Marlon G

I was born in the beautiful country of Trinidad & Tobago, where culture thrives on the sounds of Africa, India, and South America. Music has always been in my blood — my father was an acclaimed drummer for one of the nation’s top steel pan groups, and my mother won awards as a member of the national choir. With roots like that, my path in music was predestined.

At the age of seven, my family immigrated to Canada. Adapting to a new culture was a challenge, but I quickly discovered that music was the common language that could bridge any gap. From soul to rock and roll, I found myself immersed in new sounds that expanded my world.

As a teenager, I discovered the art of DJ’ing. The ability to move a crowd — reading their energy and feeding them the beats they craved — gave me a true sense of purpose. In the late ’80s, I moved from Montreal to Toronto, where I balanced odd jobs while pursuing my passion. With friends, I co-founded Big Shot Records and returned to DJ’ing under the name DJ Matrix, long before the movie trilogy made the name famous. My style blended old-school traditions with new forms, earning me recognition and opportunities that eventually led me to New York City and later to England, where I spent significant time in Birmingham developing and producing music for both local and international audiences.

In the U.S. and U.K., I worked with record companies like Dance Floor, Big Beat, Network, and Champion, and collaborated with artists such as Lisa Stansfield, Jomanda, Corina, Pandella, and groups like Loose Ends, A Man Called Adam, Inner City, and KWS on their #1 hit “Please Don’t Go.” I also contributed remixes and production for acts including Wu-Tang Clan, Cold Crush Brothers, Cornel Abrams, and Ann Saunderson.

Life brought me back to Montreal after the passing of my father. There, I launched my own label, Zicon Records, and soon after, found a new artistic path in theater. I became Musical Director for Denmark & Elsinore, a multimedia, multiethnic adaptation of Shakespeare’s Hamlet, where I had the honor of collaborating with my brother and sister — my sister directed and wrote the screenplay, my brother created the visual art, and I composed the music. Together, we transformed several of Shakespeare’s soliloquies into songs, blending deep house, hip hop, and Elizabethan text. The production earned critical acclaim, was featured in the Montreal Gazette, and ultimately recognized and inducted us into the Canadian Shakespearean Hall of Fame.

That spotlight opened new doors, leading me to collaborate with the Montreal Black Theatre Workshop on productions such as A Common Man’s Guide to Loving Women (2002) and Wade in the Water (2003). My musical soundscapes were subtle yet powerful, guiding audiences through captivating journeys that merged culture, rhythm, and storytelling.

My journey into theater naturally led to film, where I trained myself in scoring, sound design, Foley, ADR, and dialogue placement. I composed for the Canadian independent films Brilliant and Samhain through Warehouse Films, and eventually founded my own company, House of Grant, where I continue to create music and soundscapes.

After more than 35 years, my passion for music remains as strong as ever. My style may shift from project to project, but my trademark sound always shines through.