Producer Spotlight: Zain

RD: You are a relative newcomer to the scene, what can you tell people about yourself and your approach to music making?

Z: I’m a London-based producer heavily inspired by the greats growing up (Pete Rock, Premo, Alc, Muggs, RZA, Dilla, etc.). I started off on FL Studio and for 10 years I was hooked on that until I copped the Maschine Studio. Some of my FL beats were trash! Glad I stuck at it. Everything I do is sample based, but I definitely like adding instruments and playing keys. I’ve recently discovered a studio which costs like $5 an hour so I’ll sketch a few ideas at home and take it to the studio to finish it off when I get time.

RD: Together with Dani you produced the Left Field EP for Left Lane Didon. Talk to us about helping create that project.

Z: Me and my lil bro Dani are real like minded when it comes to beats. He’s basically my second ear. Since we heard Current Mood, we both wanted to work with Left so it was a blessing to be able to do that. We had a beat pack stored for Left and as soon as the opportunity presented itself. I was real happy with how Left Field turned out. Doing a full project with a rapper is always the goal. Especially when you work with someone of Lefty’s caliber.

RD: How does the process differ when collaborating with another producer as opposed to working solo?

Z: It doesn’t change too much. I can still execute my ideas, but when I collab with another producer its dope to be able to take on more ideas.

RD: Olvido with Chris Skillz just dropped. Chris and Left Lane are apart of a renaissance happening in Delaware, how were you able to connect with that group of guys?

Z: I got to put this down to timing man. For 10 years I was creating and not doing much with the music. Rappers weren’t as accessible when I first started but its a trip now. My lil bro Dani was the one who told me to get my music out there.

Since doing ‘Current Mood’ on Strictly 4 my Dumperz, I had already knew about Fahim through Dani connecting with him over art and music, but it was my first time hearing Left and Nice. I went through the whole catalogue and it inspired me to reach out to these guys. Whole camp always showing love. Definitely something in the water over in Delaware.

RD: Is there anything on the horizon you can share with us?

Z: Got a new project with Nowaah the Flood in the works alongside my brother Dani. On top of that got a second project lined up with Chris Skillz. Super hyped for both and I can’t wait for the people to hear it. The new Skillz joint is probably some of my best work. God willing it comes to light soon. 

I’m lining up a couple other rappers for projects, but nothing official yet. 

RD: Let’s talk gear. What are some of your weapons of choice, and what is on the wishlist to get?

Z: Maschine Studio. I was on the Maschine for a while but ended up selling it and upgrading to the studio. Never looked back since.

I also use the Native Instruments Komplete Kontrol S88 MK2 keyboard if I want to experiment with the Maschine plugins. My goal one day is to build a small studio room.

RD: If you could contact any five living artists to start your producer album, who would you get?

Z: Mos Def / Mach-Hommy / Nas / Evidence / Willie the Kid.

RD: Would you like to make any Shout Outs?

Z: Shout out to all the incredible producers out there. Especially J-Zak & Dani. Keep inspiring. No time for hate round here. Peace to anyone showing support!  

Appreciate you reaching out to me. Grateful for the opportunity for real.

Left Field https://phonicart.bandcamp.com/album/left-field-2

Olvido https://chrisskillz.bandcamp.com/album/olvido

Producer Spotlight: Nephew Hesh

Hesh has proven himself as one of the elite producers of the past two years. Utilizing a combo of hard-hitting drums and intricate melodies. He has shown the ability to produce full projects (Dap Zini’s Saga of the Swamp Thing and Pro Zay’s Powder Shoe Prints) collaborate with other producers (with Sadhugold they form the duo Deadstock) as well stand out on a single placement (the thunderous Funeral March for Your Old Droog).

RD: Our introduction to you was on Pro Zays stellar Powder Shoe Prints album. Was this the first full project you produced?

NH: I think so, I remember starting on it at around the same time I started on the beats for Saga of the Swamp Thing. I know for sure it was the first full project I produced to be released though. Shout to Zay, he killed it.

RD: Shortly after came another project with a Psych Ward Records member, Dap Zini. Can you take us through the making of Saga Of The Swamp Thing, and your thoughts on it over a year later.

NH: One of my favorite projects I’ve worked on. It’s always great working with Dap because I can just send him beats and trust that the final product will be top tier. A lot of the beats I was sending reminded him of the Swamp Thing comic, which is why we based the album on it. Swamp Thing and Powder Shoe prints were the two projects where I really started pushing myself.

RD: Yourself and Sadhugold form Deadstock, that is quite a partner to have while making beats. Is there a certain division of labor when you two link up, or does it vary beat-to-beat?

NH: Usually I’ll send Sadhu loops, and he’ll do the drums. His drums are crazy bro. When I first started working with Sadhu, I was still a senior in high school, so during lunch and even sometimes during class I’d go to the library with my laptop and a pair of shitty headphones and just crank out loops. Have a whole pack of them ready by the end of the day.

RD: Who are some veteran producers you look to for inspiration?

NH: Dilla, Madlib, Knxwledge, Alchemist, RZA. Also been listening to a lot of Mannie Fresh. He’s very underrated. 

RD: In summer 2018, the big call came. Westside Gunn has chosen not one, but two Sadhu & Hesh beats for his loaded Supreme Blientele album. How did you find out about the placement, and what was the feeling like?

NH: Oh actually he only picked one, the beat for Stefflon Don. The other one was all Sadhu. That was great, I was driving when Sadhu sent me a live audio recording of Westside Gunn rapping over it in the studio. Had to pull over and collect myself, it didn’t feel real. That was real life bucket list shit. Really grateful for that opportunity.

