B. Bravo Interview

Originally published on Myspace

Conjuring images of smoky discothèques, groovy roller discos and uninhibited dance-offs, this L.A. producer with a rich musical background creates undeniable boogie jams.

NAME: B. Bravo

HOMETOWN: Monterey, Calif.

HOMEBASE: Los Angeles, Calif.

B. Bravo's cosmic grooves and talk-box experimentation push the boundaries of funk while spreading the positive vibes of a far from gone genre. The LA based producer's natural progression toward intergalactic tunes was partly stimulated by the G-Funk sound of 90s rap and he continues to be inspired by the forefathers of funk. Bravo has graced Red Bull's Music Academy and he keeps busy working with production partner Teeko as well as playing sax and keys in San Francisco band Bayonics.

What drew you to funk music?

I remember going to the Monterey Jazz Festival when I was a kid in school and Tower of Power were playing there. The reason they stood out to me was that they were so different than all the other acts. Everybody was sitting down for the other performances. They [Tower of Power] were just like this powerhouse and they had this horn section with a driving beat. Everybody just jumped on their feet and started dancing. It was an instant reaction, everybody was dancing even like the security guard. I remember seeing my friend's dad just dancing and smiling. I was just like "wow what is this? This is crazy." I was like "what are these sounds?" Just the feeling and the energy they created was totally different so that was one of my first experiences seeing it live.

Have you played with any of your personal funk heroes?

Years ago, back in the Bay Area, my band Bayonics were playing on KPFA Radio in Berkeley. George Clinton came in the studio with his bass player named Thumpasauras Rex. We got a chance to meet George and talk with him, and we ended up jamming all together in the studio. That was pretty epic; this must have been in probably 2005. It was pretty crazy, the whole time we were kind of looking at each other like, "Woah man. This is insane." I remember he had the thickest, manliest hands I'd ever shook, it was like grabbing on a tree branch or something.

A large part of classic funk and soul music was related to the struggles of Black America. Did you find it hard to relate to that growing up?

Myself growing up, I wasn't necessarily from a poor family. My dad was actually from a really poor family in Japan, so he basically came to the States with nothing in the late 70s and so through his stories I've known a lot of that- the struggle of making your own way and being your own man. The area that I grew up in was definitely working class, but I think it's a universal message. Funk music was originally made by people in the struggle, whether it would be race, economics or class.

Do you see funk regaining the same relevance it had in the '70s and '80s?

I mean a lot of people are like, "Oh you guys are bringing back funk. It's a like dead genre." I don't really see that. It transcends through a lot of different genres to me. I don't know whether there's going to be top 40 funk songs or not. I'm not sure if that's where it's heading, but I don't think that's really the aim. The aim is to spread the message to people. We're not trying to make pop music. We're trying to make music that will touch people and uplift people, give them something they need in the world that they're not really getting from other sources.

You've collaborated with Salva and released music under his label, how did that happen?

He's the one that really got me started releasing music as a solo artist. We met at this regular job in software. This was in about 2007. He hired me to work for him and on my resume it said I had an interest in music and DJing. We got to talking and we were listening to each other's music. He was like, "I want to create a label and release some music; do you want to do something?" So I put together an EP and that was kind of my first solo release. That's what started everything for me. He's right here in L.A. so we've been working on stuff together and that's my main man.

Moe Man - Straight Real

Originally published at Passionweiss 

In 1996, G-Funk was still the soundtrack to bouncing cars, block parties and Malt Liquor bottles. DJ Quik dropped the classic Safe + Sound the year prior and 2pac was yet to introduce rap music to suburbia with “California Love.” Oakland’s Moe-Man took influences from G-Funk as well as the Bay Area’s Mobb Music on Straight Real, which he released independently the same year. Sadly, the project went unheard in the mainstream despite its quality. Considered an underrated Bay Area gem and a rare find even in the golden age of music piracy with copies selling on Ebay for $800.00, Straight Real deserves to find its way to your stereo.




Producer K.T. The Orchestrata laced the album with bass heavy beats and fly synth jams. Moe-Man shouts him out various times on record and claims they’re brothers. Whether he means brother in blood or soul isn’t clear, but K.T’s relationship with the funk is evident as soon as you hit play. The keys on “Don’t Take The Streets Lightly” are slicker than Eazy-E’s Jheri curl and the instrumental for “Is It Like That?” sounds good no matter who’s rapping on it. Samples from The Isley Brothers, Afrika Bambaataa and Too $hort prove K.T has excellent taste and the album is populated with classic R&B to add further flava. He raps on the album as part of the Kapitol Click alongside Big Daddy-O and Shoddy Shod, but K.T’s best work is as the groove constructor behind the boards.



Moe, not to be confused with Houston’s Big Moe, rhymes quickly and confidently. He can’t be faded, talks shit and lays game down like Nino Brown. His style and delivery is a paradigm of West Coast rap in the 90s. Moe sticks to classic rap tropes for the majority of the album and it sounds great. His wordplay is simple and lacks the charisma N.W.A packed during the same era, but it works. Moe-Man speaks on the struggles of poverty on “Young Bro,” while his producer switches style to something more akin to a Native Tongues record. Only during “40 Oz. Kid” does he sound completely out of place, attempting to emulate Slick Rick’s smooth paced delivery without the necessary creative wordplay. 


Where are K.T The Orchestrata and Moe-Man now? If Google’s crack surveillance team only has four relevant links about your output, you’ve either stopped making music or avoided the internet. In the age where even struggle rappers and local stars have some mention online, it seems sadly inconceivable that either has established prolific careers. K.T’s vanished despite his tunes having more bounce than a fatty on an inflatable castle. Whilst Moe-Man has supposedly performed in Vegas under the name Moetrouble and this YouTube account which sporadically posts videos just might be him. Maybe our Bay Area readers/local rap detectives can help uncover the mystery? Any information will be rewarded with one low quality pirated copy of Straight Real, a picture of E-40 holding his glasses between his thumb and forefinger and a Walkman with foam headphones.

