Certified Banger: Whasup? Let’s begin with introductions: Who are you all and what part do you play in the Diversion Tactics machine?
Chubby: Frontman. Emcee. Recovering alcoholic.
Jazz T: Deejay. Producer. Promoter
Zygote: Producer, Engineer, Deejay
CB: Tell us about your new album. How would you compare it to your first album? What did you want to achieve with this release?
Jazz T: We toured hard off the first album so it was time to drop the new ish. Some of the tracks were performed live over the years anyway. As me and Zy had done our solo projects we all wanted to create another D.T. classic.
Chubby: It's a testament to keep doing your thing, making music your way and staying true to the culture. A little nudge to those that were full of it and ahead of themselves when we came up and ain't about no more. We got to remind people we still here in spite of all the Boot releases from the last eight years. We grown up. The music grown up. And still we proceed.
Zygote: The first album was sort of 15 years in the making; it was a lot of stuff we had to get off our chests. The new album has hints of the style of the first but also hints of maybe where we are going as well as where we are from.
CB: What are your personal favourite tracks of yours and why?
Jazz T: ‘Can't Swim’ and ‘Three Card Brag’ are my joints they're just bangers to me. Blade and Gritty smash it too.
Chubby: Yeah. ‘Can't Swim’. Felt lyrically up a level and better each listen.
Zygote: ‘Can’t Swim’, ‘12 Steps’, ‘Three Card Brag’. Our production style on those beats has matured, and so have Chubby’s lyrics.
CB: Your debut album was in HHC’s Top 50 UK albums back in 2007 – was that a surprise for you? Do you think it was deserved?
Jazz T: I think it was deserved. Personally I’m doing this to get as far as we can in the game so I believe in everything we put out. It was an honour to be recognised by others.
Chubby: It stands up as original and raw. Honest and authentic. In the Top 50 but how many more than that are there?
Zygote: Well yes there aren’t that many UK hip hop albums for starters. But it was nice to get that recognition.
CB: How did the hook up (on both albums) with J-Zone come about?
Jazz T: My colleague Junkbwoy and I brought him over to tour the UK in 2000. I spun the shows for him and we became fam from then.
Chubby: J-Zone, Shid and Hug like lived in my front room for the tour and became crew. They on the firm. To be produced by Jay for the new abum on ‘Back To School’ was progression. Some say it sounds like Grange Hill but Jay don't know about that so it's pure coincidence but gave me no choice about subject matter.
CB: What about the other features on the new album, the ones with Tim Dog, Percee P, Blade, D.Gritty and the rest, how did they happen?
Chubby: Blade is straight up family. The most honest bruvver from day one we met. He is the game.
Zygote: Tim and Percee happened because Jazz was Deejaying for them on UK tours. We hit the others up and they kindly obliged. Blade and Gritty: true Gents. As are Tommy Koi and The Last Skeptik.
CB: Tell us about Boot – are you running that or is it someone else? What can we expect from the label in the near future? Who else will be putting out on it?
Jazz T: Boot is our label - started by Zy. Me and Chubby help run it.
Chubby: Well. I been more involved last year since becoming sober. You can expect Kashmere, Badbonez, Jehst, Parky and my new solo album 'Recovery' with only the best emcees guesting on it out this year including Dubbledge, Skandal, Manage and Stig of the Dump plus all those mentioned.
Zygote: We are running it, but ultimately we just want to make music so it can be a struggle taking care of that side of things sometimes. But were on it, and we’ve got some quality product to come.
CB: How would you define Hip Hop?
Jazz T: People creating something out of nothing and settling differences through the artforms resulting from that.
Chubby: A state of mind. A mindset. An attitude. It's how you view everything from a Hip Hop perspective. KRS 1 says it better but it's like whoever you meet you wanna know how to Hip Hop they relate. Do you emcee, deejay, b-boy? How good at that are you? Show me. It's competitive. Rebellious. Freedom.
Zygote: Skills, Styles. Taking an idea and seeing how you can flip it a certain way. Showing your own style, appreciating someone else’s style; how they flipped something their way.
CB: Sticking with definitions: What are the defining Hip Hop moments of your lives?
Jazz T: Hearing the cuts on Herbie Hancock’s ‘Rockit’ in '81 and Hearing BDP’s ‘South Bronx’.
Chubby: The Hip Hop room at Dance Wicked later Westwood Live to London. Pulling off my first windmills. Battling. Jeru at Notting Hill Carnival. London Posse at the Fridge. Kool G Rap & Polo at Hammersmith Palais. Our debut live show Scratch at Scala in front of 1500 people. Buying my first Starter jacket from Four Star General when it was on Carnaby Street. I'm not sure all those that hear our music are aware of our history and years in the game.
Zygote: My older brother playing me ‘Fear of a Black Planet', and video tapes of Yo! MTV Raps. Watching my brothers mate scratch (albeit over old Hardcore), and practising myself. Those experiences sowed the seeds for me.
CB: What makes you do what you do? What drives you to continue the creativity, the live shows, the recorded output? Does it ever feel like it’s all too much? How do you get back into a positive mindset?
Jazz T: After 25 years you become a part of hip hop and have no choice but to keep on. It’s a hard genre to make a living out of over here but if it was easy we'd be talking about money, jewellery and gay s**t like that on our tracks!
Chubby: Too much? It's never enough. How do we get that bigger show? Perform more. Drop that absolute killer anthem track. Flip that incredible verse. How can we sell more units? Travel more. Work with other heroes. Hip Hop is limitless opportunity to create music to be proud of and inspire others. If you gonna say what you can and can't write about don't say it to me. You absolutely know in your soul when you made a piece of music that bangs. In time more folk will too.
Zygote: A desire to express myself in some way. A desire to express our styles to as many people as possible. F**k it, a desire to one day have a record listed in the Record Collector Rare Record Price Guide! I need to be creative for my own personal wellbeing, whether anyone ever hears it or gives me props, or not.
CB: How, if at all, do you balance your Hip Hop lives with all the real life stuff?
Jazz T: There is no separation its all one life.
Chubby: This is real life.
Zygote: I try to stay focussed on being creative.
CB: OK, different kinda question here: What is your favourite conspiracy theory and how much do you believe in it?
Jazz T: That Bob Lazar saw UFOs in Area 51. I don’t believe anything unless I see evidence.
Chubby: Don't get me started. Climate change got nothing to do with the sun? Polar bears can't swim? Neither can penguins? Earth's been cooling for the last decade hence global warming branded as 'climate change'. There is no scientific historical basis for the alarmism. It's all based on projection. Al Gore the main protagonist sits on the board of his own carbon trading company making billions from the new cap and trade investment vehicles propagandised by government. The oil companies are all 'going green' and welcoming the carbon emission taxes because it dramatically effects fossil fuel companies helping oil monopoly. Where's the debate? Sceptisism is met with cries of heresy and 'denier' so the average man in the street makes links with those that deny the holocaust. It's a religion. Phrases like 'new world order' and 'global governance' are now mainstream. Of course we must care for Mother Earth but CO2 is poisonous? Gimme a break. It's air. Plants breathe CO2. Now there's too many humans? You want to reduce population then allow Africa to industrialise and lower birth rates are a given. F**k me. Leave me alone.
Zygote: The ‘London 2010 logo is a Zionist Conspiracy’ conspiracy.
CB: Finally, what would you say to people who haven’t heard your music? What should they know about it?
Jazz T: We make hip hop ,it’s not local and the drums smack.
Chubby: You got to get on the firm. All these dope artists ain't down for nothing. They into it. If you don't like it, get to like it.
Zygote: Well put, Jazz: the drums…..smack.
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Monday, 1 February 2010
Monday, 11 January 2010
Chief Wigz Interview
Certified Banger: Alright? How’s it going?
CW: I’m good; the glass is always half full! I got the 12” out, album on the way, all produced by ‘Brutal Artistry’ may I add, and I’m rolling with an ill label, ‘Don’t Talk To Strangers’ - things have never been better.
CB: Let’s talk about your 12” then. What’s it called? What’s the thinking behind the orange vinyl – why is it orange and why is it vinyl and not just download or CD?
CW: ‘Sunday Service’ is the name of the first release. The thinking behind the vinyl (let alone the vinyl being limited edition orange vinyl) was that a classic product. Since I was a teenager my dream was to have my own vinyl, I want more already, it’s like having you’re own comic book printed and the story board is about you. It’s just a classic, traditional method of releasing material. Me and Brutal Artistry and DTTS as a label all want to practise the art form traditionally; anyone can release a download, some people put one out each week and that’s fine but we want our product to be permanent, we want you to be able to pick it up and be fascinated with it, not just put it on your ipod and it fall into years of endless un-listened music. We want you to use it as it was designed to be used classically! Anyways, vinyl’s still the new cool - all the kids are getting back into it. Trust.
CB: Are you cooking up any other ways to bring more desirable and exclusive ways of releasing music to this digitally obsessed age?
CW: Yes, But I’m not permitted to say at this point. That’s confidential, too many biters about. I’ve learnt to keep things locked ‘til it’s time for them to take cause. You’ll be the first to know though when ‘the desirables’ are ready.