RD: Things seem to have moved along nicely since then, with you landing placements with Your Old Droog and Mavi. Do you actively shop production? What is the ideal situation to collaborate?

NH: If I have the artist’s number I’ll text them beats right when I’m done with them. I usually prefer to send out beats via text/email and let the rapper do their thing that means I have more time to make more beats. If its a full project that I’m producing though I definitely wanna be working in person.

RD: Selflove by Mavi has hit 1 million streams, that is a huge milestone. The song has an endearing, charming quality to it. 2+ years in, what are some of your favorite productions?

NH: Self Love is one of my favorite beats, for sure. I really like the two beats I got on Ankhlejohn’s new album, they have a lot of texture and that’s an aspect of my style that I’ve always been proud of. Its hard choosing, though, because if it’s out, it’s already a favorite.

RD: In an era of loops and drumless beats, your drums tend to hit hard. Do you start your process with drums/programming?

NH: It changes from beat to beat. I’ll start by making a loop, but if I’m not feeling it I’ll scratch it and work on drums. If the drums hit, I’ll try to find a sample that works. If I’m not fuckin with the drums then it’s back to the samples. Repeat that til something clicks.

RD: You have not produced a full project since Deadstock handled Doofs Tried Bring Sober album. Is there anything on the horizon you can tell us about?

NH: Yup, got 2 full albums produced by me ready to drop. I prefer to keep things under wraps, but trust me when I say everybody went all out. Seriously some of my favorite music I’ve worked on. Sadhu and I just finished up our beat tape, so be on the look out for that too. Very fire.

RD: If you could enlist any 5 talents for a Hesh studio album, who are you calling?

NH: Mavi, Mach Hommy, Alchemist, Madlib, Mannie Fresh, and Bob Power is gonna mix and master it.

Shouts out to all my friends and everybody who’s given my music a chance. We’re only going up from here. Thanks you Respect Due for fuckin with the kid! Much love

Photo courtesy of @ahotelparty

Powder and Saga are available here

https://psychwardrecords.bandcamp.com/music

Hesh’s personal BC

https://nephewhesh.bandcamp.com

Producer Spotlight: Grubby Pawz

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RD: You & Haze play a role of this renaissance of Underground Hip Hop with dropping the critically acclaimed The Failures, and The Glory. How do you feel the Boston and national scenes have unfolded in the two and a half years since its release?

GP: It’s been dope to see it unfold. There’s a lot of dope artists and music out right now and getting to work with a lot of these artists has been a blessing. Massachusetts has been putting out quality for a minute, but now the past few years more people are getting to see that.

RD: Lets talk about the brand new project with Estee, IWANNAFXCKJADAFIRE. You have linked with him many times before, but this is the first full body of work. Can you talk to us about the sessions and what its like to lock in with such an elite talent for a full length?

GP: Nack is my brother. So when it comes to us working on something its effortless. We just have fun with it. I’d have a beat going or be cooking up something and he’ll just be like “let’s go.” It’s always dope to be in a studio with Nack because it’s just a party and making music without overthinking it. We got more heat in the stash! ADLIB!

RD: City Yard Music has rolled out a number of dope releases in a short amount of time. Many of them are your projects, but some in the store are not. What standards does a title have to have for you to develop and sell it?

GP: I started City Yard as a way to release cassettes for artists based out of Massachusetts. So either the rapper or producer has to be from out here. I just started with hitting up friends and asking them if they’d be down to let me put out their cassette.

RD: In The Field featured a Boston All-Stars lineup, what was the selection process like for the guests?

GP: Well first off 90 East BMX is owned and operated by my boy Lino Gonzalez. Shout out to him, and the 90 East team. Before I met Lino I knew of the company and what they had been doing in the BMX scene for a minute and  it’s always been quality. I linked up with Lino through Haze because they grew up together. I told Haze I wanted to shop this idea to Lino originally of like a piece of music, some type of physical merch. We built on the idea and at first it was going to be a video with just the instrumentals, but then I said nah I have to get all my friends on this shit. I put the calls in and they didn’t hesitate at all. Salute to all of them, they came through and killed shit. Appreciate you!

RD: KRUDEBRICK saw you leave town for some guests, including Lord Juco/Sekwence and Sully Nomad. Do you get all of your work done in-studio, or can exceptions be made?

GP: For this EP I just wanted to reach out to a few people I’ve been fans of and hadn’t really worked with. I try to get the artist to come to the studio if possible, but these dudes are all out of state so it was just easier to send the beat I had in mind and let them send the joint back.

RD: If you could add any one piece of gear to your setup, what would it be?

GP: 1970s Minimoog Model D or 1973 Fender Rhodes Mark III.

RD: Do you guys have a release schedule for City Yard, or does it vary as the projects come along?

GP: No schedule. Once the tapes are done we just pick a date and drop them.

RD: Do you pay attention to feedback on a higher profile drop like JADA, or block out the noise entirely?

GP: Yeah, kinda. I just put the music out and the people that fuck with it. They tag us in photos of the merch they got. I’ll share that on social media and all that, but I don’t go looking for peoples approval of the music or wait to see people’s opinions. Me and Nack love the album and that’s all that matters really.

RD: You are huge on the cassette format, which seems to have taken a bit of a hit lately. What is it about the format thats appealing to you as an artist and a vendor? Do you see sustainability in the cassette market?