Young Scooter ft Kevin Gates and Rich Homie Quan - Drugs Remix

Originally published at Passionweiss 

Young Scooter’s struggle bars ensure the “Drugs” [Remix] won’t be making an appearance on anyone’s song of the year list, but only the heartless won’t appreciate Rich Homie Quan’s sincere croons dedicated to brain altering chemicals. Originally written off as a Future clone, the 24 year old has croaked himself a different lane and a few undeniable hits along the way. It’s not entirely fair to write off Scooter’s mumble mouthed rhymes as they’re entertaining enough, but it’s his perpetually affluent hook man who owns the track.

Kevin Gates comes along in the last minute with a tacked on guest verse and though his feature could have been better used elsewhere, complaining about a free verse by one of the best is punishable with ten Lil Twist bars. The sensitive thug takes a damaged view on substances and exposes detail about friends who’ve changed, the impact of bad drugs and his daughter learning to walk while he was incarcerated.



Quan and Gates also appear on remix of “Two Rounds” by Houston MC Propain. The original debuted on the latter rapper’s very solid albeit uncreatively named Ridin’ Slab mixtape from last year. This is another jam boosted yet again by the Rich Homie’s melancholic vocals and intricate couplets from Gates, who at this stage I must refrain from writing further praise about lest I enter full Stan mode. Sex raps for radio are typically a PG borefest, but the song is anchored by witty reference to the classic “O-o-h Child” (Things Are Gunna Get Easier) by The Five Stairsteps. Listen below and give thanks to the luxurious Homie.

Summer mixtape

Here's a playlist I originally created for Passionweiss 

“Welcome to the land where it just don’t stop. Trunks pop, tops drop, and the front-end hop.” I like to imagine summer is a lot like the world Houston rapper Fat Pat [RIP] describes on “Tops Pop,” where the music is funky, the cars have impractical modifications and the barbeques are forever blazing.

London’s non-existent beach culture and grimy urban backdrop can put a damper on any sun loving spirit, but listening to the tracks assembled below helps ease the chill. The loose criterion for these tunes is good vibes, the odd cheesy synth and choruses that inspire singing when friends are out of hearing range.

I’ve recently begun digging through classic Southern rap and while most pioneers from the East/West Coast have reached international acclaim, there’s a plethora of talent below the Dixie that hasn’t reached foreign ears. For this reason I’ve included Big Mike, Z-Ro and Dead End Alliance as well as B. Bravo for being one of my new favourite funk producers, The Dream for releasing his best material in a long time and Pimp C for being Pimp C. So lean back, sip your favourite brown liquor, push play and lend a thought to those of us not surrounded by summer dresses.

Tracklist:

1) B.T. Express- Give up the Funk (Let’s Dance)

2) Juicy – Sugar Free

3) B. Bravo – Energy

4) Fat Pat – Tops Drop

5) Big Mike ft Pimp C– Havin’ Thangs

6) Slim Thug ft Z-RO– Summertime

7) Big Krit ft Devin The Dude – Moon and Stars

8) Undergravity – Goin’ Live

9) Ghostface Killah ft John Legend – Let’s Stop Playing

10) Chuck Inglish ft Vic Mensa and Killa Kyleon – James Harden

11) Slick Rick ft Outkast – Street Talkin’

12) Dead End Alliance ft Lil Keke – Sun hit the fade

13) The Dream – Outkast

14) Don Brown – Don’t Lose Your Love

15) Kool & The Gang – Heaven at once

Click here to listen. 

Azealia Banks - Heavy Metal and Reflective

By Jimmy Ness

Azealia Banks just won't go away. From dissing an A-Z of artists to alienating herself from a formerly supportive LGBT audience, she's running a master class in self-sabotage. However, despite claiming page one of the industry blacklist, Banks packs the talent that most hipster quasi-musicians lack. "Heavy metal and reflective" is her first track since leaving/being kicked off Universal and a decent reminder of why we liked her the first place. 

Though it’s tempting to deny, Azealia Banks a compelling rapper. The twenty three year old can rhyme fast, aggressive and raunchy. In less than three minutes she delivers slick talk reminiscent of Missy Elliot’s purple-lipped banter on “She’s a Bitch.” “I be in Osaka with that papa, took that best trip, buy me Tamagotchi, sipping Saki and Moets’s.”[sic] Azealia rattles off entertaining first person bravado in near broken English without incorporating the mediocre pop elements or cliché sexual tropes that plague her contemporaries. The closest she comes to pandering is mentioning bisexuality, but she avoids re-treading tired lesbian references with some fun wordplay and delivery. “It’s some sex shit, I be with that Betty with that bubble and them breasts's. I be lookin very jiggle jello in them dresses"

The pounding beat also can’t go ignored. A mechanical high-tempo thump with occasional spoken vocals assists Azealia, while Yeezus nods his head approvingly from a pleather throne. Banks might be hanging on the edge of irrelevance by her turquoise painted fingernails but if she can use arrogance to fuel musical proficiency like ‘Ye before her, she might just be ok.

Kevin Gates update

Originally published at Passionweiss.

Kevin Gates is so good at rapping that the XXL Freshman ’14 cover could have been a close-up of his face. Few MCs combine lucid crime recollections, vulnerable introspection and speaker knockers quite like the Baton Rouge renegade. While the Passionweiss squad works on converting the site into an unofficial KG focus group, I’ve taken on the enviable task of sharing with you a few of his latest releases in the lead up to Luca Brasi 2.

Fellow Southerner Trae The Truth featured Gates on “Dark Angel,” and released the video last week. Despite a cameo from Lil Bibby instead of Jessica Alba and trying a little too hard to be cinematic, it’s worth a watch. KG starts off with a lengthy verse that covers more interesting topics in two minutes than many artists do on a whole album. Gates performs a soliloquy referencing belief in a higher power, struggles with drug use and trying to sate a mourning family’s loss with money. The 28 year old also boldly admits to sexual inadequacy, which is something even less heard in rap than stringed instruments. Although it doesn’t have the same emotional impact, Trae’s verse shouldn’t be ignored either. He does an admirable job of following up Kevin’s powerful testimony, delivering solid tales of struggle with his trademark rapid-fire flow.