CB: Tell us about the tracks on there. Why is the title track called ‘Sunday Service’?
CW: Ahh, the ‘Sunday Service’ thing is, me and Brutal Artistry used to link at Def Row studios on a Sunday morning cause I work long ass hours and it was the only time we could both link - once a week guarantied. I’d write all week and BA would be making beats then we would meet at the end of the week and record some vocals or just have a jam. After a year or so of this we started to merge with DTTS as a label and all the artists on the label started coming through on a Sunday morning. It then became known as Sunday Service; just as a joke at first, but then it became relevant and we embraced it. ‘Sunday Service’ is important to me, because nearly every track on my album was recorded at Sunday Service - all three tracks on the single were recorded or mixed at Sunday Service. All business, all the social networking I do is built up of Sunday Service once a week. It’s what I look forward to every other day of the week, it embodies the ideology of living a life of hip hop, for me, once a week coming together with your crew or clique to either chill, make music, kick a cipher, chat some business, or just catch up on what’s going on - treating it like a religion.
As for the track itself, ‘Sunday Service’ is a summarisation of all that, “timing is of every importance”, the time’s gotta be right for everything, recording, writing, practising, ciphering, timing of life, it ain’t luck, just good timing, believe, the track is a chilled out and has a old school vibe, slower lyrics to what I’m known for, yet still complex in the patterns of flow. BA’s beat reminds me of a relaxed Sunday morning.
The rest of the tracks on the single are taken from my self titled album, coming at the beginning of 2010. ‘Don Style’ and ‘DSB’ - both of them are working titles. ‘Don Style’ speaks for itself; a double-time tempo, again an old school vibe, featuring Shamain Pierre, an ill vocalist outta Bradford. Her style works well with my sound. It’s a message track, the lyrics are deep. ‘DSB’ stands for ‘Dirty Stinkin’ Beat’, this is a dark track with a question/answer style flow, complex lyrics with a twist of fantasy, and frustration – it’s very, very bassy. Personally, I think BA has killed it, the production on all three tracks is amazing, but ‘D.S.B’ is ill.
CB: The tracks on this 12” have a heavy but laid back old school feel to them – are we to expect more music like that or do you have more styles up your sleeve?
CW: Definitely more styles, I think the laid back old school feel is my influence and maybe even just the way I am. Don’t forget, all the production’s by BA. His style is always heavy. I like the sound of the music me and BA are making at the moment - standard! But we are always trying new ideas, different genres of music and Hip Hop; wait till you hear the album - a track named ‘Many Man’ featuring Bane of ‘No Pretense’. It’s not what you’d expect from me, Bane maybe? But not me.
I feel at home on most BA productions; he understands the style and sound I embody, so I think my music will always have a distinct sound to it even if we do step out of the comfort zone. You’ll always know if it’s a Chief Wigz track. We try and capture a classic sound.
CB: Yeah it’s true, you do have a distinctive sound. So that’s what you’re up to now. How did you get to this point now as an artist? Give us a bit of history.
CW: There’s too much so I’ll start mid-point with 9-Lives Clik, which like a phoenix, was born out of the ashes of Dr Wu’s. 9-Lives was my first crew that I used to roll with and still do but it’s taken a back seat for a minute while other members concentrate on other ventures. I had to focus, and other people were on some next tings so I got on with my own music. It doesn’t stop just because you’re not making music with the same people you always have done - gotta accept change an embrace it, not run in fear. I looked for other outlets; nothing was about, ‘til one night I met BA in Dewsbury, when 9-lives was playing ‘Break North’. We exchanged numbers andhe later brought me some beats up to a fish and chip shop I was working at. Next thing we recorded and began thinking bout putting an album together. I was tired of gigging in the same venues, lost enthusiasm for performing an just wanted to record music, that’s still where my passion lies. Back then I had just put out ‘Never Speak Ill of The Dead Vol 1’ and I wasn’t feeling it. I didn’t feel I had a solid backlog of music - just a few half arsed tracks. Even though I’d worked hard to get them few half arsed tracks they weren’t what I expected they would be, not for the amount of work I put in so I just wanted to stay in the studio and record when ever I could, perfect my style and enjoy what I was doing instead of stressing about it. I’m still in that mind frame now but that’s why I’ve got backlogs of material ready to release. I feel happier knowing that I’ve put the work in and earned what I’ve created instead of just settling for second best. Iain’tgot time to waste anymore, I’m getting on.
Anyways, Me and BA used the same studio as No Pretense and they started using BA productions too so they were hearing my material and let the label listen, we all got on well an through mutual love and appreciation we decided it would be good to put my music out through DTTS which brings us to the present day with my first single release ‘Sunday Service’ which I believe is the most solid work I’ve done to date. I’ve put the work in to get to where I feel proud of it; it took time and it couldn’t have been achieved with out a strong team around me… props to BA.
CB: I remember that the first time I saw you was at Dr. Wu’s in Leeds – that was years ago and that little place has shut down now. What’s good on the Leeds scene now?
CW: You’re asking the wrong guy really. I don’t keep up with what’s going on, I don’t really go out in Leeds, or consider my self part of the scene. I think if you asked the crews on the Leeds scene now they would say the same: I ain’t been about much for the past year or two. I do know what the old Leeds scene was like and the present Leeds scene seems far more productive than its predecessors. I seems that Leeds, in its present state is the catalyst for some of the freshest Hip Hop coming out of the UK at the moment (though I don’t like labelling it as UK Hip Hop, it’s Hip Hop whatever genre of Hip Hop). I look online at Certified Banger, Suspect Packages, etc and I see Leeds artists; Leeds crews making solid products for Hip Hop heads to go get. It’s not just in Leeds - it’s Bradford, Huddersfield - Yorkshire as a whole. We are all getting our acts together and doing it properly. The old Leeds scene never accomplished this and if it ever did, it was only a few who took it to that platform, and even if they did, they didn’t bring the scene with them. It’s clear to me whenever I am in Leeds that the scene is unified, that there are some cliques that are holding it down consistently. Although I ain’t in Leeds much, I’m proud to say I’m from Leeds. I’m glad to say my passion for music and Hip Hop started there and it continues to do that for the many man that come before and after me - Leeds Hip Hop scene is ill!
CB: You mentioned 9Lives and that it’s still going on in the background. What’s happening with your partners in rhyme right now?
CW: 9-Lives is still very much alive and kicking it. Proptic’s ‘Dark Cloud Project’ is coming soon via DTTS and 9-Lives is working, as we speak, on a 4 track EP again released by Don’t Talk To Strangers - there maybe a guest appearance of the strayed Eliphino (producer) on there but you’ll just have to wait and see - no promises. Optic runs Leeds mate! He knows everything going on, and knows everyone, never sleeps that guy, always up to something. 9-Lives never dies.
CB: We’ve talked present and past – what does the future hold for Chief Wigz?
CW: Hopefully more releases through DTTS. I’ve got ‘Never Speak Ill Vol 2’ done, so after the album release, we should be able to drop that too but DTTS have so many releases dropping this year or next it might be a while for that - 2010 definitely though. Expect the self titled album ‘Chief Wigz’ early 2010. Also I’m featured on numerous albums and projects - we have been working hard the last two years. The future is Don’t Talk to Strangers.
CB: Wrap it up with anything you feel like:
CW: Please support all the DTTS artists. We’ve all got releases dropping at the beginning of 2010 - classic Hip Hop on a global scale from the Yorkshire district and beyond. Don’t Talk To Strangers, Chief Wigz ‘Sunday Service’ 12” vinyl available at dtts.bigcartel.com, self titled album coming soon 2010 produced entirely by Brutal Artistry. For all other DTTS past and future releases visit Myspace/dtts or check out all good hip hop sites i.e. Certified Banger! Props CB, thanks for the time.
CW: I’m good; the glass is always half full! I got the 12” out, album on the way, all produced by ‘Brutal Artistry’ may I add, and I’m rolling with an ill label, ‘Don’t Talk To Strangers’ - things have never been better.
CB: Let’s talk about your 12” then. What’s it called? What’s the thinking behind the orange vinyl – why is it orange and why is it vinyl and not just download or CD?
CW: ‘Sunday Service’ is the name of the first release. The thinking behind the vinyl (let alone the vinyl being limited edition orange vinyl) was that a classic product. Since I was a teenager my dream was to have my own vinyl, I want more already, it’s like having you’re own comic book printed and the story board is about you. It’s just a classic, traditional method of releasing material. Me and Brutal Artistry and DTTS as a label all want to practise the art form traditionally; anyone can release a download, some people put one out each week and that’s fine but we want our product to be permanent, we want you to be able to pick it up and be fascinated with it, not just put it on your ipod and it fall into years of endless un-listened music. We want you to use it as it was designed to be used classically! Anyways, vinyl’s still the new cool - all the kids are getting back into it. Trust.
CB: Are you cooking up any other ways to bring more desirable and exclusive ways of releasing music to this digitally obsessed age?
CW: Yes, But I’m not permitted to say at this point. That’s confidential, too many biters about. I’ve learnt to keep things locked ‘til it’s time for them to take cause. You’ll be the first to know though when ‘the desirables’ are ready.