GP: The cassettes just look dope and was a way for people to have a piece of art and physical merch with the digital audio. The market is kinda over saturated though. Everyone is doing tapes because they’re easy to do if you just google it, but I like that though. I like the fact artists are doing their own cassettes. There’s no need for someone else to do the work and take a cut if you can just do it yourself. I do still think there’s a demand out there for them. Maybe not like a year or 2 ago but they’re dope to have.

RD: If you get lock any 5 living artists into the lab with yourself, who are you calling?

GP: Nas, Ghostface, Mach, Roc Marc, Westside Gunn.

IWANNAFXCKJADAFIRE can be purchased here https://www.iwannafxckjadafire.com

City Yard Music Bandcamp https://cityyardmusic.bandcamp.com

Follow him on IG and Twitter @grubbypawz

Artist Spotlight: John Creasy

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John Creasy is a rising MC repping Niagara Falls. He has worked with a number of old friends of Respect Due, including Robert Deniro (who scored his entire Exodus album), Killy Shoot, Ol Man 80zz and other members of the growing Umbrella collective. His latest album is The Omen, a 9 track offering that takes you deeper into his thoughts.

RD: You rep Niagara Falls, while growing up did you have a music scene in your area?

C: I rep Niagara Falls NY all day, 716. Growing up in a small city the hip hop scene was limited you know the local shows, but overall it was very small.

RD: Has the rise of Upstate NY surprised you?

C: I wouldn’t say surprised, I would say it’s deserved. Upstate NY always gets the short end of the stick because we are not from NYC. New York is New York to me so surprised? No, more like about time.

RD: Would you consider Power your official debut?

C: Yea, Power was definitely my first official release.

RD: Last year you linked up with two old friends in OldMan80zz and Robert Deniro on the boards. What led you to working with each one of those guys?

C: I first linked with Deniro on the Mean Streetz compilation album. The connection was good, so we decided to do an EP together and Exodus was born. I loved Ol Man 80zz style of beats, so we linked and did the Teflon EP. Both are definitely talented and brought different versions of myself out. We all are part of the Umbrella movement, big shout out to my Gs.

RD: What are certain things you listen for when you’re picking beats?

C: I’m picky when it comes to beats, and I listen for everything. How the baseline rides the beat, how the snare hits, the melody, and the samples. I like to be different in my selection so anything that stands out, I’m on it.

RD: Some artists seem to be able to write under any circumstance, others need a specific setting. How would you describe your writing method?

C: I can write under any circumstance. Go off the top at any moment. I’m putting out versatile styles of music.

RD: Most important thing you learned about the game from 2018 until now?

C: Timing is everything. I feel like your start is not gonna be your finish, and when its time its your time. Stay true to yourself and your own craft.

RD: If you had to pick any one song to represent your body of work, which would you go with?

C: Unity Park off The Omen album, it gives an insight into how I grew up. People get blinded behind the Niagara Falls view itself, but once you cross over the Highland Bridge, you get my story of what Niagara Falls is about.

Cop The Omen and older works here https://johncreasy.bandcamp.com/album/the-omen

Follow him on IG @creasywwg and Twitter @Creasy_HO

Lamb Rabbit Interview

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RD : For those unfamiliar with your music what can you share with them?

LR : I am Lamb Rabbit. I am multi-faceted. I’m a singer. A record collector. A DJ. A producer. A radio host. Really it all just boils down to me being a giant music nerd. I’ve sung since I was little, at first soloing in choirs, then later on studying and competing classically. I also fell in love with what felt like this vast and hidden world of records and record collecting, which led to me stumbling into DJing by accident. Initially it was a means to showcase the gems I’d found that I’d grown to know and love— I wanted to share that knowledge and passion. These days I’m very grateful for DJing. It was unexpected, but it’s paid bills and enabled me to connect with a ton of fellow heads, expand my musical knowledge and further open up my ears and thus my own sound.

As a producer, I produce (or sometimes co-produce) a lot of my own music because I’m extremely particular as to the sort of sound that grabs my soul, and it can be simpler to feel that out on my own. I know my own ear (and my own heart; they’re intrinsically linked!) best, so it’s essential to me that I stay true to that.

Radio happened for all the same reasons. It was a solid platform for me to share music I was passionate about, and unlike most live DJ sets, radio mixes get archived, so that was very appealing to me. Radio mixes become historical artifacts; aural time capsules. I moved to New York about three years ago. I’m from Canada originally (although half of my family is from here: my grandfather is from East New York, my grandmother is from the LES, and my mom is from Queens). Not too long after moving here, I was guesting on friends’ radio shows, and soon a friend asked me to co-host a show with him. Having that platform was such a rewarding experience that it evolved from my wanting to share the music that I loved to wanting to extend the platform itself to the artists and producers creating it. I began inviting artists to come through and guest. Liv.e, Pink Siifu, Adé Hakim, AKAI SOLO, Caleb Giles, brainorchestra, Rast RFC & many more slid through. I’ve wound up making some really close friends and musical collaborators through radio. I’m more appreciative of that than I can put into words.

RD: You came to our attention hosting the ‘UPPERCUTS’ show series for Half Moon BK. There is quite a variety in the guests, from Dap Zini (Psych Ward Records) to Koncept Jack$on (ex-Mutant Academy). What are you looking for as a featured artist for these?

LR: There’s no hard and fast thing I’m looking for. Ultimately I feature artists whose music I feel is on a whole other caliber— a cut above. Hence, UPPERCUTS. I’m grateful that I have the opportunity to share a platform that I so cherish with the artists and producers that are creating the most meaningful, unique, and inspirational work right now. I’m really proud of what Uppercuts has blossomed into. The format isn’t set in stone, but typically I’ll DJ for about 20 minutes and then let a couple of guests perform live sets on air for the show’s remainder. Witnessing it in the studio, the energy is special. Community pulls up and the vibe is intimate. Each episode feels like a glimpse of a musical renaissance: snapshots of enlightened rap, sentient soul, and forward-thinking frequencies permeating New York City. It’s magical. I guess that’s what I’m looking for.

