Air Jazz Talks ‘Uncle Tomahawk,’ Mental Warfare, and the Sound of Alaska

Juneau-based hip-hop artist Air Jazz—short for Arias Jazzer—released his bold new EP Uncle Tomahawk on May 2, delivering a raw and cinematic project that blends airy jazz elements with aggressive, warrior-style beats. Inspired by Alaska’s vast landscapes and deep-rooted struggles, the album introduces a controversial anti-hero who targets abusers, traffickers, and corrupt systems with unapologetic force. Featuring collaborations with Killah Priest and Juneau producer CandyFailure, Uncle Tomahawk pushes Air Jazz’s sound into darker, more confrontational territory—challenging listeners to reckon with pain, justice, and the complexities of healing.

Where did the name Air Jazz come from, and how does it reflect your musical identity?

It’s actually an abbreviated form of my first and middle name—Arias Jazzer. But it also captures the essence of my sound: airy, jazzy hip-hop. I lean into spacious, atmospheric textures that let each element breathe, while still rooted in rhythm and soul.

Can you tell us a bit about where you’re from and how your environment shaped your sound?

I’m from Juneau, Alaska. It’s a place of glaciers, mountains, fjords, and the Tongass rainforest—it’s a marvelous landscape. That wide open, sometimes hauntingly quiet environment had a big impact on me. It made me gravitate toward vast, expansive musical soundscapes. My sound is definitely grounded in that sense of space and solitude.

We hear you have a new project on the horizon—what can you tell us about it?

Yeah, I just dropped a new EP called Uncle Tomahawk on May 2. It’s a short album built around this character I created—Uncle Tomahawk. He’s kind of an anti-hero for the Native and BIPOC community. He goes after people responsible for the harm plaguing our country—abuse, trafficking, exploitation, all of it. He’s flawed, even infected by mental illness himself, but he’s dead set on bringing justice, even if that means becoming a villain in the eyes of some.

How would you describe the sonic direction of this album compared to your past work?

This is a new direction for me. My last work, Manga Maniac, had a moodier, comic book-style sound. With Uncle Tomahawk, the production’s heavier—more horror elements, more aggressive percussion and samples. It reflects Uncle Tomahawk’s emotions—rage, grief, intensity. It’s still jazzy in moments, but way more combative.

Any collaborators or producers we should be excited about?

Definitely. I’ve got Killah Priest featured on the title track—his energy just brought the concept to another level. And one of the songs was co-produced by fellow Juneau artist CandyFailure, who’s doing amazing things out here.

What are you hoping fans take away from this next chapter of your sound?

I hope people understand that this project is a reflection of the pain and chaos in our communities—but also a call to action. I know my approach, and my words, won’t land with everyone. Some might even see me as the villain. But my goal is to expose hard truths, including my own mental struggles. Our people shouldn’t tolerate any kind of abuse or exploitation, and they don’t need to wait on someone like me to take a stand. They already have the power. Gunalchéesh.