CB: Tell us about the tracks on there. Why is the title track called ‘Sunday Service’?
CW: Ahh, the ‘Sunday Service’ thing is, me and Brutal Artistry used to link at Def Row studios on a Sunday morning cause I work long ass hours and it was the only time we could both link - once a week guarantied. I’d write all week and BA would be making beats then we would meet at the end of the week and record some vocals or just have a jam. After a year or so of this we started to merge with DTTS as a label and all the artists on the label started coming through on a Sunday morning. It then became known as Sunday Service; just as a joke at first, but then it became relevant and we embraced it. ‘Sunday Service’ is important to me, because nearly every track on my album was recorded at Sunday Service - all three tracks on the single were recorded or mixed at Sunday Service. All business, all the social networking I do is built up of Sunday Service once a week. It’s what I look forward to every other day of the week, it embodies the ideology of living a life of hip hop, for me, once a week coming together with your crew or clique to either chill, make music, kick a cipher, chat some business, or just catch up on what’s going on - treating it like a religion.
As for the track itself, ‘Sunday Service’ is a summarisation of all that, “timing is of every importance”, the time’s gotta be right for everything, recording, writing, practising, ciphering, timing of life, it ain’t luck, just good timing, believe, the track is a chilled out and has a old school vibe, slower lyrics to what I’m known for, yet still complex in the patterns of flow. BA’s beat reminds me of a relaxed Sunday morning.
The rest of the tracks on the single are taken from my self titled album, coming at the beginning of 2010. ‘Don Style’ and ‘DSB’ - both of them are working titles. ‘Don Style’ speaks for itself; a double-time tempo, again an old school vibe, featuring Shamain Pierre, an ill vocalist outta Bradford. Her style works well with my sound. It’s a message track, the lyrics are deep. ‘DSB’ stands for ‘Dirty Stinkin’ Beat’, this is a dark track with a question/answer style flow, complex lyrics with a twist of fantasy, and frustration – it’s very, very bassy. Personally, I think BA has killed it, the production on all three tracks is amazing, but ‘D.S.B’ is ill.
CB: The tracks on this 12” have a heavy but laid back old school feel to them – are we to expect more music like that or do you have more styles up your sleeve?
CW: Definitely more styles, I think the laid back old school feel is my influence and maybe even just the way I am. Don’t forget, all the production’s by BA. His style is always heavy. I like the sound of the music me and BA are making at the moment - standard! But we are always trying new ideas, different genres of music and Hip Hop; wait till you hear the album - a track named ‘Many Man’ featuring Bane of ‘No Pretense’. It’s not what you’d expect from me, Bane maybe? But not me.
I feel at home on most BA productions; he understands the style and sound I embody, so I think my music will always have a distinct sound to it even if we do step out of the comfort zone. You’ll always know if it’s a Chief Wigz track. We try and capture a classic sound.
CB: Yeah it’s true, you do have a distinctive sound. So that’s what you’re up to now. How did you get to this point now as an artist? Give us a bit of history.
CW: There’s too much so I’ll start mid-point with 9-Lives Clik, which like a phoenix, was born out of the ashes of Dr Wu’s. 9-Lives was my first crew that I used to roll with and still do but it’s taken a back seat for a minute while other members concentrate on other ventures. I had to focus, and other people were on some next tings so I got on with my own music. It doesn’t stop just because you’re not making music with the same people you always have done - gotta accept change an embrace it, not run in fear. I looked for other outlets; nothing was about, ‘til one night I met BA in Dewsbury, when 9-lives was playing ‘Break North’. We exchanged numbers andhe later brought me some beats up to a fish and chip shop I was working at. Next thing we recorded and began thinking bout putting an album together. I was tired of gigging in the same venues, lost enthusiasm for performing an just wanted to record music, that’s still where my passion lies. Back then I had just put out ‘Never Speak Ill of The Dead Vol 1’ and I wasn’t feeling it. I didn’t feel I had a solid backlog of music - just a few half arsed tracks. Even though I’d worked hard to get them few half arsed tracks they weren’t what I expected they would be, not for the amount of work I put in so I just wanted to stay in the studio and record when ever I could, perfect my style and enjoy what I was doing instead of stressing about it. I’m still in that mind frame now but that’s why I’ve got backlogs of material ready to release. I feel happier knowing that I’ve put the work in and earned what I’ve created instead of just settling for second best. Iain’tgot time to waste anymore, I’m getting on.
Anyways, Me and BA used the same studio as No Pretense and they started using BA productions too so they were hearing my material and let the label listen, we all got on well an through mutual love and appreciation we decided it would be good to put my music out through DTTS which brings us to the present day with my first single release ‘Sunday Service’ which I believe is the most solid work I’ve done to date. I’ve put the work in to get to where I feel proud of it; it took time and it couldn’t have been achieved with out a strong team around me… props to BA.
CB: I remember that the first time I saw you was at Dr. Wu’s in Leeds – that was years ago and that little place has shut down now. What’s good on the Leeds scene now?
CW: You’re asking the wrong guy really. I don’t keep up with what’s going on, I don’t really go out in Leeds, or consider my self part of the scene. I think if you asked the crews on the Leeds scene now they would say the same: I ain’t been about much for the past year or two. I do know what the old Leeds scene was like and the present Leeds scene seems far more productive than its predecessors. I seems that Leeds, in its present state is the catalyst for some of the freshest Hip Hop coming out of the UK at the moment (though I don’t like labelling it as UK Hip Hop, it’s Hip Hop whatever genre of Hip Hop). I look online at Certified Banger, Suspect Packages, etc and I see Leeds artists; Leeds crews making solid products for Hip Hop heads to go get. It’s not just in Leeds - it’s Bradford, Huddersfield - Yorkshire as a whole. We are all getting our acts together and doing it properly. The old Leeds scene never accomplished this and if it ever did, it was only a few who took it to that platform, and even if they did, they didn’t bring the scene with them. It’s clear to me whenever I am in Leeds that the scene is unified, that there are some cliques that are holding it down consistently. Although I ain’t in Leeds much, I’m proud to say I’m from Leeds. I’m glad to say my passion for music and Hip Hop started there and it continues to do that for the many man that come before and after me - Leeds Hip Hop scene is ill!
CB: You mentioned 9Lives and that it’s still going on in the background. What’s happening with your partners in rhyme right now?
CW: 9-Lives is still very much alive and kicking it. Proptic’s ‘Dark Cloud Project’ is coming soon via DTTS and 9-Lives is working, as we speak, on a 4 track EP again released by Don’t Talk To Strangers - there maybe a guest appearance of the strayed Eliphino (producer) on there but you’ll just have to wait and see - no promises. Optic runs Leeds mate! He knows everything going on, and knows everyone, never sleeps that guy, always up to something. 9-Lives never dies.
CB: We’ve talked present and past – what does the future hold for Chief Wigz?
CW: Hopefully more releases through DTTS. I’ve got ‘Never Speak Ill Vol 2’ done, so after the album release, we should be able to drop that too but DTTS have so many releases dropping this year or next it might be a while for that - 2010 definitely though. Expect the self titled album ‘Chief Wigz’ early 2010. Also I’m featured on numerous albums and projects - we have been working hard the last two years. The future is Don’t Talk to Strangers.
CB: Wrap it up with anything you feel like:
CW: Please support all the DTTS artists. We’ve all got releases dropping at the beginning of 2010 - classic Hip Hop on a global scale from the Yorkshire district and beyond. Don’t Talk To Strangers, Chief Wigz ‘Sunday Service’ 12” vinyl available at dtts.bigcartel.com, self titled album coming soon 2010 produced entirely by Brutal Artistry. For all other DTTS past and future releases visit Myspace/dtts or check out all good hip hop sites i.e. Certified Banger! Props CB, thanks for the time.
Friday, 4 December 2009
Skandal Interview
Certified Banger: What’s up Skandal? How are things with you?
Skandal: Things are s**t bruv - my macbook just died on me! Imma jump off a building in a minute, I may have lost near 3 years of work and rough songs.
CB: Man that's bad - hope you revive it, then you can get a PC and transfer all the files! You’ve just dropped your mixtape ‘Hunger Pains’ with the mighty DJ MK. How well is that being received?
S: It's doing really well, to be honest. I knew it was a solid release due to the work we put in but it's done well; it got album of the week in The Independent newspaper!
CB: High praise indeed! Tell us a bit about it – is it a collection of stuff you’ve been working on over a short or long period of time? Are there original beats or dubs? How would you describe its overall sound?
S: I'd say I had my mind set on doing a mix CD with an idea of spitting that UK way over some of them down south beats (which I really happen to like). We threw some good old hardcore Dilla/Black Milk-esqe boom bap ish in to mix it up a lil. Overall the release has a very electronic sound to it with the exception of a couple soul samples on the down south beats.
Most of the tracks are dubs, not that many people will know the ones I've used and two joints are produced by Beat Butcha ('Bold As F**k' and 'Home Ec').
CB: Do you consider ‘Hunger Pains’ as your platform to higher things? What will you be doing next?