Next up is the video for “Posed To Be In Love,” which was included on this year’s mixtape By Any Means and may or may not have been shot using an iPhone camera. Some listeners felt Gates’ decision to discuss domestic violence glorified spousal assault, but the track is more complex than the knee-jerk reaction it inspires. It’s fair to assume with an artist as self-aware Gates, that he includes nuances to the story for a reason. Kevin mentions stalking and an obsession with his female counterpart to cement his character as a deranged lover rather than someone to be revered.

While not the best decision to release visuals for a tale of battery when he could have chosen another single, the clip does further distance KG from the story. He’s seen as an observer in the video rather than the protagonist. Like many great artists his lyrics are capable of inspiring a range of emotions including shock, awe and sometimes revulsion.

Thankfully Gates also left us with a few gems before hitting the road and he’s yet to show any signs of creative burnout aka “Mixtape Circuit Syndrome.” Listen below for his menacing OG Bobby Johnson freestyle, the threatening croak of “Nothing” and finally the hypnotic “Cut Her Off” freestyle. You’re welcome.


 

Edit: Gates' new track with Lil Bibby included above. 

Don Trip - "Wake Up"

Originally published at Passionweiss

Don Trip’s latest single “Wake Up” was released the other week with minimal fanfare. Along with Starlito and Kevin Gates, he’s one of several young artists that dispels the conservative rap coalition’s claim that rap isn’t lyrical anymore. Like the aforementioned MCs, Don Trip also hasn’t fully made an impact with the kids. Despite appearing on the 2012 XXL Freshman cover and working with Dr “iRich” Dre, mainstream success eludes him for now. Luckily, this means we get to enjoy unfiltered street rhymes while bubble-gum rap fans are busy debating if Iggy Azalea writes her own music. This is an obvious blessing and the Memphis rapper has delivered a hustler’s dedication with bars upon bars.

“Wake Up” serves as both a motivational anthem and a forewarning for those who were sleeping on Mr Don Trip. The 26 year old spits over frantic production and sticks with his grimy drawl rather than jacking the Migos flow as per almost everyone else in the past year. The track’s hook sounds elementary on paper “wake up, wake up, it’s time to get me some money, got to get off my ass, you can’t get rich for me,” but it’s catchiness combined with the adrenaline pumping beat makes for wall-punching music. There’s not much here beyond moneymaking metaphors, but sometimes we all need a song you can frown and nod to. Now how about releasing that Step Brothers 3?

100s Interview

Originally published at Passionweiss

100s (pronounced “hunnids”) was born in the wrong era. The 20 year old has been fascinated by the ‘70s since being exposed to American Pimp, Iceberg Slim’s autobiography and nuclear levels of hair spray. His parents moved him to the Ivory Coast due to failing grades and his last two years of high school were spent in a three-bedroom house with 15 others. During this time, 100s heard Mac Dre’s “Gumbo” and decided to make music for pimps, pushers and paper-chasers.

Three years after returning home to Berkeley in 2010, debut album Ice Cold Perm was released. With the same stony-eyed stare and a cover inspired by Snoop Dogg’s Tha Doggfather, 100s embraced his influences with rhymes about running game, retro cell phones, Cali beaches and floor length jackets.

He quickly gained a fan-base and Fools Gold records picked him up after noticing the music industry was missing immaculate hair. Earlier this year, 100s followed his debut with the purple-tinted IVRY. The eight track EP focuses on retro R&B crooning and synth-heavy production, but still packs the essential freaky raps.

I spoke to the half Black/half Jewish rapper about whether he prefers The Mack or Superfly, his musical heroes and why he’s open about never actually being a pimp. Despite being quite reserved during our conversation, 100s mentioned his time in the Ivory Coast was one of his favourite things to discuss so we also covered topics including culture shock, catching Malaria, and realizing how lucky Americans were with their living conditions.

What made you decide to go a little more melodic with IVRY?

I guess, it’s just growth. I’ve always liked more melodic music than traditional rap so I guess it was just a matter of time. The more you do something, the better you get at it. There’s just different kind of songs that you learn how to do as you get better at what you do. I aimed to kind of do that [make more melodic music.] I have this whole concept behind IVRY. It was actually a concept album. I never really explained the concept.

Can you tell us a little about the concept now?

It’s kind of abstract of course, but it chronicles this person in this other dimension in the future or in a different time or whatever. It was meant to be almost like a story. If you really listen to it all the way through and you change the tracklist around it would have been a different story with different events in life. It just takes you to a place, to a time.

You were talking about a project named Sex Symbol, before IVRY dropped. Are they the same thing?

Nah, Sex Symbol, I need to chase down everybody I said that to. That’s no more, that’s not happening. That was just a phase. I was kind of hot off some shit, but that’s not happening. I guess, what it would have been is now IVRY.

You often collaborate with Joe Wax. Can you tell us about him?

He’s been producing for maybe five or six years. We went to the same middle school and we both got sent away at the same time. He got sent to some boarding school in the middle of nowhere and I got sent to Africa, so we bonded over that. Then we came back and started making music.

Even if he’s not necessarily producing the song or whatever, he helps me create. He’s my guide and my homie. He’s always involved in what I’m doing. He has really good taste.

You like to be heavily involved in the creative process?

Yeah, IVRY was the first time I’ve co-produced.

We’ve talked about some of your rap influences, but what about other artists that had an impact on IVRY? Prince?

Yeah, I love Prince. Hell yeah. Prince, Rick James, all of these people.

Rick James had quite a flamboyant style as well.

Exactly, he was a genius you know. If you really listen to his catalogue, the stuff that not everybody knows. If you really dig, he’s a genius. He probably played bass and fucking electric guitar and whatever, super talented dude.