RD: The SP404 is the common thread we see in any event featuring producers and beatmakers. Why is the 404 so favored in a live performance setting?

LR: I think you see SP-404s a lot in live settings because they’re compact, feature-packed, have loads of storage banks, trigger pads, and memory (thanks to SD cards if we’re talking the SX or A models), plus they’re fairly intuitive and easy to use. And 404s are versatile; you can do everything straight off the SP or you can run your laptop or whatever else through it and just use it for the plethora of effects. It’s so small, so portable, so self-sufficient. 404s enable producers to do so much with so little; this is why they’ve changed the game for the scene.

But also I mentioned this question to my friend the other day when we were talking about beat sets and his response was, “I don’t know, that shit just slaps.” 100% valid.

RD: When at home creating, is this your personal weapon of choice?

LR: It definitely is. Because I come from a record background and I’ve always gravitated more towards the analogue side of things, I’ll typically sample straight from my collection and do the bulk of my production work on the 404. I don’t even get super technical or use the sequencer like that. I usually just wind up looping things that grab me or playing around with chops and maybe incorporating some subtle effects before either re-sampling or just recording straight into Ableton. A lot of my production feels really raw to me for this reason. It’s not quantized or perfect in any way. It’s almost a little lopsided, but that’s more human to me. It better resonates with my soul. My thoughts and feelings aren’t neat and symmetrical, so I don’t want my music to be.

RD : You have been rolling out a few singles on your Bandcamp, are these leading up to a full length project?

LR: Yes, definitely. On Valentine’s Day I dropped a 2-track EP called Strange Luh. Both tracks are hallucinatory lo-fi covers that call into question the effects that love can have on our mental. My vocals are pitched down on both joints so they feel a little like they’re off a Screw tape, except the beats are more contemporary so you get lost in time. It’s meant to feel displacing. It’s not for everyone, it’s super weird and oneiric. It’s gotten some play on WFMU, dublab, and on Canadian radio as well, so I’m happy it’s resonating with a few souls.

Last month I dropped another 2-track EP featuring AJ Suede. He’s based in Seattle but slid through my old spot while in town a little while back. I made both beats on the 404 while we were chilling and we wrote to them on the spot and recorded everything right then and there. I’m singing on both tracks, but AJ is front and center. His wordplay is immaculate. We’ve got a second EP in the works now.

A limited run of Strange Luh 45s came out last month and sold out, and the EP with AJ Suede should come out on vinyl shortly too. I’ve had work out on tapes before but never on vinyl, which is the format dearest to my heart, so this is an exceptionally special chapter for me.

I just released another single, Slide, with an accompanying music video— my first! Groovy lil boogie produced by my NC brother C.R.I.S.T.E.N. The video is super silly but I was just feeling like we needed a warm distraction from what we’ve all been going through with the Corona madness.

Hopefully very soon I’ll be able to release my full length debut, Heart True. It’s pretty much finished, it’s just in the process of mixing and mastering. Most of it is either produced or co-produced by myself, and it’s primarily sample-based, although there’s a lot of live instrumentation too. Upright and electric bass, sax, flute, drums, guitar, keys. There are features throughout from some of my favorite artists, who also happen to be some of my favorite people. My rule for the project was to disregard clout and only work with artists who to me are moral 10s; just really solid souls, through and through. I feel like I know a ton of extremely gifted artists, but not everyone is as equally gifted at being a decent human being. I really don’t care how talented you are or how much pull your name has. If you’re egotistical, if you’re a dick, if you’re inconsistent in just straight up treating others around you with kindness and respect—without ulterior motivation—you’re a dub. I feel like I see a lot more of those behaviors and attitudes than I would like to, but I refuse to let them into my own personal world. And that was this album. So it really is an accurate representation of my whole heart.

 I know it’s completely cliché to say, but it really doesn’t fit into any singular genre. It’s laced with an honest injection of rap from some real ones, but beyond that it weaves through terrains of spiritual jazz, psych folk, hymns, and weathered soul. There’s a cut that sounds like ambient reggae until a verse comes in. One friend recently described another track to me as feeling like equal parts RnB and shoegaze. Someone else told me that each song felt like a painting. I loved that. I was super vulnerable and bared my whole soul on the album; I’m glad the strokes came across.

RD : You’ve seen your share of performances/sets, does anyone stand alone as a favorite to watch?

LR :There’s definitely no one single person, but honestly a lot of the artists who’ve guested on my shows are my favorites to see do their thing live. AKAI SOLO’s freestyles are unmatched. Adé Hakim radiates infectious levels of positivity during his performances— I’m convinced he’s secretly a beacon of light in human form. When Stack Skrilla guested on Uppercuts he performed 1000 (shoutout JLVSN on production) in its entirety from front to back perched on a stool, and the studio was full but you could’ve heard a pin drop. That one was really special to me.

RD: As we know, anyone can be in NYC at any given time. Have you guys had any random, noteworthy guests at these functions?

LR :We don’t really get random guests because Half Moon is a closed studio, so anyone coming by needs to have a personal invitation. Also as far as I’m concerned, anyone who takes the time out of their day to come by to show love and be supportive of the underground is noteworthy.