S: Yeh of course, I mean all this graft is gearing up to an album. I'mma put out a few good more mixtapes before I drop that as I'm still relatively unknown. But yeh onwards and upwards!
CB: What is your focus as a rapper – do you prefer story telling, lyricism, rhyme for rhymes sake – how would you describe your style as an MC?
S: A jack of all trades and a master of none! To be honest I'll try and do it all, story telling, straight bars, emotionally charged s**t, songs, hook based s**t, commercial ish. What ever I feel at the time. I mean I love Hip Hop so you know it's in me to "keep it real" no matter what I do.
CB: Your first official release (was it ‘Project A’?) was pretty different to the mixtape – the beats were more grimy. Where do you think you sit when it comes to genre? Are you embraced by both the Hip Hop and the Grime scene?
S: Mmmmm by the artists yeh. Like I've said before no one can say I'm wack, so I get love from both sides of that coin. I mean it's obvious I'm influenced by both genres. But I'd still say it's Hip Hop. Grime has a lot of elements of Hip Hop too so even if I work with a grime artist or do a Grime or Dubstep track I'mma still bring that essence we all know and love to the table.
CB: You featured on the first volume of my ‘On The Radar’ series and it’s good to see how you’ve grown and progressed in the year since that dropped – what advice would you give to an underground artist about surviving in this game? Is there a particular formula?
S: Yeh safe for putting me on there bro, it gave me a leg up at the time. Umm as for advice, all I can say is if you like my progression and you wanna follow that formula all I'd say is curb your ego, listen to criticism and take it on board, especially if its one of your peers or someone you rate. Pay attention to producers and listen to any direction they or your engineer maybe give you. Oh and dedication. Work hard and be dedicated.
CB: I’m always on the look out for new artists to support – who is worth my support in 2010?
S: Me!
CB: What would you rather have – 50 Cent’s money, Jay-Z’s rhymes or Eminem’s pop star status?
S: Ooo you making me think here, mmm if I had 50 Cent's money that would mean I'd have his business acumen right? That's a string I've yet to add to my bow and that money would help push my music to another level commercially and internationally so I'll go wit Fiddy!
CB: OK, so if you could choose one thing (skill, style, image etc) from one rapper to have as your own what would you choose? If someone had to pick one of your attributes to be theirs, which do you think they’d take?!
S: You know what, I haven't got an image, it's not something I set out to have or I'd have one right? But I've noticed you need one to stand out from the crowd. Everyone has an image from Immortal Technique to Lil' Wayne and that's one thing I'm lacking. I'd have to take, Bubba Sparks! Naaa I'm playing... I'd try and create my own image dawg, I can't be on that plagiarism shiiiiiiet!
As for mine I know it wouldn't be the nose picking, I'd have to say it would be my work ethic, not many are matching mine these days. We could all do with some hunger pains!
CB: Thanks for answering my (sometimes strange) questions. Anything you’d like to add before we finish?
S: Naa fam I'm good. Bless it up yeh. Shout out to all my real heads! Oh yeh check djgone.tv
Peace
Skandal: Things are s**t bruv - my macbook just died on me! Imma jump off a building in a minute, I may have lost near 3 years of work and rough songs.
CB: Man that's bad - hope you revive it, then you can get a PC and transfer all the files! You’ve just dropped your mixtape ‘Hunger Pains’ with the mighty DJ MK. How well is that being received?
S: It's doing really well, to be honest. I knew it was a solid release due to the work we put in but it's done well; it got album of the week in The Independent newspaper!
CB: High praise indeed! Tell us a bit about it – is it a collection of stuff you’ve been working on over a short or long period of time? Are there original beats or dubs? How would you describe its overall sound?
S: I'd say I had my mind set on doing a mix CD with an idea of spitting that UK way over some of them down south beats (which I really happen to like). We threw some good old hardcore Dilla/Black Milk-esqe boom bap ish in to mix it up a lil. Overall the release has a very electronic sound to it with the exception of a couple soul samples on the down south beats.
Most of the tracks are dubs, not that many people will know the ones I've used and two joints are produced by Beat Butcha ('Bold As F**k' and 'Home Ec').
CB: Do you consider ‘Hunger Pains’ as your platform to higher things? What will you be doing next?
S: Yeh of course, I mean all this graft is gearing up to an album. I'mma put out a few good more mixtapes before I drop that as I'm still relatively unknown. But yeh onwards and upwards!
CB: What is your focus as a rapper – do you prefer story telling, lyricism, rhyme for rhymes sake – how would you describe your style as an MC?
S: A jack of all trades and a master of none! To be honest I'll try and do it all, story telling, straight bars, emotionally charged s**t, songs, hook based s**t, commercial ish. What ever I feel at the time. I mean I love Hip Hop so you know it's in me to "keep it real" no matter what I do.
CB: Your first official release (was it ‘Project A’?) was pretty different to the mixtape – the beats were more grimy. Where do you think you sit when it comes to genre? Are you embraced by both the Hip Hop and the Grime scene?
S: Mmmmm by the artists yeh. Like I've said before no one can say I'm wack, so I get love from both sides of that coin. I mean it's obvious I'm influenced by both genres. But I'd still say it's Hip Hop. Grime has a lot of elements of Hip Hop too so even if I work with a grime artist or do a Grime or Dubstep track I'mma still bring that essence we all know and love to the table.
CB: You featured on the first volume of my ‘On The Radar’ series and it’s good to see how you’ve grown and progressed in the year since that dropped – what advice would you give to an underground artist about surviving in this game? Is there a particular formula?
S: Yeh safe for putting me on there bro, it gave me a leg up at the time. Umm as for advice, all I can say is if you like my progression and you wanna follow that formula all I'd say is curb your ego, listen to criticism and take it on board, especially if its one of your peers or someone you rate. Pay attention to producers and listen to any direction they or your engineer maybe give you. Oh and dedication. Work hard and be dedicated.
CB: I’m always on the look out for new artists to support – who is worth my support in 2010?
S: Me!
CB: What would you rather have – 50 Cent’s money, Jay-Z’s rhymes or Eminem’s pop star status?
S: Ooo you making me think here, mmm if I had 50 Cent's money that would mean I'd have his business acumen right? That's a string I've yet to add to my bow and that money would help push my music to another level commercially and internationally so I'll go wit Fiddy!
CB: OK, so if you could choose one thing (skill, style, image etc) from one rapper to have as your own what would you choose? If someone had to pick one of your attributes to be theirs, which do you think they’d take?!
S: You know what, I haven't got an image, it's not something I set out to have or I'd have one right? But I've noticed you need one to stand out from the crowd. Everyone has an image from Immortal Technique to Lil' Wayne and that's one thing I'm lacking. I'd have to take, Bubba Sparks! Naaa I'm playing... I'd try and create my own image dawg, I can't be on that plagiarism shiiiiiiet!
As for mine I know it wouldn't be the nose picking, I'd have to say it would be my work ethic, not many are matching mine these days. We could all do with some hunger pains!
CB: Thanks for answering my (sometimes strange) questions. Anything you’d like to add before we finish?
S: Naa fam I'm good. Bless it up yeh. Shout out to all my real heads! Oh yeh check djgone.tv
Peace
Tuesday, 17 November 2009
Vee Kay Interview Number 2!
Certified Banger: Can you tell us your necessary background details so we can build on basics for the rest of the interview? For example: who you are, where you are from, projects you have worked on, people you have worked with.
Vee Kay: I'm Vee Kay, I make Hip Hop and trans-atlantic-speed-bhangra. It's a fairly new genre, but it's coming on with quite a following - so far there's about 14 people into it!
CB: How would you describe your sound? Is there any one track that would best define your style?
VK: My sound is a mixture of Rice Krispies and chocolate. Oh, sorry, that’s Krispy Cakes. Well then my style is just whatever it comes out like at the time of creation - sometimes I'll make a beat with an artist in mind and we'll go from there, otherwise it's whatever sound I find that inspires me first.
CB: Who have been your biggest musical influences and which Hip Hop producers have inspired you?
VK: Biggest musical influences are people that I grew up listening to like The Big Bopper or Frankie Goes To Hollywood....also Annie Lennox.....later on, when it came to Hip Hop I always wanted to make beats like Wyclef and A+.
CB: Do you have a musical background? Do you play any instruments?
VK: I got a Kazoo and a Penny Whistle. The Kazoo got some pimped up diamantes on it, so you know that s**t bangs.
CB: How did you find out that you were handy when it came to crafting beats?
VK: My old producer went off and started making music for Pete Waterman, so I decided that after they didn't want my dulcet tones on their tunes that I'd go back to underground hip hop and pretend that I never sold out....the rest is history...
CB: Do you feel like many producers are overlooked or overshadowed by the MC's that rap on their beats?
VK: Yeah, some producers are really unlucky and get overlooked.....Andy from Wham was a brilliant songwriter, but George Michael f**ked him off and went solo. Same with Kanye - Jay Z overshadowed Kanye on their tunes, but that’s cos Kanye sucks.
CB: What are your three pieces of equipment do you value most when it comes to production?