What do you love so much about the 70s-80s? What exactly drew you to that era?

I don’t know, I don’t really think it was a conscious decision. Ever since I was younger, I was fascinated with that era and identified with it.

Do you prefer The Mack or Superfly?

Honestly, I would pick another one. I would choose Willie Dynamite. I really like Willie Dynamite. I guess after that film, I like The Mack better than Superfly. I’m a movie guy.

You’re influenced by people like Too $hort, Mac Dre, Snoop Dogg etc. But can you also tell us about Dre Dog?

I’m big fans of them. Dre Dog, who is now known as Andre Nickatina, he’s a Bay Area legend you know. I mean he’s a legend period. It’s hard to describe what he is and what he sounds like, you’ve just got to listen. He’s super different.

Have you met any of your musical heroes?

I met Andre Nickatina. I brought him out in San Francisco. That was some dream come true shit, know what I’m saying? [laughs.] I’ve been a fan of his since I was about 13 year’s old. I opened for Snoop one time but I’ve never met him, this was like a while ago.

You’re a comedy fan as well, who’s your favourite comedian?

Eddie Murphy. Well Eddie Murphy now, ahh you know… but Raw or Delirious Eddie Murphy, that Eddie Murphy.

Do you think your interest in comedy also effects the music? A lot of people said the video for “1999” was pretty tongue in cheek.

I guess since the music is a reflection of me. I enjoy comedy and that’s part of me, so maybe it does bleed into it, but I wouldn’t say I purposely do that. I take what do seriously, you know. It’s about perception, some people get the music and some people don’t.

As a 16 year old, were you scared when you landed in the Ivory Coast? That’s quite the culture shock.

Yeah, now that I think about it, it’s kind of surreal. It’s like, did everything happen? But it did. It was hard to adjust because it’s like night and day. When you’re over there and you think there’s this whole other world, it’s like another planet exists.

You had Malaria five times? What’s that like?

I probably had it more. When you’re from America or whatever, you’re fragile. You’re not conditioned for those types of diseases. Back there people are conditioned, but when you didn’t grow up with it, your body doesn’t know what to do. How I would describe is like you’re cold and you’re hot, your body aches, you have nausea, no appetite. It’s just like… shit. [Laughs] It feels like “this is the end.” It’s horrible. I feel like as you get it more you get over it faster though.

Did the Ivory Coast change your perception of the world? I bet you came back with an idea of how lucky you are with the living conditions in America.

Yep, one hundred percent. One hundred percent. I tell my friends that all the time and I always try to get that across. The same way that Jewish people have a birth-right to go back to Israel. I think African people should have that too. It gives you a wider understanding of what’s going on and makes you realise that all the petty shit that you worry about or deem important really isn’t.

I’ve heard there’s a lot of internalized racism over there and white people get special treatment over their own culture.

Definitely, of course. That’s just part of it. I don’t really know what it stems from, but you always see that. It’s maybe because they were colonized by white people or whatever. Some African people think that white people are better. It’s really insane.

How long did it take you start making music after you returned from the Ivory Coast?

When I came back, I wasn’t really fucking around you know. I had so much time to think and visualise what I wanted to do when I was there, that when I came back I didn’t waste my time.

Have you been back?

Nah, I want to go back. I want to go back soon. Hopefully I go back soon. I think there’s a festival over there next year so I’m going to try go to that.

You’re proud of your African heritage, are you equally proud of your Jewish side?

Yeah. I would say that I’m not as in touch with my Jewish heritage as my African, but I am proud of it.

Ice Cold Perm was a reasonably polished project. Were you working with labels behind the scenes at the time?

Hell no! [laughs] It was me, my friend Joe and our friend Oliver, who is Joe’s big cousin. He has a website called dreamcollabo.com, which initially put it out. Me and Joe just recorded it in his bedroom. We would all talk about what would make it and what wouldn’t ya know, and then we just dropped it.

What made you decide to sign specifically to Fools Gold? I’m sure there were also other labels that approached you.

I just liked what they had going on. I knew that I was moving towards that kind of melodic sound, at least at that time. It felt like a good fit.

Were you nervous about performing on some of your earlier tours? You gained an audience quite quickly.

Not really. I recall I was nervous the first show I ever did. After that, once you kind of realise that this is your passion, everything comes out on stage. As soon as you touch the stage and you realise that this is your time, you forget about everything.

I know you’ve toured Australia before, how was that?

It was amazing. It was weird for me to just see that I had reached people out there and they embraced me. It was super cool, I loved it and would love to go back.

Where do you see your sound going next? Maybe into Funk?

Ah… no. I guess that will all be revealed in time, but I am working on new things. I’m working on a lot of stuff. I’m not going to talk about specifics, but it is coming and you’ll see.

Have you collaborated with Danny Brown?

No, it hasn’t happened yet.

You’re in an iPhone 5C commercial. How did you get involved with that?

My friend the same guy who put out my mixtape, Oliver, he was doing the casting. I wasn’t going to do the ad. I was trying to help him find people to do it. I think it was last minute and he was like: “Dude, I can’t find anybody. Just send me a picture of you or some shit. “ So I sent him a picture and they liked me, so I did it. It was fun.

When did you start growing your hair?

Shit, I would have been 10 years old or something. It was Fifth grade.

Why did you do it?

I don’t really know. A lot of the people I was fans of had long hair. Whether it was from rock music or whatever. I used to really like wrestling when I was younger and all these old wrestlers had long hair, so that’s what I wanted to do.

How would you rate your hair in comparison to DJ Quik’s on Rhythmalism?

Ah, I don’t know if I’ve seen it on that particular album cover. He’s got a hell of a perm or whatever it is [laughs.] I mean it’s nice or whatever, but I like mine more.

I watched some of the Hollywood Shuffle film you sample on “My Activator.” What’s your favourite type of Activator?

[Laughs] I don’t even know any different types. I don’t know shit about them. I just love that movie.

You obviously like the 70s look and you’ve got the hair, did people ever call you gay?

