About

Joman Headlining Show at The Roxy, Orlando, FL

Hello there. I’m Joman. I coined the nickname—a combination of my first and last name—as an adolescent, and it just ‘stuck.’

My foray into electronic music started with MTV Music Generator in 2000, but I actually started making music in 2001, at age 13. Introduced by my cousin to turntables, Fruityloops and the wonderful world of pirated music on sites like Napster, Kazaa and Limewire, I fell into it hard and fast.

The first thing I ever did beyond demos I shared with my classmates in middle school was a self-released album I produced in my parents’ basement on a rear-projection TV and Dolby surround sound system called “Bleeding Heart Synchronicity” which I made well before I had any kind of technical knowledge beyond plugging stuff in and making noise. As to be expected in hindsight, it didn’t go anywhere. But my friends wanted me to release it semi-professionally through an independent publisher, so I did just that a few years later, complete with professional mastering. Once again, it didn’t go anywhere.

But I kept at it, making music that I shared on my Myspace page and slinging demos until I was picked up by Denver-based label Velcro City Records in 2008. My first Beatport release was a remix of DJ Vanish’s “Mile High City,” most notably followed by a remix of “Tha Illest” by Oh Shit! and Messinian, before he really blew up. The remix caught the attention of DJ Dragon and I started getting some more high-profile bookings at places like the Church Nightclub in downtown Denver, opening for international talent.

Inspired and motivated, I took on bigger challenges. In 2010, I entered Beatport’s “deadmau5 – Ultimate Remix Competition” and produced a remix of the famous artist’s “SOFI Needs a Ladder” that was selected as a top-10 semifinalist out of over 400 submissions. Although I didn’t win, I found J. Scott G. of Deepsky through the competition; he and I collaborated on a remix of Celldweller’s “Best It’s Gonna Get” that ended up in an episode of How I Met Your Mother, and a remix of Shiny Toy Guns’ “Speaking Japanese” that ended up on their official UK album release.

I began performing fairly regularly at Beta Nightclub as it ascended to rank of “#1 club in the United States,” according to Rolling Stone, opening for such acts as The Crystal Method, ATB, Gareth Emery, Tommy Lee and more. I even made my way to the main stage at Red Rocks for Global Dance Festival, two years in a row. It wasn’t hard to sell myself at that time, having just performed at EDC Vegas after winning their Discovery Project contest in 2012, and releasing “Daymanstep,” a parody Dubstep remix of the “Dayman” song from It’s Always Sunny in Philadelphia that went viral. Though the remix was initially an unofficial bootleg, it resulted in another requested remix for FXX (“Paddy’s Theme: Ultimate Edition”), direct praise and support by the show’s cast members, promotion on the official It’s Always Sunny social media and—several years later—a collaborative remix project with the Sunny superfans TKO Paintings (“The Gang Becomes Art” and “Chemical Cricket,” as well as 1-minute clips tailored to their Instagram).

The same year as Daymanstep, I remixed “Obsession” by Animotion, off the GTA: Vice City soundtrack. Using footage from both the original 1984 music video and footage from the game, I made a remix video that caught the attention of Rockstar Games to the point that they posted it on their blog. It was through this bump by Rockstar that Animotion frontman Bill Wadhams discovered me and invited me to collaborate with the band for three of the tracks on their new album, “Raise Your Expectations.” The title track—produced by Wadhams and myself—made its way into an episode of the Netflix series, “Wet Hot American Summer: 10 Years Later,” and finally, I was invited to perform “Obsession” live with Animotion to a packed crowd at Fiddler’s Green for the “Lost 80s Live” tour.

There are other noteworthy accolades, such as two official remixes for Adam K, my collaboration with Lea Luna, “High Fidelity” being released on Tiesto’s Black Hole Recordings and featured by Ferry Corsten, before climbing to the #1 spot on Beatport’s Pulse chart, making the #1 fan-voted remix for the Daft Punk/Tron and Halo 4 remix contests on Indaba and the #1 fan-voted remix for David Lynch’s “Good Day Today” on Beatport, having my remix of Plaza De Funk’s “Superfunk” played by Kissy Sellout on BBC Radio One, collaborating with Florida artist “Mezo” for “Connected” which ended up on MTV.com, my Monty Python remix “Roger the Shrubber” getting retweeted by Roger the Shrubber himself Eric Idol, producing the soundtrack for a canceled smartphone app called “A Light,” and last but certainly not least, remixing R.E.M.’s “The One I Love,” which was posted on their blog and social media.

Oh, and I self-released another album called Aperture, on which I collaborated with a bunch of my friends who produce and play instruments. My wonderful autistic stepson makes a brief cameo in “A Lucid Dream,” I scratch my Pink Floyd itch in “Jekyll & Hyde,” I indulge my nihilistic side in “Reckless Millennial,” I express my wanderlust in “Eden,” and I once again collaborate with Lea Luna in “Stuck in my Head.” It goes to some dark places and some funny places. It’s all over the place, and I wanted it that way. The release party was one of the last shows at Beta before they closed down.

Currently, I am adding to my repertoire of sample pack work (between 2012 and 2014, I produced some top-selling sample packs for Beatport Sounds and their sublabel Sounds to Sample). In 2021, I’m, doing commissioned sound design for synth company Roland through Carma Studio. Some time in April of 2021, the audiobook that I narrated for “Sex.Drugs.DJ” by Blake Sheridan will be released. But the thing I’m currently looking forward to the most is releasing my collaboration with Tonal Space, “Scorpio” on the legendary Belgian imprint, Bonzai Progressive.

My other recent releases are less prolific, but they can be found on my artist pages on every digital music streaming service. “Make Weird Cool Again” from my “Dissolution EP” was in the top-10 Indie Dance charts on Beatport for a while, and my murder-themed Synthwave projects (which I will likely compile into a complete album titled, “Murderwave”) have gotten some traction as well.

As far as what the rest of 2021 and beyond have in store, only time—and my, uh, “hustle,” I guess—will tell.