VK: I got a AMD Athalon PC that I got from my mate Dave, it's got a 10GB hard drive and 32KBS of RAM, so its fast as hell, I also got Cubase 5 which is what I use to sequence my Akai s20 with 16 seconds of sample time.....I also got a broom to keep my s**t tidy!
CB: What other programs/equipment do you use?
VK: Sometimes I use a mic to record vocals, but most of the time I rock some headphones through the input so I can keep it grimey. Programmes wise I download all my samples from Limewire.
CB: What process do you go through when writing a track? Do you start with a tune, a sample, a drum beat or a concept? What happens next?
VK: Most of the time I'll get a track that I really like, like Black Eyed Peas, put that into the sequencer, then I'll layer my sounds and drums EXACTLY the same as they are on the B.E.P tune, then once I've finished, I mute the B.E.P tune and voila! I got myself a banger straight up.
CB: How do you prefer to work when collaborating with rappers? Do you both get in the studio and write together or is there a separate process?
VK: I got a slight case of Agraphobia, not massive, but sometimes I get nervous around rappers, mainly because I hear them sounding really aggressive on the tracks. If I want some vocals then I'll usually myspace them and see if they can record at theirs and then send me the stems. Black Eye Peas don't come across aggressive so I'd be happy getting in the studio with them, but that’s about it.
CB: Have you ever been given some invaluable advice when it comes to producing? What tips would you give to an aspiring Hip Hop producer?
VK: Someone once told me that you should never, and I mean NEVER, start the bar with the snare at the beginning, basically switching the pattern of the drums. Snare, Kick, Snare, Kick. It's true too, it sounds awful. If you want to make Hip Hop, the best advice I can give you is to get on myspace, get limewire, a copy of a sequencer and then just loop everything up. No one cares about finding vinyl anymore, so get in while it's easy!
CB: What can we expect from you in the future? Are you currently working on any exciting projects?
VK: I'm working on a 16 track concept album that’s like a Jazz odyssey, but completely inspired by Buddy Holly. He was massive into his Jazz, and if he hadn't have died, he'd have been a pioneer of Hip Hop. There's no proof of that, but it is fact. Before he died he was tentatively in talks with Herbie Hancock to work together. I'm currently looking for labels for it at the moment.
CB: Any last words or plugs?
VK: Enjoy life and live each moment like it's your last. Do one thing a day that scares you and never throw a 15 year old to the floor - there's a good chance they'll punch you in the ear!
Vee Kay: I'm Vee Kay, I make Hip Hop and trans-atlantic-speed-bhangra. It's a fairly new genre, but it's coming on with quite a following - so far there's about 14 people into it!
CB: How would you describe your sound? Is there any one track that would best define your style?
VK: My sound is a mixture of Rice Krispies and chocolate. Oh, sorry, that’s Krispy Cakes. Well then my style is just whatever it comes out like at the time of creation - sometimes I'll make a beat with an artist in mind and we'll go from there, otherwise it's whatever sound I find that inspires me first.
CB: Who have been your biggest musical influences and which Hip Hop producers have inspired you?
VK: Biggest musical influences are people that I grew up listening to like The Big Bopper or Frankie Goes To Hollywood....also Annie Lennox.....later on, when it came to Hip Hop I always wanted to make beats like Wyclef and A+.
CB: Do you have a musical background? Do you play any instruments?
VK: I got a Kazoo and a Penny Whistle. The Kazoo got some pimped up diamantes on it, so you know that s**t bangs.
CB: How did you find out that you were handy when it came to crafting beats?
VK: My old producer went off and started making music for Pete Waterman, so I decided that after they didn't want my dulcet tones on their tunes that I'd go back to underground hip hop and pretend that I never sold out....the rest is history...
CB: Do you feel like many producers are overlooked or overshadowed by the MC's that rap on their beats?
VK: Yeah, some producers are really unlucky and get overlooked.....Andy from Wham was a brilliant songwriter, but George Michael f**ked him off and went solo. Same with Kanye - Jay Z overshadowed Kanye on their tunes, but that’s cos Kanye sucks.
CB: What are your three pieces of equipment do you value most when it comes to production?
VK: I got a AMD Athalon PC that I got from my mate Dave, it's got a 10GB hard drive and 32KBS of RAM, so its fast as hell, I also got Cubase 5 which is what I use to sequence my Akai s20 with 16 seconds of sample time.....I also got a broom to keep my s**t tidy!
CB: What other programs/equipment do you use?
VK: Sometimes I use a mic to record vocals, but most of the time I rock some headphones through the input so I can keep it grimey. Programmes wise I download all my samples from Limewire.
CB: What process do you go through when writing a track? Do you start with a tune, a sample, a drum beat or a concept? What happens next?
VK: Most of the time I'll get a track that I really like, like Black Eyed Peas, put that into the sequencer, then I'll layer my sounds and drums EXACTLY the same as they are on the B.E.P tune, then once I've finished, I mute the B.E.P tune and voila! I got myself a banger straight up.
CB: How do you prefer to work when collaborating with rappers? Do you both get in the studio and write together or is there a separate process?
VK: I got a slight case of Agraphobia, not massive, but sometimes I get nervous around rappers, mainly because I hear them sounding really aggressive on the tracks. If I want some vocals then I'll usually myspace them and see if they can record at theirs and then send me the stems. Black Eye Peas don't come across aggressive so I'd be happy getting in the studio with them, but that’s about it.
CB: Have you ever been given some invaluable advice when it comes to producing? What tips would you give to an aspiring Hip Hop producer?
VK: Someone once told me that you should never, and I mean NEVER, start the bar with the snare at the beginning, basically switching the pattern of the drums. Snare, Kick, Snare, Kick. It's true too, it sounds awful. If you want to make Hip Hop, the best advice I can give you is to get on myspace, get limewire, a copy of a sequencer and then just loop everything up. No one cares about finding vinyl anymore, so get in while it's easy!
CB: What can we expect from you in the future? Are you currently working on any exciting projects?
VK: I'm working on a 16 track concept album that’s like a Jazz odyssey, but completely inspired by Buddy Holly. He was massive into his Jazz, and if he hadn't have died, he'd have been a pioneer of Hip Hop. There's no proof of that, but it is fact. Before he died he was tentatively in talks with Herbie Hancock to work together. I'm currently looking for labels for it at the moment.
CB: Any last words or plugs?
VK: Enjoy life and live each moment like it's your last. Do one thing a day that scares you and never throw a 15 year old to the floor - there's a good chance they'll punch you in the ear!
Phoenix Da Icefire Interview
Certified Banger: Tell us about Phoenix Da Icefire - who is he?Phoenix Da Icefire: The character I have created goes by the name of Phoenix Da Icefire, he is my alter ego, much more fierce and stronger than I show in my day to day life, I feel like I can do almost anything when I slip into the character of Phoenix.
I am also the other half of Higher Heights and was responsible for bringing out the ‘Anathema’ LP by Triple Darkness, I first featured on ‘High Fidelity’ (by M9) on a track called ‘Holy Water’ and a track that I have got for my album called ‘Mental Prisoners’. I put it on there so I could test the waters with the UK scene.
CB: You’ve just released your mixtape ‘Baptism Under Fire’. What else is on the way?
PDI: I’ve got an album coming called ‘Right Timing the Quantum Leap’, it features Kyza Smirnoff, Triple Darkness, 9 Planets, Jah Miracle, Midas Touch, Yasine and El Crisis.
CB: Which words best describe your style?
PDI: The best way to describe my style is “free style”. I don’t believe in being caged behind my own bars like prison, my music is supposed to set me free, that’s why every track sounds different, I can do almost anything but my usual sound would be a cross between Common, Mos Def, Talib Kweli and Wu-Tang all in one.
CB: Who have been your biggest musical influences and which Hip Hop artists have inspired you? Which are your favourite albums? What music were you brought up on?
PDI: I was brought up on The Fugees, Nas’s ‘It Was Written’ for me was one of my favourites, Killah Priest, Canibus for his battle style rap, Talib Kweli, Common and Mos Def to name a few.
CB: When was the first time you rapped?
PDI: There was a sound track to Space Jam, which had Busta Rhymes, Method Man and LL Cool J on it (‘Hit ‘Em High’) and me and my younger brother practised it and learnt all the verses to that song.
CB: Haha, me and my brother did the same thing with the same song! So, who else have you grown with musically?
PDI: There are a lot of talented people round my way - P-Money, Firmer Dee AKA Funky De, Little D, Blacks and AKS - we used to all be in a crew together and now I see everyone branching off and taking it to the limit. It was a garage crew back then and now I’m in a group with AKS as well as J Da Exodus called Midas Touch so it’s funny how it works out.
CB: What are your thoughts on the current state of Hip Hop?
PDI: I think hip hop has now become the voice of the corporate rather than the people now, but these days people are waking up and getting wise to the lies that are being fed to them everyday and they want to hear conscious music because they can relate to the real issues they face everyday as opposed to hearing about the girl they might meet at a club!
CB: What process do you go through when writing a track? Do you start with a beat, a concept, a lyric that you thought of in the shower? What happens next?