Of course [laughs]. Of course. Yeah. I’m not an insecure man. I’m chilled. I don’t get caught up in that shit. If you want to call me gay or whatever you think, that’s your opinion. I can just be me. I keep it moving. I don’t think anybody necessarily is meant to be understood.

I heard a rumour that some classmates of yours claimed you were pimping girls at 16 years old at Berkeley High?

Ohhh no. No, what the fuck! [laughs] See I didn’t even go to Berkeley High.

Sorry I’m asking some tougher questions.

No, it’s all good. I like these questions. I get tired of the weak-ass ones.

You’ve also said previously when you’re talking about “hoes,” or whatever, that doesn’t necessarily translate to real life and real people. Can you tell us about that?

To me it’s clear, but I’ll explain it. Not every record is necessarily about a pimp and a hoe or whatever people think it is. It could be anything. It could be a metaphor, it could be taken however. That’s why I said it’s not meant to be taken literally. If I’m talking about that, it could be something else. It could be what’s going on in my life or whatever. It’s just abstract as it comes. When I’m writing I’m not always thinking about that type of shit.

You’re pretty open about admitting you have never been a pimp and you’ve never claimed to be one. What do you think about people who criticise your authenticity?

It’s only an issue of authenticity, if you view it as one. If you view it as expression and it’s not meant to be taken literally, there’s no issue of authenticity. When it comes down to people judging it as if it’s meant to be taken literally, then yeah the issue comes into play. If it’s pretty much any genre other than rap, then people know not to take it literally. It’s just an expression, you don’t know what the fuck they [the performer] are talking about. On some level, I would compare it to that. Of course I’m open about it [not being an actual pimp], because I don’t want you to take it literally.

You see yourself as a performer and musician first?

Yeah, one hundred percent. Honestly, I have two projects out and I’m always growing and doing stuff, so people will see what everything turns into.

T.I ft Young Thug - About The Money

Written by me, originally for Passionweiss. 

Septum piercing and distinctive squawk intact, Young Thug assists T.I on a track that may end up on the latter’s ninth album Paperwork. While “About The Money” is technically T.I’s song, he allows the 21 year old’s lean-addled antics to dominate. The duo works surprisingly well, despite one being a staunch family man and the other flamboyant enough to make Andre3000 blush.

Thug employs his signature frantic ad-libs, sing-song raps and whimsical rhymes over stunted church keys. He drops lazy bars like “smoke way more weed than a guy in LA” whilst his unintelligible yelp swirls in the background. A thousand upset backpackers rush to the Okayplayer forum every time he rhymes, but his charisma is difficult to deny. If you came here for a solstice from the typical rap tropes you’re in the wrong place.

While Gucci Mane was innovative enough to tap into the popularity of young rappers like Migos or Young Thug, it’s surprising more veteran Southern rappers haven’t caught on. T.I has struggled with mediocre album singles, so it’s good to see he’s finally used his guest’s magnetism to benefit the music.

T.I often operates best in a supporting role. He’s not a boring rapper per-se, but his understated presence and delivery stands out when he rhymes a snappy guest verse. See his verses on “Rack City,” “Big Beast” and the “Plain Jane” remix for further proof. On this track, the Trouble Man mainly sticks to hook duty. He still finds time between a few quick bars to shout out UGK’s classic “Pocket Full Of Stones” and that’s all we need.

Thug’s the rap oddity of the year, you either love or hate him. Either way, it’s tough to deny his persona on tracks like this. Scuuurt!

New Album 'Paperwork' OUT NOW. Get it here: iTunes: http://smarturl.it/PaperworkDLX Google Play: http://smarturl.it/PaperworkGPDLX Amazon: http://smarturl.it/PaperworkAmazonDLX "About The Money" Featuring Young Thug available Now! Get it here: iTunes: http://smarturl.it/ATMSingle Google Play: http://smarturl.it/ATMGooglePlay Amazon: http://smarturl.it/ATMama Stream on Spotify: http://smarturl.it/ATMspot

Kevin Gates - By Any Means review

By me and originally written for Passionweiss

Heavily inked, emotionally scarred and fresh out of the slammer, Kevin Gates returns with 16 bi-polar bangers. By Any Means is less personal than last year’s Stranger Than Fiction and The Luca Brasi Story, but the Louisiana’s rappers remains one of the best young gangsta rappers this side of the Mississippi. Gates has the hooks, the singing, the story and the passion. Of course, it helps that he’s been blessed with the rare combination of versatile vocal chords and awareness of how to use them. From his threatening croak on standout “Homicide” to the palpable sincerity on “Movie,” KG is as far removed from one-dimensional MCs as it gets.

The 28 year old also defies the tradition that rappers need to be invincible. His willingness to showcase flaws is a large part of what makes his music compelling. Gates covers depression, anxiety, self-doubt and a slew of other pitfalls rarely touched on in rap. Add in his penchant for including vivid real life details from his turbulent past and you’ve got a killer combo. Whether it’s because he’s attempting to make a mainstream friendly project or because he’s saving material so that the relentless mixtape circuit doesn’t end in creative burn out, these details aren’t quite as apparent on this record as they were on his 2013 output. There are no epic tales of attempted murder by best friends like “4.30am” or cinematic true-life tales of crime ala “iHop” on here. You’ve got to listen a little closer, but it’s worth the effort.

 Gates adds humanity to what could have been a generic hustling theme on “Wish I Had.” Instead of lazily attributing his motivation to the American Dream aka wanting to get rich, he phrases the chorus in a more relatable way and it takes on a redemptive quality. “Out my window, I see everything I dream about and wish I had.” During the song, he also acknowledges his self-consciousness at being a two-time felon, desperately wanting to write a hit and being a good person that can transform in the wrong circumstances.