That being said, quite a few people have slid through. Mndsgn came by when Malik Abdul-Rahmaan and I did a special two hour B2B vinyl freeform episode last year in celebration of Ramadan. Stack pulled up before he was on the show himself for JLVSN’s set. Many of the artists who have been featured guests have returned to later shows to show support. Tyron Perryman has dropped by, which means a lot to me because his Tea & Converse podcast really is so essential and beautiful, and I’d like to see more platforms bridging gaps and being supportive of one another the way that he is. Honestly, I’m honored anytime anyone pops in, because it all just boils down to showing love and support, and we all need more of that— in this community, and just in general, period.

Special shoutouts also go to Benji Socrate$, JLVSN, DFNS, Lungs, Phiik, JVH, Silence, Døøf, Keenyn Omari, Devoye, and akari, who have all pulled up time and time again. Makes my heart swell. Same goes for all of the guests who have travelled to be on Uppercuts. Pro Zay flew in from Texas. Murky came in from Akron. Last episode Jah-Monte Ogbon came in from Charlotte and Koncept Jack$on from Richmond. Elijah Bank$y and ZekeUltra are both pulling up from out of town for the next episode (whenever we’re able to normalize a bit again, looking past this pandemic). It’s an honor. And it demonstrates that what Uppercuts is doing is valued. That’s not lost on me.

RD : If you could enlist any 5 musical talents in the world for your full length debut, who would they be?

LR:The full length is already done, so they’re already on there! It’s more than 5, but Akeema-Zane, AKAI SOLO, DFNS, GyPzzy, Koncept Jack$on, Master Holy & Murky all kill their features on Heart True. akari, Devoye, Evan Lawrence, Furozh, Hajino, Keenyn Omari, Oluwaseun Odubiro, Syl DuBenion, and a few other friends also contributed incredible production and/or instrumentation to the album. And every single one of those souls are beautiful. We here.

RD: Shouts/special message for the people

LR: Holla literally every single person I listed above. Golden nuggets all of ’em. Thank you, honestly, to everyone in the scene who has been supportive of me, of my vision, of my musical journey. It’s still just the beginning but I already feel so fortunate to get to work with so many incredible people and have the support and encouragement of so many more.

Also I would be seriously lacking if I didn’t extend special thanks to my Half Moon family. Darian and Tyler have been present for almost every single episode of Uppercuts. Starr and Mel have both come through the station to support on days they’re not even working because they are both bb angels. Surf has been ridiculously enthusiastic about Uppercuts from the jump, which has meant the world to me. In February the station was closed and got opened up just so we could do the show. I felt that. And I’m hyper grateful to Gam, Matt Thompson & JVH for capturing more footage than anyone deserves, and to Gary Franks for being a design genius and bodying so many of my visuals. My team is undefeated.

Special message= STAY HEART TRUE! Extend kindness. Show love. Don’t get swept up in bitterness or feel like everything is a competition. Work together instead of trying to tear each other down. Follow your own unique vision, and be genuine. The right people will take note. And just let the rest roll off your back. We’ve all got this.

Track Lamb’s movements here https://www.lambrabbit.com

 

Producer Spotlight: The Standouts

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We had the chance to catch up with a production duo on the rise. In a short period of time The Standouts have delivered full projects with Bub Rock, WateRR, and Lord Juco. A Dot and C Dot have been stashing inventory and they’re prepping for a major run in 2020.

RD: You guys have linked up with some of the finest names in the underground over the past few years. When did this all start? How long were you building up inventory?

A Dot: As far as building up inventory, we’ve had samples/ loops/ beats from like 2004 we just always saved that type of stuff. It really started in 2018 when I saw an IG video of Bub Rock and I thought he was dope. I just wanted to get a beat to him, but that turned into a whole EP (XV). From there he plugged us with Ty Farris and other artists started working with us. We had beats on deck and samples that we could use so we just started from there.

RD: Did you guys get into production at a similar age? Who was the first one to get serious about this?

A Dot: C Dot is my younger cousin by 7 years. I started getting into it around my sophomore year, like 2001-2002. I was watching BET and that Jadakiss Knock Yourself Out transitioned into We Gonna Make It, and that was it for me (shout out to the Alchemist). All of us (my cousins, his brothers) would just hang out like family do and alternate between hoopin, playing the game, and messing with Fruity Loops. As time went on C Dot got really into it too, and we would just kick it ride around and really study music. Literally listening to 9th Wonder sample mixes and stuff like that. I’d make a loop and have him do the drums on the beat. Someone on MySpace wanted to buy some beats from me on these two beats where I did the sample and he did the drums. The rapper picked those immediately with no hesitation. I sold those beats, and brought $40 to C Dot for his piece of the profit and it was on from there.

C Dot: My love for beat making started back in elementary honestly. I owe it all to the Grinding beat, shout out to Pharrell that is really started it all for me. Beating on the tables with pens and shit I literally would get suspended for beating so much. That lead me to playing the snare in middle school on a drum line that they basically made because we had such a cold line up. I was too smart to not be in school learning, so I wanna say it was one of my coaches that put me in band. Anyways that band background was the springboard for my beat arrangements and all the percussion and shit I would utilize back when other producers beats were complete ass. We didn’t wanna be trash so we just kept at it, and A Dot is such a wizard with anything he puts his mind to so after a few years we really started rocking and making a little cash.

A Dot: Oh yea! I forgot I was in band in middle school too. I was playing the clarinet but I noticed I was the only dude playing clarinet so I switched to trumpet. First Chair on both instruments too, we been on some music shit.

RD: What is the division of labor in the group? Does one member do a certain part of the beat, or does it vary?