PDI: Have you ever used the term vibe? Well that in itself is a subconscious grasp on the fact that everything is made of vibrations - what I do is listen to the vibe or vibration of the track and try to align myself with what I hear. In other words I tune myself into the instrumental, once I’ve done that I get a title and a melody for the chorus if there is any. I believe the instrumental itself and the rapper or singer are two separate halves like man and woman and it’s up to the artist to know whether he/she is the right fit.
CB: Interesting and very different answer! Where do you hope to see yourself in 5 years, 10 years time? Is it an achievable goal?
PDI: I plan on being the UK’s landmark for Hip Hop.
CB: Highly aspirational! Any last words?
PDI: To all the artists out there have a clear goal in what you are trying to achieve, make sure its realistic and you are true to yourself and you will succeed in anything and everything.
Wednesday, 16 September 2009
Delusionists Interview
Certified Banger: Can you tell us your necessary background details so we can build on basics for the rest of the interview? For example: who you are, projects you have worked on, people you have worked with.
Ben Black: Ben Black aka Beanz aka that rapper/producer out of Delusionists. We dropped our debut EP 'The Prolusion' earlier this year, which was a strictly in-house production. Off the strength of that we're starting to link with some other heads so we've got a few remixes and collabos bubbling beneath the surface... Some of it has come off the back of being on OTR4 so big up to Certified Banger for that!
CB: What are your current or upcoming projects? ie albums, singles, tours, guest spots…
BB: At the moment we're still pushing 'The Prolusion'. We're pressing hard copies of it and trying to get 'em in people's hands at shows and when we're out and about. There'll be a few bonus cuts on there too - remixes and a couple of other things we've been working on lately, like 'The Movement' which we dropped a couple of weeks back. Oh, and a remix of 'Parallel Worldz'.
The album is also well and truly in the works and I'm enjoying writing it and piecing it all together. I've produced all of our stuff myself so far but I'm taking a bit of a backseat this time and my boy Slim Pickens (UK All Day) has stepped up to handle a lot of the beats. He did The Movement and it instantly just seemed to fit, so we're using that as the blueprint for the way forward. We're also trying to hook up a few suprise collabos for the project, which should get people excited if it comes to fruition...
CB: How would you describe your sound? Is there any one track that would best define your style?
BB: Difficult to say, man! 'The Prolusion' was all about finding our sound really so you'll find a mix of styles on there. Fast, slow, happy, sad, clever, ignorant... It kind of shows the full repetoire of what we could do at the time.
I suppose 'The Evil' sums us up best though, because it deals with two sides of a coin. It's like a message to females saying "Look, I am a twat, I will do twattish things. But I KNOW I'm a twat and I intend to change'. A lot of hip hop deals with the first part, in that it puts a spotlight on the negative behaviour but doesn't always acheive a balance by showing the other side. I suppose we're coming from a similar angle to someone like Common - he's said some pretty ignorant s**t in his time, particularly in his early career, but it's always tempered with the conscious, insightful stuff. Some people would say that's contradictory but humans aren't one dimensional, so music should reflect that.
But yeah, you'll hear a lot of cocky, bragging stuff from us because that's what we enjoy, but you might just hear some deeper stuff if you listen close enough. I like the type of Hip Hop where you won't necessarily pick up on things until you've had a few listens, so we try to make stuff that has a little something beneath the surface.
CB: Who have been your biggest musical influences and which Hip Hop artists have inspired you? Which are your favourite albums? What music were you brought up on?
BB: I was chatting about this to DBF (fellow Delusionists MC) the other day and we agreed that pound-for-pound Jay-Z has probably been our biggest influence over the years. Can't say I'm too impressed with BP3 though...
Other than him, I'd say De La, Tribe, DOOM and Jehst have all been massive influences at various points in my development as an emcee. De La and Tribe because they showed that you don't have to be "hard" to make proper Hip Hop. DOOM because I love the way he just seems to be having a laugh without being a corny punchline rapper. And Billy Brimstone because he's consistently proved that a Brit can be up there with the best in the world, and that gives you belief!
I could write a huge list of my favourite albums but the ones that spring to mind? 'The Score', 'ATLiens', 'The Chronic', 'Midnight Marauders' and more recently Q-tips' 'The Renaissance'. And now I feel bad because I've left out loads of classic albums... '36 Chambers'! Oh, and just to avoid being a complete cliche, 'Illmatic' probably isn't in my top ten.
CB: What is your earliest memory of anything Hip Hop related? First rap track heard? First time you rapped?
BB: My earliest Hip Hop memory was my brother playing 'The Show' in the mid-80s. Inspector Gadget was my s**t at the time and when I heard that theme music mixed with that beat I was hooked from then on. I've got to thank my big bro really, for letting me watch them breakdancing movies with him and letting me 'borrow' his Eric B and Rakim records. Yep, I've still got 'em and no, you ain't gettin' 'em back!
I did fanny about with poetry for a bit but I wrote my 1st rap when I was about 10. It was for a school project about tbe Tudors. Henry VIII was the original gangsta! "F**k a pimp slap, cut that bitch's head off!" Me and a few others performed it to the class and when i realised that I could get away with doing that instead of proper work there was no stopping me. Our next one was about Ancient Egypt and I've been writing gradually less educational rhymes ever since.
CB: Where are you from? Can you tell us a bit more about the Hip Hop scene there?
BB: Well, I've lived in West London for the last few years but I was brought up in Lowestoft (Google it). There wasn't any sort of Hip Hop scene, other than a few of us who used to play basketball and listen to whatever The Source told us to. It was good though because it made me go out and seek Hip Hop culture and allowed me to have a fairly unique take on it without being influenced by friends or whoever saying this or that is what i should be into. I didn't really feel that peer pressure to be into any acts in particular, because nobody else really had a f**king clue about Hip Hop. I think you also value stuff more if it's hard to come by, y'know? Which is probably what's up with things at the moment - you don't even have to walk to the shop to get an album now, let alone pay for it! I can remember saving up for weeks just so I could go and get the Dogg Pound album when it eventually came out in the local record shop (about a year after it was released).
CB: What about the Hip Hop scene in general, UK or worldwide – where do you think it’s headed? Are things good/bad? What are your current philosophical thoughts on the current trends in rap music?
BB: Arrrgghhh! The current trends... Well, there is a lot of shit out there. That's my philosophical insight! But nah, there's always been rubbish out there, it's just that now the rubbish is getting some exposure. I'm a bit suspicious of big name DJs getting behind acts that have their ads all over telly and the internet, like "You really like that? Really!?!". Maybe I'm just being cynical but it's a bit strange that you want to co-sign something with a big marketing budget but you don't say f**k all about something of real quality like 'The A-loop Theory'. That's not supporting the scene, it's damaging it by making the general public think "oh, so this is what British Hip Hop sounds like...".
But I've gotta say, although it hurts to see hip hop bastardised and repackaged to suit the teeny boppers you can't be that mad. I can't lie, I liked Kriss Kross and MC Hammer as a kid - who didn't? As long as there's some balance I think Hip Hop will be okay, but if Gang Starr came back sampling 2 Unlimited I'd be worried. What's reassuring is that hip hop will always rebel against itself. For example, there's a lot of people trying to 'Push the boundaries' production wise and neglecting the lyrics a bit. But I think there's a lot of fans who just want to hear some no-nonsense music and entertaining lyrics, which hopefully is where we come in.
CB: What process do you go through when writing a track? Do you start with a beat, a concept, a lyric that you thought of in the shower? What happens next?
BB: It's any and all of those things! Quite often i'll just hear a word or phrase and think "I've never heard that on a record" and I'll think of something that rhymes with it and take it from there. That's one way to stay original I suppose. More concept-heavy songs can take ages to write though. Sometimes a beat conjures a certain emotion and you want to do it justice so you have to choose your words carefully. I've just started writing to other people's beats and that's much easier coz you're not thinking 'That bassline's a bit muffled" or whatever. You can just concentrate on the lyrics and let the producer take the blame if people don't like the beat!
CB: Where do you hope to see yourself in 5 years, 10 years time? Is it an achievable goal?
BB: I want to be in a position where we can put out music from ourselves and others and have a fanbase that trust us to consistently put out strong product. If I can sort out the business side of things so i can do my bit for the artform and support my family, i'll be happy. I know it's gonna be a long, hard road but If I didn't think it was achievable I wouldn't bother.
CB: Any last words?
BB: Yeah, I haven't had a chance to do the whole cliched shout out thing yet so... Big up all the people that have got behind Delusionists so far; Certified Banger (obviously), Disorda, HHC, HipHopHypeDog and all the bloggers, DJs and heads who have let us know we're doing something right.
Also, shout out to the crew - DBF, Chantelle, Zombie Killer, PITMO, Mr Baker, Slim Pickens and King Hektah. Oh, and go cop 'The Prolusion' and keep in touch on Facebook or Twitter and check out the blog, Beats Laying About - it's not exactly Certified Banger but we do our thing!
Ben Black: Ben Black aka Beanz aka that rapper/producer out of Delusionists. We dropped our debut EP 'The Prolusion' earlier this year, which was a strictly in-house production. Off the strength of that we're starting to link with some other heads so we've got a few remixes and collabos bubbling beneath the surface... Some of it has come off the back of being on OTR4 so big up to Certified Banger for that!