Later on “Sposed to Love” there’s more mention of this duality of character and the imperfection he’s willing to display on record. Gates is passionately in love and deeply offended when his partner doesn’t answer the phone, but he’s also bordering on the obsessive and admits to hitting her in the heat of the moment. The realistic portrayal of domestic violence undoubtedly makes it the most divisive track on the album. Some listeners may feel he’s condoning this behavior as he comes across as cocky rather than apologetic, but references to Chris Brown, stalking and jail make it clear he’s aware of his moral wrongdoing.

Musical psychoanalysis aside, this tape is also trunk rattling. Get Em Gates understands the quandaries presented by turning down for no good reason. As one of the chosen few who isn’t overshadowed by Juicy J and 2 Chainz on his own jams, he can rap with the best from planet Versace. Despite his currently unproven mainstream appeal, “Don’t Know” and “Arm And Hammer” have the type of hypotonic hooks you’ll find yourself accidently reciting during work meetings or on the subway. Along with his chameleon vocals and a healthy dose of neuroticism, part of what makes Gates listenable is his varied delivery style. He’ll switch flow several times, moving within seconds from Migos inspired double-time to shouting threats down your ear canal.

With a hulking audio presence, Gates doesn’t need to rely on features and thankfully he hasn’t succumbed to this cheap tactic. For the most part, the guests are used sparingly and fit in nicely. The late Doe B in particular shines with his effortless flow during “Paranoid,” making it all the more obvious the world was robbed of the 22 year old’s potential. Then of course, there’s Plies. He doesn’t quite ruin “Keep Fucking With Me” by spitting a marble mouthed verse, but he definitely comes close.

 Being locked up on a three-year gun charge partially derailed Gates’ career during the mid-2000s. But he also claims long periods in jail gave him the opportunity to form his unique rhyming style. In an interview with HipHop Dx, he said prison changed his attitude toward music too “I want the Rap game when I come home. You never know how much something means to you until you can’t do it. “Personal issues have made him both great and imperfect. Few have a darker past than Kevin Gates, but few have a brighter future.

Eiffel 65 Interview

I interviewed Eiffel 65 famed for their hit “Blue (Da Ba Dee)." Why? Because it’s funny and also because it’s interesting to see what happens to artists after a brief run of success. A lot of people known for being one hit wonders become public laughing stocks. They'll do multiple trips to rehab, appear alongside other lesser life forms on reality TV or wallow in obscurity. Often it seems like it's better to have no hits than one, which is weird considering it’s a form of success many underground acts strive toward. Of course, it doesn't help the music is frequently terrible and their success is often accidental. Lead singer Jeffrey Jey seemed like a pretty nice guy though. Read the full interview here. 

Run The Jewels - Run The Jewels Review

For the annual Passionweiss Top 50 albums of 2013, I wrote about Killer Mike and El-P's excellent "Run The Jewels" EP at number six. Read the rest of the feature here. 

32 minutes. 10 stick-up kid salvos. Two great artists bludgeon the rap industry with skull-cracking rhymes, stealing diamonds while they do it. At first glance, they make an unlikely combination: the fiery avatar of old no-bullshit Brooklyn who made “independent as fuck” a war whoop, with a Dungeon family strip club connoisseur. But Killer Mike and EL-P are built tougher than the leather on Run and Paul Pierce’s jacket.

Instead of focusing on production like their first collaboration, 2012’s R.A.P Music, EL-P picks up the mic and matches his partner verse for verse. There’s an air of competitiveness and genuine friendship as Jamie and Mike swoop in like your favorite anti-heroes. This is lyrical, but there’s no preachiness or by-the-numbers wordplay. These guys have mastered the art of shit-talking and combined with some extremely listenable aggression, their wit stays cutting. Killer Mike “Shyne Po’s a ho.” His partner in crime does the cleat Riverdance on your face.

When the coolest duo of 2013 are rapping about kicking over your son’s fort and taking grip plyers to your feet, it’s hard not to pay attention. If a project makes you feel like enough of a badass to mean-mug the elderly whilst on public transportation, it’s a winner.

Note: You can check out my previous interview with Killer Mike here. 

Noah Goldstein ( Audio Engineer for Kanye West, Jay - Z, Nas, Ryan Adams) Interview

By Jimmy Ness and originally published at Passionweiss.

Since graduating from Philadelphia’s Temple University in 2006, Noah Goldstein has engineered, mixed and occasionally produced for Nas, Jay-Z, 2 Chainz, Snoop Dogg, Patti Smith, The Mars Volta and Ryan Adams.

But his most interesting client might be Kanye West, who he has worked closely with since 2010’s My Beautiful Dark Twisted Fantasy. He was there when the tracks were laid down for Watch The Throne, Cruel Summer and most recently Yeezus. It’s his responsibility to protect material from leaking and Jay-Z even shouts him out on “Who Gon Stop Me” during his final verse.

Due to privacy obligations regarding the recording process, he was unable to answer any questions about the making of Kanye’s albums. Noah only gave this interview hesitatingly, as talking about any of the artists he works with could jeopardize his career. Luckily, we did still find plenty of stuff to discuss: his love of 2 Chainz, David Bowie quotes, recording with Nas and his thoughts on the role of the engineer.

Is it true you decided to get into this business after seeing Dr Dre on Behind The Music when you were 17?

Yeah, that and I was a DJ for a long time. Since I was 16 until about 25, I DJed. I was always into music and when you DJ it sort of becomes part of you. You start listening to the music really closely and finding the details in it and reading about your favourite records and how they were made. There’s a lot of things to learn. It was just like, I want to make records man. 

Tell us about the early days working in West Philly, I heard those were pretty rough times.

It was, it was. I mean basically when I started I was like 19. When I was engineering, I got my start in a studio in a really rough neighborhood and it was not uncommon to stop the track and hear gunshots on the mic. But it wasn’t all bad either. It was a great learning experience and made me realize how there were so many different facets of the music industry. I left there and moved to this other studio that was much more rock based and it was a really nice place, very comfortable and that was how I started to learn to make more proper records. Then I left there and moved to Iceland for a little while because I was really into Bjork.