C Dot: For a few years I was doing drums and A Dot was chopping samples. Then it switched to me chopping samples and A Dot doing the drums and arrangements. Then I went off to college and would never go to class so I had plenty of time on my hands and started to overwhelm A Dot with all the samples I would send through. Eventually I got tired of waiting on him to do something with certain joints I would send, and started just doing it all myself and that’s really when The Standouts became like a real legit force that could hold up through any test of time. I grew off the tree A Dot planted but have different inspirations musically so where my shit is more melodic and tends to change up every 4 or 8 bars. A Dot comes in with that gritty hardcore dark ass evil tone, but beautifully put together shit and whenever we do collab on a beat these days it comes out crazy. Once the money really starts coming in and we can make a living off this shit we’ll do a lot more tag teaming. Right now we’re just building our skill sets more and more till it’s time to really go!

A Dot: We’ve done it all from switching up on who’s doing the drums vs. chopping the sample from of course making beats together via email. Now we both do everything, but the emphasis varies. My emphasis is on the mix and the sonics of it and C Dot being an artist himself he’s gonna put an emphasis on the arrangement and making sure the beat isn’t 100% monotonous. So its not necessarily like we cooking up together side by side but we definitely each play a part on each beat.

RD: Is there a different mindset producing a full project as opposed to a few placements?

A Dot: To be honest, fully producing projects just happens so organically so there’s not really a mindset. If we send an artist a pack of like 3 or 4 beats when we first get to building they might just like 1 of those 4, and make a fire ass song from that. That sets off a light bulb with us, so the next batch we send they might fuck with 3 out of 4, and now we got 4-5 songs and the songs start to have a theme, which lends to the title, then cover art and so on its all just super organic. Perfect example of that is The Plaza EP with K Burns. That shit came together in less than 24 hours like that!

RD: Of the full projects done thus far, which one do you think most encapsulates The Standouts sound?

A Dot: That’s a good question that’s really hard to answer personally speaking. We don’t really have a certain sound we just cook up randomly and try to send beats we think they would float on. We’re not saying “this sound like something such and such would rap on” we’re saying “damn such and such would kill this shit.” There’s a difference.

C Dot: When it comes to the Standout Sound the only thing that makes it all comparable is the laugh at the beginning. Outside of that you really can’t put your finger on what a beat from us will sound like and that was our goal from the jump. Our main focus is to just make it dope no matter what style it is that way we won’t ever have to worry about being boxed in.

RD: We realize that often times the cat has to stay in the bag, is there any upcoming work you can discuss?

A Dot: Of course the shit that’s already been posted about such as Eddie Kaine’s Nezzie’s Star project. Spoda’s project Audio Trafficking will probably be out by the time this comes out. There’s a couple of other projects we got cooking and artists that we are working with but they in the early stages so I don’t wanna jinx nothing. There will always be things in the tuck for guys like Ty Farris and Bub Rock.

RD: First 5 calls you make to start a Standouts album, no budget involved.

A Dot: I can’t even say because I’m actually gonna make those calls so ya’ll stay tuned.

C Dot: No budget involved I’m going with a dream line up so I’ll roll with Jim Jones off top. Earl Sweatshirt,Willie the Kid, Bankroll Fresh (R.I.P) and Action Bronson.

RD: Message for the listeners?

A Dot: Appreciate ya’ll fuckin with us and we gonna keep cooking up we here and we ain’t stopping.

C Dot: Appreciate all the love and support. Y’all have only got a glimpse into one of our bags so stay tuned. Niggas really musically inclined in a major way so the more comfortable these artist get with allowing us to take more of the direction the more of the bags you’ll see.

Support Standouts produced projects here

https://waterr.bandcamp.com/album/the-honorable

https://lordjuco.bandcamp.com/album/white-walls

https://bubbarock.bandcamp.com/album/xv-prod-by-the-standouts

https://eddiekaine.bandcamp.com/album/nezzies-star

 

Artist Spotlight: Sedizzy

 

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RD: For the uninitiated, talk about your history. How many releases did you have leading up to Slick Talk Season?

S: I’ve been spittin since around 2005, since I was 15. We had a whole gang of spittas with us back then. I mean if you dig hard enough under Toxic Intoxication Recordz, you can find about 3 full length mixtapes. Wish I still had them jawns on disc.

RD: Looking back, what area do you feel you’ve improved on the most since you started?

S: Composition. I’m a huge Big L and Sean P fan so I took the whole multi syllabic style to heart. I’d say rhyming at least twice in every bar to extend the story telling is where I really focused my attention. Back in like 05 we were just battling, so the grimiest shit you could conjure was what was being thrown around.

RD: On Slick Talk Season you tapped in with a number of talented guys. Talk to us about the project, how long did it take to make? What led you to reach out to the guests and producers?

S: I’m really proud of STS, even though it was kinda rushed. Being my first official project I wanted to connect with some of the artists I was vibing with at the time. It probably took about 5 months to release. I heard Daniel Son x Giallo Point’s joint Remo Gaggi, and I was like ‘bet this northern cat is bodying this, let me touch base’. We wound up linking in Jersey City while he was out here performing with Crimeapple for a show. My partner and me loaded up the whip with the laptop and mic stand then drove north to a hotel in Jersey City. We wound up banging it out in Dan’s hotel room with DJ Finn, Futurewave, Asun Eastwood and Blizz there. Mad humble dudes. Fastlife was a different story. I hit him up about a collab and we went from there. My mans had the bars back to me in like 2 days. Salute to Fastlife for that. Most of the tape was produced by Timeflex, I found him on the MurderTheBeat Instagram page and just vibed with him. He actually mastered the entire project. STS title track features Daniel Son and was produced by my partner Veracity. We go back to the sandbox so it was necessary. The last joint Gunfire Romance was laced by Filfy Tarantino, we linked after I collaborated with Fast. Since STS, me and Filfy have dropped another single featuring Killy Shoot.