CB: What are your current or upcoming projects? ie albums, singles, tours, guest spots…
BB: At the moment we're still pushing 'The Prolusion'. We're pressing hard copies of it and trying to get 'em in people's hands at shows and when we're out and about. There'll be a few bonus cuts on there too - remixes and a couple of other things we've been working on lately, like 'The Movement' which we dropped a couple of weeks back. Oh, and a remix of 'Parallel Worldz'.
The album is also well and truly in the works and I'm enjoying writing it and piecing it all together. I've produced all of our stuff myself so far but I'm taking a bit of a backseat this time and my boy Slim Pickens (UK All Day) has stepped up to handle a lot of the beats. He did The Movement and it instantly just seemed to fit, so we're using that as the blueprint for the way forward. We're also trying to hook up a few suprise collabos for the project, which should get people excited if it comes to fruition...
CB: How would you describe your sound? Is there any one track that would best define your style?
BB: Difficult to say, man! 'The Prolusion' was all about finding our sound really so you'll find a mix of styles on there. Fast, slow, happy, sad, clever, ignorant... It kind of shows the full repetoire of what we could do at the time.
I suppose 'The Evil' sums us up best though, because it deals with two sides of a coin. It's like a message to females saying "Look, I am a twat, I will do twattish things. But I KNOW I'm a twat and I intend to change'. A lot of hip hop deals with the first part, in that it puts a spotlight on the negative behaviour but doesn't always acheive a balance by showing the other side. I suppose we're coming from a similar angle to someone like Common - he's said some pretty ignorant s**t in his time, particularly in his early career, but it's always tempered with the conscious, insightful stuff. Some people would say that's contradictory but humans aren't one dimensional, so music should reflect that.
But yeah, you'll hear a lot of cocky, bragging stuff from us because that's what we enjoy, but you might just hear some deeper stuff if you listen close enough. I like the type of Hip Hop where you won't necessarily pick up on things until you've had a few listens, so we try to make stuff that has a little something beneath the surface.
CB: Who have been your biggest musical influences and which Hip Hop artists have inspired you? Which are your favourite albums? What music were you brought up on?
BB: I was chatting about this to DBF (fellow Delusionists MC) the other day and we agreed that pound-for-pound Jay-Z has probably been our biggest influence over the years. Can't say I'm too impressed with BP3 though...
Other than him, I'd say De La, Tribe, DOOM and Jehst have all been massive influences at various points in my development as an emcee. De La and Tribe because they showed that you don't have to be "hard" to make proper Hip Hop. DOOM because I love the way he just seems to be having a laugh without being a corny punchline rapper. And Billy Brimstone because he's consistently proved that a Brit can be up there with the best in the world, and that gives you belief!
I could write a huge list of my favourite albums but the ones that spring to mind? 'The Score', 'ATLiens', 'The Chronic', 'Midnight Marauders' and more recently Q-tips' 'The Renaissance'. And now I feel bad because I've left out loads of classic albums... '36 Chambers'! Oh, and just to avoid being a complete cliche, 'Illmatic' probably isn't in my top ten.
CB: What is your earliest memory of anything Hip Hop related? First rap track heard? First time you rapped?
BB: My earliest Hip Hop memory was my brother playing 'The Show' in the mid-80s. Inspector Gadget was my s**t at the time and when I heard that theme music mixed with that beat I was hooked from then on. I've got to thank my big bro really, for letting me watch them breakdancing movies with him and letting me 'borrow' his Eric B and Rakim records. Yep, I've still got 'em and no, you ain't gettin' 'em back!
I did fanny about with poetry for a bit but I wrote my 1st rap when I was about 10. It was for a school project about tbe Tudors. Henry VIII was the original gangsta! "F**k a pimp slap, cut that bitch's head off!" Me and a few others performed it to the class and when i realised that I could get away with doing that instead of proper work there was no stopping me. Our next one was about Ancient Egypt and I've been writing gradually less educational rhymes ever since.
CB: Where are you from? Can you tell us a bit more about the Hip Hop scene there?
BB: Well, I've lived in West London for the last few years but I was brought up in Lowestoft (Google it). There wasn't any sort of Hip Hop scene, other than a few of us who used to play basketball and listen to whatever The Source told us to. It was good though because it made me go out and seek Hip Hop culture and allowed me to have a fairly unique take on it without being influenced by friends or whoever saying this or that is what i should be into. I didn't really feel that peer pressure to be into any acts in particular, because nobody else really had a f**king clue about Hip Hop. I think you also value stuff more if it's hard to come by, y'know? Which is probably what's up with things at the moment - you don't even have to walk to the shop to get an album now, let alone pay for it! I can remember saving up for weeks just so I could go and get the Dogg Pound album when it eventually came out in the local record shop (about a year after it was released).
CB: What about the Hip Hop scene in general, UK or worldwide – where do you think it’s headed? Are things good/bad? What are your current philosophical thoughts on the current trends in rap music?
BB: Arrrgghhh! The current trends... Well, there is a lot of shit out there. That's my philosophical insight! But nah, there's always been rubbish out there, it's just that now the rubbish is getting some exposure. I'm a bit suspicious of big name DJs getting behind acts that have their ads all over telly and the internet, like "You really like that? Really!?!". Maybe I'm just being cynical but it's a bit strange that you want to co-sign something with a big marketing budget but you don't say f**k all about something of real quality like 'The A-loop Theory'. That's not supporting the scene, it's damaging it by making the general public think "oh, so this is what British Hip Hop sounds like...".
But I've gotta say, although it hurts to see hip hop bastardised and repackaged to suit the teeny boppers you can't be that mad. I can't lie, I liked Kriss Kross and MC Hammer as a kid - who didn't? As long as there's some balance I think Hip Hop will be okay, but if Gang Starr came back sampling 2 Unlimited I'd be worried. What's reassuring is that hip hop will always rebel against itself. For example, there's a lot of people trying to 'Push the boundaries' production wise and neglecting the lyrics a bit. But I think there's a lot of fans who just want to hear some no-nonsense music and entertaining lyrics, which hopefully is where we come in.
CB: What process do you go through when writing a track? Do you start with a beat, a concept, a lyric that you thought of in the shower? What happens next?
BB: It's any and all of those things! Quite often i'll just hear a word or phrase and think "I've never heard that on a record" and I'll think of something that rhymes with it and take it from there. That's one way to stay original I suppose. More concept-heavy songs can take ages to write though. Sometimes a beat conjures a certain emotion and you want to do it justice so you have to choose your words carefully. I've just started writing to other people's beats and that's much easier coz you're not thinking 'That bassline's a bit muffled" or whatever. You can just concentrate on the lyrics and let the producer take the blame if people don't like the beat!
CB: Where do you hope to see yourself in 5 years, 10 years time? Is it an achievable goal?
BB: I want to be in a position where we can put out music from ourselves and others and have a fanbase that trust us to consistently put out strong product. If I can sort out the business side of things so i can do my bit for the artform and support my family, i'll be happy. I know it's gonna be a long, hard road but If I didn't think it was achievable I wouldn't bother.
CB: Any last words?
BB: Yeah, I haven't had a chance to do the whole cliched shout out thing yet so... Big up all the people that have got behind Delusionists so far; Certified Banger (obviously), Disorda, HHC, HipHopHypeDog and all the bloggers, DJs and heads who have let us know we're doing something right.
Also, shout out to the crew - DBF, Chantelle, Zombie Killer, PITMO, Mr Baker, Slim Pickens and King Hektah. Oh, and go cop 'The Prolusion' and keep in touch on Facebook or Twitter and check out the blog, Beats Laying About - it's not exactly Certified Banger but we do our thing!
Wednesday, 2 September 2009
Lunar C Interview
Certified Banger: Can you tell us your necessary background details so we can build on basics for the rest of the interview?
Lunar C: Yoyoyo, I’m Lunar C - an MC from Missing People and Sinoptic Crew.
CB: What are your current or upcoming projects? ie albums, singles, tours, guest spots…
LC: I’ve been working on quite a lot of projects this year. A few months ago me and Missing People released our debut EP ‘Glossop View’. I’m just about to release my debut solo project ‘The Lunar CD’ which should be out in the next two months and will only cost £1; so get your squid out! It’s gonna have roughly 20 of my best tracks on there and some sick features from West Yorkshire’s finest MCs and producers. Also the whole Sinoptic crew (Lunar C, EXP, JND, Angry Nik, WYdeboi, Neverlearn and Angela Bellis) have got ‘The Badger Sex mixtape‘ coming in the next few months too which is just gonna be all of us killing it. This year I’ve featured on JND’s ‘Working Classics’ ,Mastermind’s ‘Cut n Paste mixtape’ and I’ve just laid a verse down on a remix of Wu-Tang’s ‘Criminology’ track which is gonna be 6 MC’s: Me, Jack Flash, J Simple, Joker Starr, Spida Lee and Gen for Gen’s ‘Forbidden Jutsu mixtape’. Me and WYdeboi have been collaborating with a sick beatmaker from Leeds called Bridgens ,I’ve collabed with No Pretense, Adverse and Immranimal from Shedmen, Leady and maybe more which I might have forgotten. I’ve also got a crew of about 6 14 and 15 year old MCs that I’m kinda mentoring and they know all about Hip Hop which is rare for young UK MCs these days. I truly believe they are gonna shock alot of people with the skill they already have - they freestyle and write everyday and are about to do their first track soon so look out for Kontraband, Kid Nem and Sinister!