After interning in Iceland you got a job at the famed Electric Lady studios in New York, built by Jimi Hendrix. How was that? That’s an amazing place to start out.

Exactly you just said it, amazing. I got super lucky getting in there. It’s really hard getting a pay-check in a New York studio.

How was working with Patti Smith when you started there? That’s such a big start, you must have been nervous.

Oh fuck, yes. For real. Patti Smith man, come on that shit is crazy. That was the first session I ever did at Electric Lady, I had never been in there before. So I got hired and during my interview while I was sitting in the studio he said “I’ll give you two weeks to get acclimated before I put you on a session” and “I’m like okay that sounds great.” Twenty four hours later he was like “I’m hiring you but I can’t give you that time, I need you here in the studio for the Patti Smith mix session.” So I’d never been in the rooms before ever, it was completely new for me and working with somebody like her – she’s like a punk rock goddess. For me, I love Patti Smith’s music so I was super amped. I got in and Emery Dobyns this engineer, super awesome guy, he was like a year older than me and made me feel like everything was cool. Every time I was fucking up he was like “Nah it’s cool, I got it don’t worry.” She was like the nicest person ever and she was also very tough, just how you expect even though at the time she was 60. It was nuts, but it went really well. I would work with Patti again for sure.

You went from Temple University to working with some of the world’s most famous artists in just six years. How does that feel?

Oh man, what can you say? Living the dream, you know.

Tell us about the first time you recorded with Nas.

That was cool. Nas was like one of my all time favorite artists. He was an extremely nice dude and extremely skilled on the mic as everyone knows. It was a super chilled session, I never really get nervous when I’m working because that doesn’t really help with the session to be nervous, but I was definitely like “holy shit, it’s fucking Nas.”

What was it like recording something as racially charged as the Untitled album? Was there tension in the studio, how was it being involved in making a project like that?

I didn’t work on a lot of the album. I worked more on the mixing and everything toward the end. But I’d say when you are in a situation like that, everyone understands what the message is and everyone that’s going to be in that room is open minded enough to appreciate it. There was no tension in my opinion because everyone there is about the cause.

You’ve worked with Jay-Z and Nas, two of the most respected MCs of all time. What were the differences between their sessions and how they write?

You know what, I should not answer that one because that would be disrespectful of their process for sure.

I read that to stop any album leaks, the draft versions of Watch The Throne were kept in fingerprinted copies locked in suitcases?

(Laughs) somewhat true. Not entirely true, but we kept them close for sure.

Were you the main person in charge of looking after the album? That must have been a 24 hour job. Were you nervous?

I mean, everything in the music industry is a 24 hour job. Was I nervous? Yes, but at the same time I look after files for every client that I work with. Yes, it was incredibly demanding and I really need to do a good job, and I did the best I could. It’s also like once you’ve worked in this business as an engineer, that’s part of your job – looking after people’s files and making sure nothing gets out to the best of your human abilities.

You worked on 2 Chainz’ album Based On A T.R.U Story and I heard you think he’s one of the best rappers around?

Ah he’s super fucking cool man, I love 2 Chainz. That’s all I can say about him, I love 2 Chainz. He’s the shit. I appreciate his raps. I just think he’s super clever. I like his style.

What’s your favourite 2 Chainz song that you worked on?

I gotta go with the one I worked on the most “Birthday Song.”

What do you think of the video?

Fuckin’ hilarious, it’s amazing. You can tell in his videos he’s got a sense of humor, definitely.

What’s he like as a person?

Absolutely nice guy. Hilarious. I don’t know him super well so I don’t know if I should comment on personalities because I don’t know him like that, but I do know him well enough to know that he’s very funny and very nice, at least to me. Cool guy.

How was working with Ryan Adams?

Man, Ryan Adams is the shit. I loved it, we had a really good time making Cardinology. It was really fun. I’ve talked to him since then and he is like a really really good guy. I haven’t spoken to him in about maybe a year, we kept in touch for a little while after that record was over, but you know I moved into a different genre. But yeah, one of my good friends works with him sometimes.

You’ve done a lot of pop/rock and rap music, are there certain principles you take from one and use with the other or vice versa?

You know what, there’s like one quote I know that my old boss Phil told me. If not I’m mistaken he told me a story and it was David Bowie who said it to him, and it’s seriously like the best principle. It is “Turn up the good shit, turn down the bad shit.”

How creative can you be as an audio engineer? Are you essentially just following orders or is there room for creativity?

I just think it depends on the people that you’re working with and how much they trust your instincts and what their doing, and what they’ve created. So I think it really does depend on your client, if people are more hands on or they just want you to be the technical guy that gets shit done. It really varies between client to client just how much you do.

Ali from TDE is earning a name for himself and Kendrick Lamar has shouted him out on several records. Do you think there’s room for audio engineers to get a little bit of recognition or do you think they’ll always be the silent partner?

I think more so now than before, engineers are kind of being noticed more. Maybe because there’s so many people that record in homes and what I gather is that people that record in homes have realized that it’s not easy to make records that sound the way they do on the radio or like their favorite album. So when they are sitting there trying to do it themselves they realize that it’s a difficult process. It’s something that takes practice, work and dedication just like anything else you become good at it. So I think that’s why we’re hearing how Drake shouts out 40, Kendrick and his engineer, even 2 Chainz and his engineer KY, Jay and Young Guru who is an amazing engineer. To answer your question, I think there’s more room for engineers to be in the spotlight but at the same time, most of us don’t have that kind of mentality. We’re not looking for that. Hence the reason, I don’t really care about doing interviews for the most part. I’m not really looking for it.

It’s more about doing a good job?

I don’t really care about being in the spotlight, it’s always been about the music. I just want to make the best music possible, that’s it.

Jay Z also shouts you out on “Who Gon’ Stop Me” doesn’t he? [“Extend The Beat, Noah”]

Yeah, that was cool.

Did you actually extend the beat, was it planned?

I did extend the beat earlier. It was planned.

Why is your production often uncredited?