RD: You’re one of our most local guests, 5 minutes down the road in Camden. What are your experiences coming up in the South Jerz/Philly scene?

S: Crazy, when I was really coming up it was before Instagram and social media it was the Myspace era. In the early 2000’s it was all about battle rap. I was everywhere back then. Every corner I heard was wildin, every battle was like trying to chop somebodies’ head. It was ruthless back then, and I wouldn’t trade a minute of it for anything.

RD: Favorite venue to see a show?

S: I love the TLA and Electric Factory for shows. Seen JMT a million times out there.

RD: What’s the next move?

S: I got a new EP fully produced by Onaje Jordan of the HomeTeam titled Slumlord. There’s some heavy hitters on that tape so keep a look out. After that, I got a collab tape dropping wit MuggzonDrugz. We created a duo and it’s fully produced by NexQuickBeats out of France. Keep a look out for that early 2020.

RD: Shouts?

S: First and foremost my wife for always holdin me down and my homie Veracity for blessing me with lab time since we were kids. I wanna salute y’all at Respec Due Records and Podcast for allowing some local grime ball to get some shine. Peace to all the homies that reached out and built with me, my brotha Cocareef, Chuck Chan, Killy Shoot, M.A.V., Onaje, Jay Royale, Muggz,and Yellow Balaclava. Too many to name

 

Support Sedizzy’s music here https://sedizzy856.bandcamp.com

Follow him on IG @sedizzy 856

 

 

Producer Spotlight: Wavy Bagels

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RD: For the uninitiated, tell the good people about your background making music, and your Bagels and Dagels beat tape series.

WB: I was introduced to music as a child by my intermediate family, but its not what I wanted to do. I wanted to be an artist, astronaut which eventually lead to me trying out pro wrestling and then producing. My life is type wild. I started making beats at 18 by the name of “razorSHARPE” which was also my wrestling name.

Years later, I would continue to fuel my passion for music, changed my name to “Wavy Bagels” and here we are. “Bagels for Dagels” is just my personal series of “bagels” for display to ensure that they will keep coming fresh for the people to get.

RD: Finding proper credits can be challenging at times, but I do see a few placements for Intell, U-God’s son. How did you guys link?

WB: I met INTeLL via the brother S.I.T.H (Sick in the Head) about 6 years ago, both repping Staten Island. S.I.T.H.  I was shooting a music video for a joint we did called “Bake the Dough” ft. Mic Handz. INTeLL helped out with photography, and shooting alongside my great friend Alex Antigua.

He recently joined forces with fellow Wu-Babies Pxwer (Method Man’s son), Sun God (Ghostface) and Young Dirty Bastard (ODB) to form “2nd Generation Wu”. We just did a successful show in Harrisburg, PA. I got to DJ. It’s wild to me because I grew up listening to OB4CL and I think about the “keep the family together” line by Raekwon in “Glaciers of Ice”. It’s like watching life imitate art.

RD: Are placements something you pursue, or do you prefer to let the work breathe on your instrumental tapes?

WB: I feel producers today have the ability to do both simultaneously so I never stress one over the other.  I’m currently pursuing the placements that come natural and makes sense for both parties involved whoever that may be, but I am currently working with artists whether they are known or not. As long as the art is not compromised.

RD: You show a lot of love on your Soundcloud, constantly re-posting other’s works. What is the first thing you listen for when you hear a new producer’s work?

WB: That FEELING. If a beat got me thinking or moving in those first 20-45 seconds, I’m gonna share it. I’m also big on sharing the wealth with friends who I feel deserve to be heard just like how that opportunity was given to me. Whattup, Complexion! (Future Beats Show, UK)

RD: If there is an area you could improve at, what would it be?

WB: Between music and film & TV (freelance boom operator) I’ve done a lot of audio work, but recording and mixing live instruments is one aspect of audio I feel I haven’t done enough of and that only comes with practice. Songwriting as well.

RD: What aspect of beat making do you consider your strong suit?

WB: People always tell me about my drums, so I guess it’s the drums. I personally try to have a defining snare in every one of my bagels. The snare always hits me first. Before the kick, before the percussion.

RD: If you had a hefty budget to begin work on a WB producer album with all the trimmings, what 5 talents are you calling first?

WB: Sheesh. This one is tough. I would probably go with Thundercat, H.E.R., Anderson.Paak, Robert Glasper and SiR. I’ll engineer the hell out of that session and be a sponge soaking up knowledge at the same time.

RD: If you could add any piece of gear to your setup, what would it be?

WB: SP-404. It’s been a staple in the beat scene for years and I never owned one, but it’s always exciting to see a peer who owns it engage with it. There’s no letting go of the knobs. There’s always a function to sneak into a mix. It’s fun. That SP-555 is elite too. Shouts to the brother DøøF!

RD: What can you divulge about upcoming works?

WB: S.I.T.H and I are working on a ton of projects, but as of right now we are wrapping our debut project “BrainWavy” coming soon. Out record “Tazmania” is out now. We’re performing May 1 at Wonderville in BK.

Not doing beat tapes this year, but I will bring back my “Wavy Reworksss” series of remixes and edits for the DJ’s. I also heard of this supposed “solo wavy bagels project” but it’s only a rumor.

