Interview: Moneyjaw continues his reinvention with new single Visions

On Visions, Moneyjaw and ZEALE land on something that feels both effortless and intentional. It’s a lean, bass-weighted house track that resists excess, letting groove and vocal interplay do the work. The official version rides on ZEALE’s crisp, conversational flow, while a bootleg featuring Anderson .Paak quietly circulates on Bandcamp.

Behind the Moneyjaw alias is Thomas Sahs, a Texas native whose path has taken in live electronic bands, sample-heavy beat tapes, and a string of collaborations across labels and genres. Now focused on club-ready material with a stripped, tactile sound, Sahs seems equally reflective and pragmatic, shaped by experience and a restless creative streak.

In this interview, he talks candidly about restraint, probation, bootlegging, and the lessons picked up across a varied and sometimes chaotic music career. It’s a conversation that’s as unvarnished as the track itself — measured, dryly funny, and refreshingly low on pretense.

Visions favours restraint over excess, with a groove that feels unforced but deliberate. Was that a conscious production choice from the outset, or something that emerged naturally as the track took shape?

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.

The bootleg version featuring Anderson .Paak offers a different lens on the track. How do you view the role of unofficial edits or bootlegs in shaping an artist’s creative ecosystem today?

Bootlegs are a tricky subject. I think they can be a powerful tool as they bridge the gap between the unknown and the known. If used strategically, they can work in a similar manner to a cover song in that they showcase the producer’s style while relating to the audience with a degree of familiarity. They worked well for artists like Disclosure and Kaytranada. I have always been a bootlegger myself. I started in 4th grade by buying blank tapes (3 for $1) and selling dubs of Guns N Roses Appetite for Destruction for $1 each to other kids at school. Later on, I started a bootleg label called Knockin’ Boots.

Your background spans live-electronic projects and beat-driven studio work. How have those earlier experiences influenced the way you now approach more stripped-back, club-focused production?

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 bc it’s hot right now and I have been making it since day 1. I am an expert in the tech house genre.

ZEALE’s vocal performance feels instinctive yet considered, sitting comfortably within the space of the track. What was the creative process like between the two of you, and how did the vocal evolve?

The Park version is the 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. 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.

Having spent time in Texas, LA and Miami, how have those different environments informed your sonic palette — and which location challenged you most creatively?

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.

The production on Visions is notably lean, with a focus on groove and tone over embellishment. How do you typically know when a track is finished, particularly when working with such a minimal aesthetic?

It’s usually when there is nothing left to do on the song. I generally try to simplify everything as much as possible because my mind constantly tries to complicate things. So guess it’s when I’ve heard the song enough times and have been able to eliminate as many imperfections as I can find. Ultimately though, most of the music I make is not that great, so hopefully things will continue to get better over time. I think the minimal aesthetic comes along with the genre.

You’ve contributed to a wide range of projects over the years, from Honey Claws to Knockin’ Boots. Is there a particular moment or lesson from those earlier collaborations that continues to shape your solo work as Moneyjaw?

Yes I can name the moments explicitly.

Knockin’ Boots – I learned that familiarity trumps over quality of sound. Our biggest record was a remix of Pink lol.

Honey Claws – I learned that no matter how much talent and resources you have, if you can’t get focussed on a working model, you can’t make it in this business. We had so many wonderful opportunities that we swindled because of interpersonal relationship issues.

FRZN+CHZN – I learned that your artists have to be committed to the project or else it won’t go anywhere. I worked with some great vocalists, but none of them were devoted enough to make the proper sacrifices to take it to another level.

Chrome Friends – I learned that vocals aren’t always necessary to making good music. Sometimes the wrong vocal will ruin a great beat.

Moneyjaw – I learned how to sound like myself. Now that I am practically 50, I have no time to try to imitate anyone else. Hopefully my skills will catch up with my creativity.

The press notes mention the track being made for “systems and summer air.” What kind of setting or context do you imagine Visions resonating in — and have there been any unexpected spaces where your music has landed particularly well?

Visions can be played in a dark nightclub. I honestly haven’t heard of anyone playing my latest music just yet. So who knows. With past projects, specifically Honey Claws, I was always intrigued by wide variety of personalities among our fans. We had and still have very loyal and passionate fans who are super creative among different mediums.

Visions is out now on Chrome Friends

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