It’s not about getting the credit as long as the song sounds good.

Obviously you’ve worked with a lot of big names is there anyone you would have loved to work with or that you see as a musical idol?

Oh man, I wish I could have worked with Otis Redding when he was alive, that would have been awesome. I’m open to a lot of different things. I love all kinds of music and I’m really happy where I’m at right now. I’m not looking for other people, I’m really happy with what I’m doing right now.

Do you have a favorite song that you’ve worked on?

Oh man, that is a hard question. I don’t know, I don’t know. That’s an incredibly difficult question to pick one song. I don’t have one particular favorite in reality. I like lots of different ones for different reasons. Any song that I’ve worked on pretty closely will remind me of a moment in time. It might just remind me of something that happened at that moment so it will be sentimentally my favorite. I don’t know.

When you did the soundtrack to The Man With The Iron Fists, did you work directly with RZA?

Briefly, yeah. He was a really nice dude to work with and it was crazy meeting him for sure. He’s one of idols. I mean Wu Tang is my favorite rap group of all time. I’ve also worked with Raekwon, who was also the shit. I mean come on Cuban Linx!

You worked with Big Sean early in his career and now recently too. How do you think he’s changed as an artist?

I think every artist, Sean included, as they keep working and especially when they start performing more live that’s when they start coming into themselves. Honestly he’s always been awesome. I think Sean’s a great rapper, he’s a great personality and super charismatic. I think he’s only getting better. With performing live, his shit is tight now, not that it wasn’t before but he just keeps improving.

Does each person you work with write completely differently?

Yeah, to each their own you know. Each person has their own process and we just try to respect that process as much as possible.

Caninus - The Grindcore Band Fronted By Two Dogs

I wrote about this hilarious band with dog vocalists for Vice/Noisey.

Caninus believe true metal singers walk on four legs and take a shit on your lawn without asking. The New York grindcore band has recorded three albums with dog singers because a pit bull’s bark is more brutal than anything a puny human could muster. They’re not the only ones who recognize the power of animal vocals either. There’s death metal band Hatebeak, who are fronted by an African Grey Parrot named Waldo, as well as YouTube videos of metal monkeys, roosters and cats. 

Female duo Basil and Budgie acted as the frontmen (or frontdogs) of Caninus until the tragic passing of Basil due to a brain tumor in 2011, and the band is recording a new album in her honor. But the dogs aren’t just barking for tummy rubs, their music has a message. The group are avid animal rights activists and promote veganism, adopting homeless pets and protest pitbull misconceptions. Their song titles include "Bite The Hand That Breeds You," “Locking Jaws” and "Fuck The American Kennel Club.” 

The sweet death barks of Caninus will either send a shiver up your spine or tempt you into humping your neighbour’s leg, and both of those are good things. I spoke to guitarist Belle Molotov about rumors that Susan Sarandon is a fan, their split EP with Hatebeak, Richard Christy of The Howard Stern Show joining the band and if the dogs have ever performed live. 

How did the idea come about to use dogs as your vocalists?
 
We were all fans of grindcore and death metal bands, and we noticed one day that our dogs could growl with the best of them. We learned how to safely get them to growl and bark along to the music and Caninus was born. We got a lot of backlash that we were actually recording the dogs fighting but that's bullshit. Hasn't anyone seen the Husky that can say "I love you?"

Do you find their voices more powerful than humans?

Hell yeah. They were born to do it and the intensity is there and the dogs have an important message to get across. They can be just as uncooperative as human singers as well and can be total divas.

How did you get them pumped up to perform?

We do lots of calisthenics - we practice "give me paw", "rollover", "take a bow" and give them lots of treats. Then the rawhide comes out and the vocals just start flowing naturally.

Has the band ever played live?

There are rumors of live shows and we have been on a stage with the dogs during a live show. No one ever knows when we will play and it always has to be a surprise.

Do the dogs ever listen to the music? How do they respond?

The dogs always perk up when they hear the music and especially the vocals. It's better to see the reaction of other dogs listening to Caninus. It's like they get a look on their face like "I know what they're saying" and they get all riled up. There are some videos on YouTube of dogs listening to Caninus. Look them up.

Tell us about the concepts behind your songs.

Most of the songs concern issues that pit bulls face today. They are the most misunderstood and abused breed out there. The lyrics give the dogs' perspective on all that they face as pit bulls and as dogs. The dogs sit down and try and explain to us what they want us to say and we try our best to put it on paper.

Could you tell us about some of the other activism you're involved with?

Budgie, the last remaining singer, is very active in trying to be pet, to steal your food, and to get into the bathroom garbage to snack on dirty Q-Tips and tampons.

You guys are vegans too right?

Budgie and Basil were never vegans. They usually enjoyed a diet of Dick Van Patten's Natural Balance dog food or raw meat, fruits and vegetables.

How was working with the parrot singer Waldo from Hatebeak?

The singer was a bit of a diva. He's really loud and likes to repeat things over and over again. But overall we got along and we think it was a great split.

What do you think of their vocalist?

His squawk is no match for our growl.

You worked with Cattle Decapitation as well?

Yes, we released a split 7" with the awesome Cattle Decapitation some years ago. That was our last release. Although, there are no actual cows in the band. We were a little disappointed by that but still went forward with the split anyway.

Why did you decide to end the band after Basil died in 2011?

Technically the band is still around. We've been working on a tribute album to Basil as Budgie is still alive and doing great even at 14 years old. She misses her sister and wants a fitting memorial to her. We have a couple songs written but it's been slow going lately due to Budgie's arthritis.

Your website says you've received approval from celebrities like Susan Sarandon?

She loves us- so does Bernadette Peters.

How did you meet drummer Richard Christy, from The Howard Stern Show?

He was a big fan so we asked Budgie and Basil if he could join the band and they said it was cool. Unfortunately Basil never had a chance to meet him in person, but Budgie hopes to meet him one day.

Are there any other animals you'd like to collaborate with?

We'd love to work with the stray cats.