CB: You’ve been busy. How would you describe your sound? Is there any one track that would best define your style?
LC: If I had to describe my style I would just say my name is quite self explanatory. I’m a bit of a lunatic and I just write whatever comes to mind and it’s usually either a bit perverted and a bit crazy but I can switch it up and be versatile when I want to.
CB: Who have been your biggest musical influences and which Hip Hop artists have inspired you? Which are your favourite albums? What music were you brought up on?
LC: I’m only 19 so I think in the beginning it was Wu-Tang clan that got me hooked on Hip Hop but I’ve always been into music; all different types. My dad brought me up on everything from Red Hot Chilli Peppers and Faith No More to Mos Def and Cypress Hill so I’ve acquired quite a varied taste. I go through phases of listening to different rappers though at the mo I’ve been listening to a lot of Rakim ,Sage Francis and MF Doom .
CB: What is your earliest memory of anything Hip Hop related? First rap track heard? First time you rapped?
LC: I must have been a sprog but I can remember the first time I tried to rap. All I used to do when I was like 13 was sit in my room and listen to Wu-Tang (I know I keep mentioning them but, f**k you; they’re dope) tracks over and over and memorize the lyrics so the first time I tried to write my own they just sounded like a weak version of them so I only ended up writing a couple of bars and didn’t try again till I was 16. Since then I haven’t gone a day without rhyming .
CB: Where are you from? Can you tell us a bit more about the Hip Hop scene there?
LC: I’m from Bradford, West Yorkshire. I personally think that WY has most of the best artists in the UK and I rep it to the fullest. Bradford is also making a name for its self too which is exciting ‘cause it’s been a long time coming. We used to have Breadbins and Stack Chedda which Dr Crobe and Miki B (Brutal Artistry) used to put on but they came to an end a while back and I only managed to make it to one of those nights ‘cause of my age. But now Bane and Miki B are putting on a new night in Bradford called ‘DISGRACELANDS’ which is fire and is really helping the Bradford and WY scene to grow!
CB: What about the Hip Hop scene in general, UK or worldwide – where do you think it’s headed? Are things good/bad? What are your current philosophical thoughts on the current trends in rap music.
LC: Obviously I don’t think the Hip Hop scene is in the best shape its been in but I think there’s hope for determined talented artists if we just push our product in the right way and maybe stop moaning and being depressed and bitching. I was talking to an MC called JSN who does Hip Hop and Grime and we was having a little debate. I said to him “You need to listen to more UK Hip Hop. Why don’t you?” and he said “because most of it is just people moaning and it’s not positive” and to be fair to a degree I agree with the dude. Qe need to stop bitching as much about what we’re not doing and actually give it a go, but also I see it from the point of view of a struggling artist where you can only rap about what you know and if you’re poor then most of your s**t is gonna be about that. I don’t know if real Hip Hop will ever be a lucrative business again, the media only ever dare steal watered down parts of our culture and capitalize on it; they aren’t interested in the raw form – it’s too risky.
CB: What process do you go through when writing a track?
LC: I’ve always got bars going through my head which I usually write down and make a verse out of but these days I’ve been trying to write to beats and make some proper tracks because there is a difference between good bars on a good beat and a good track, with a good track everything has to blend and be perfect and capture a vibe.
CB: Where do you hope to see yourself in 5 years, 10 years time?
LC: I’ve got a lot of things cooking up for the future. In 5 years I hope I’m alive and living off music and have enough money to eat and smoke weed!
CB: Any last words?
LC: GET YOUR SQUID OUT! Lunar C
Lunar C: Yoyoyo, I’m Lunar C - an MC from Missing People and Sinoptic Crew.
CB: What are your current or upcoming projects? ie albums, singles, tours, guest spots…
LC: I’ve been working on quite a lot of projects this year. A few months ago me and Missing People released our debut EP ‘Glossop View’. I’m just about to release my debut solo project ‘The Lunar CD’ which should be out in the next two months and will only cost £1; so get your squid out! It’s gonna have roughly 20 of my best tracks on there and some sick features from West Yorkshire’s finest MCs and producers. Also the whole Sinoptic crew (Lunar C, EXP, JND, Angry Nik, WYdeboi, Neverlearn and Angela Bellis) have got ‘The Badger Sex mixtape‘ coming in the next few months too which is just gonna be all of us killing it. This year I’ve featured on JND’s ‘Working Classics’ ,Mastermind’s ‘Cut n Paste mixtape’ and I’ve just laid a verse down on a remix of Wu-Tang’s ‘Criminology’ track which is gonna be 6 MC’s: Me, Jack Flash, J Simple, Joker Starr, Spida Lee and Gen for Gen’s ‘Forbidden Jutsu mixtape’. Me and WYdeboi have been collaborating with a sick beatmaker from Leeds called Bridgens ,I’ve collabed with No Pretense, Adverse and Immranimal from Shedmen, Leady and maybe more which I might have forgotten. I’ve also got a crew of about 6 14 and 15 year old MCs that I’m kinda mentoring and they know all about Hip Hop which is rare for young UK MCs these days. I truly believe they are gonna shock alot of people with the skill they already have - they freestyle and write everyday and are about to do their first track soon so look out for Kontraband, Kid Nem and Sinister!
CB: You’ve been busy. How would you describe your sound? Is there any one track that would best define your style?
LC: If I had to describe my style I would just say my name is quite self explanatory. I’m a bit of a lunatic and I just write whatever comes to mind and it’s usually either a bit perverted and a bit crazy but I can switch it up and be versatile when I want to.
CB: Who have been your biggest musical influences and which Hip Hop artists have inspired you? Which are your favourite albums? What music were you brought up on?
LC: I’m only 19 so I think in the beginning it was Wu-Tang clan that got me hooked on Hip Hop but I’ve always been into music; all different types. My dad brought me up on everything from Red Hot Chilli Peppers and Faith No More to Mos Def and Cypress Hill so I’ve acquired quite a varied taste. I go through phases of listening to different rappers though at the mo I’ve been listening to a lot of Rakim ,Sage Francis and MF Doom .
CB: What is your earliest memory of anything Hip Hop related? First rap track heard? First time you rapped?
LC: I must have been a sprog but I can remember the first time I tried to rap. All I used to do when I was like 13 was sit in my room and listen to Wu-Tang (I know I keep mentioning them but, f**k you; they’re dope) tracks over and over and memorize the lyrics so the first time I tried to write my own they just sounded like a weak version of them so I only ended up writing a couple of bars and didn’t try again till I was 16. Since then I haven’t gone a day without rhyming .
CB: Where are you from? Can you tell us a bit more about the Hip Hop scene there?
LC: I’m from Bradford, West Yorkshire. I personally think that WY has most of the best artists in the UK and I rep it to the fullest. Bradford is also making a name for its self too which is exciting ‘cause it’s been a long time coming. We used to have Breadbins and Stack Chedda which Dr Crobe and Miki B (Brutal Artistry) used to put on but they came to an end a while back and I only managed to make it to one of those nights ‘cause of my age. But now Bane and Miki B are putting on a new night in Bradford called ‘DISGRACELANDS’ which is fire and is really helping the Bradford and WY scene to grow!
CB: What about the Hip Hop scene in general, UK or worldwide – where do you think it’s headed? Are things good/bad? What are your current philosophical thoughts on the current trends in rap music.
LC: Obviously I don’t think the Hip Hop scene is in the best shape its been in but I think there’s hope for determined talented artists if we just push our product in the right way and maybe stop moaning and being depressed and bitching. I was talking to an MC called JSN who does Hip Hop and Grime and we was having a little debate. I said to him “You need to listen to more UK Hip Hop. Why don’t you?” and he said “because most of it is just people moaning and it’s not positive” and to be fair to a degree I agree with the dude. Qe need to stop bitching as much about what we’re not doing and actually give it a go, but also I see it from the point of view of a struggling artist where you can only rap about what you know and if you’re poor then most of your s**t is gonna be about that. I don’t know if real Hip Hop will ever be a lucrative business again, the media only ever dare steal watered down parts of our culture and capitalize on it; they aren’t interested in the raw form – it’s too risky.
CB: What process do you go through when writing a track?
LC: I’ve always got bars going through my head which I usually write down and make a verse out of but these days I’ve been trying to write to beats and make some proper tracks because there is a difference between good bars on a good beat and a good track, with a good track everything has to blend and be perfect and capture a vibe.
CB: Where do you hope to see yourself in 5 years, 10 years time?
LC: I’ve got a lot of things cooking up for the future. In 5 years I hope I’m alive and living off music and have enough money to eat and smoke weed!
CB: Any last words?
LC: GET YOUR SQUID OUT! Lunar C
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