began to understand what I had been missing.
What should we expect from you in the next phase of your career?
I’m currently working on new music with FirstKlaz for his next project, which should come out early in the first quarter of next year. We’ve also made a song together with Olamide that’s expected to drop soon. I’m working with PsychoYP at the moment, and there’s a new artist, Lucky U…, that I’m also working with. I’m also working on my own project, which I hope to release next year.
How did you and FirstKlaz arrive at the idea of developing a sound inspired by Northern Nigeria?
When FirstKlaz was trying to establish his own sound, that was one of the first things we discussed. We wanted to create something that would give him a distinct identity. It took us about four or five years of experimenting to get there. We tried different things, drawing from Yoruba sounds and other musical influences. Then, at some point, we decided to explore Hausa music. We were in Abuja, where Hausa sounds are part of the environment around us. We also had a connection to that culture, so we thought, why don’t we try something Hausa? It made me realize that sometimes what you’re looking for is already within your reach. You just have to figure out how to develop it and make it work.
When we first experimented with the sound, I started doing more research. Before I go into something, I like to understand its technical aspects. I wanted to learn about the culture, the religion and the reasons behind certain traditions, including the way the music is made. I needed to understand those things before I could develop the sound properly.
What’s your favourite part of using the Afro Soundtrack app?
The quarterly payouts. That’s my favourite part. Every quarter, you receive your payout.
Have you discovered anything surprising about how your songs perform or generate royalties?
I would say “Soyaiya” by FirstKlaz. The song has been performing better than I expected. I didn’t anticipate it would move as much as it has, and I think it’s one of my best songs at the moment.
What advice would you give upcoming producers who want to develop a distinctive sound?
First, I would say be patient. You need to listen to yourself and your surroundings because sometimes what you’re looking for outside is already around you. You just need to pay attention. Be observant, and work hard. Sometimes, it’s through the process of working and experimenting that you discover something new that you can bring into your music. My own approach is to draw from two or three different genres. I pick out specific elements from each one and select the sounds that fit what I’m trying to create. I do it intentionally.
Afrobeats itself involves fusing different sounds and influences, but you have to understand what you’re drawing from. Some producers do their research but don’t always go deep enough. It’s like wanting to wear a chain but choosing a fake one instead of getting something authentic.
You need to go back to the original sound and understand it before incorporating it into your production. When you don’t get the elements right, the fusion can sound funny, and people can tell when something doesn’t feel authentic.
Ultimately, find what works for you. Every producer has a different process, and mine is different from the way other producers work. Understand your own process and stick to what you know works.
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