RD: Shouts?

WB: Big shoutout to the family GREEN STUDIO NYC, where I’ve recorded such artists including S.I.T.H, DFNS, AKAI SOLO, Lungs, Ba Pace, Benji Socrates, Lord Jah-Monte, BARS (of Your Mystery Guest) Theravada, Rob Chambers, Mutant Academy, K Solar, Asad Ill and many others. Extensive shoutout to TASE GRIP, The Boppers, 2000 Ent., Mutant Academy and 2nd Generation Wu.

Big shoutout to the Beat Scene! In Plain Sight, 9th Haus, Pushing Buttons Collective, The PVSH, Beat Haus, Beat Cinema, Controller Rise, Highwater Music, Brooklyn Beat Syndicate, Bananas, Chamber of Cyphers, Beet Trip, SAT SYN, The Build Co., Off The Scene and MTROKNWN. Thank you for pushing the culture forward!

Follow Wavy on Twitter and IG @wavy_bagels

Soundcloud https://soundcloud.com/wavy_bagels

Bandcamp https://wavybagels.bandcamp.com

Imported Goodz Interview

The talented crew of Imported Goodz joins us for this interview on Respect Due.

RD: How did Imported Goodz form together ?

IG: Imported Goodz came together from childhood friendships in South Florida, years of basketball, a love for music, and making beats. [Broken Rhythm]

RD: The first release had some amazing quality and unique details. Can you tell us about the concept for that debut release? Were there any issues with the production of that product?

IG: Thank you for the kind words on the first release. The title for Untitled Drums was inspired by Kendrick Lamars Untitled album. We didn’t have any song titles so it was fitting to just call them Untitled Drums. Conway calls his verses drums so we put the two together and it had a nice ring to it. As far as the music concept the goal was just to make sure that every second counted. All killer no filler. They say you have your whole lifetime to make your first album. I believe that to be true. Most of those beats are over 10 years old. Anytime you start something new it’s inevitable that there will be issues and this project was no exception. One major issue was we dealt with a clown engineer initially for the project who was recommended by a friend of mine. Long story short his mixes were subpar and he lacked professionalism. Sold his soul for a dollar. Jokes on him we’re on RDR blog now yuh feel me! Ha! [FN-2188]

RD: How do you divide the tasks of running Imported Goodz among the group? Who takes care of what to help drops go smoothly?

IG: Let me preface this that there is no one leader in the group. We all have say and input. As far as executive producing goes I for the most part take on that role and divide up the assignments to our strengths. We all make the beats. Broken Rhythm aka Dustin Mounce handles all the artwork for our albums. Broken Rhythm and Wayne Gordon handle all the mixing now. I handle all the social media and customer service for our merchandise. Mike Lima is head of security. [FN-2188]

RD: Was there any difference in the creative process between the 2 projects released on Imported Goodz?

IG: The first release was basically FN-2188 poking his head out of the back door yelling “Supper’s ready!” to the rest of the group. Everyone always talks about what could be or let’s do this one day, but FN-2188 brought it to life. Seeing his grind throughout it, and holding the actual product in our hands is what put the battery in our backs for the second project. Our creative process was the same, but the drive was definitely stronger on the second one. [Broken Rhythm]

RD: What can you share about working with Daniel Son on your latest project Killing Clouds?

IG: Working with Daniel Son I can share with you that he is a professional and he murks every beat. [FN-2188]

RD: RDR has a life long love for the Miami Hurricanes. I was shocked to hear the Sean Taylor clips with the photo images of Daniel Son throwing up the U. Who’s idea was it to add these amazing touches to this project. What was the creative inspiration behind that?

IG: A few of us are from Miami, but even just growing up in South Florida the Canes were huge in the 80’s. After finding out Daniel Son was a fan, we had to find some way to tie him visually to Miami. We had limited pics to choose from, but managed to find one with him throwing the “U” up. We thought it was dope with Daniel Son being from so far away to have love for UM football, which is so close to many of us. [Broken Rhythm]

RD: The artist for the cover is very talented could you share with us the concept idea behind the projects art?

IG: The art was created by Dusitn Mounce (aka Broken Rhythm), which was centered around the title “Killing Clouds”. Killing clouds is a dope way to describe shooting a firearm in the air, but it also describes how we’d like to rise in this game. On the cover Daniel Son’s eyes are pupil-less to show a tunnel vision like trance. His lower jacket includes a silhouette of the Toronto skyline. The black line style allows colorful layers to be built and not compromise Daniel Son as a focal point. I went with a purple and neon green combo because I love using loud colors when I can. [Broken Rhythm]

RD: What do you look forward to for the future of Imported Goodz?

IG: We want to quit our jobs to make music with artists that feel our shit. [Broken Rhythm]

Constant quality music and we wanna be on Rap Snacks. [FN-2188]

So many dope projects lined up for the future that we had an amazing time putting together. Right now, we’re not at the liberty to announce, but trust the people will be treated right as always. We’ve also finally opened up the channels of selling beats after much demand. It’s been a dope experience being able to connect and supply people with them Imported Goodz. We’re really excited to hear what people cook up over our music. To future connections never hesitate to hit us up at importedgoodz954@gmail.com [Wayne Gordon]

RD: Do you have any Shout Outs ?

IG: Shout Out to Old Spice Wolfthorn deodorant for lasting all day and anyone who supports our path. [Broken Rhythm]

Shout out to all the supporters of Imported Goodz. Shout out to Johnny Dang for creating the biggest chain in the game for me. A custom Imported Goodz piece comprised of 18 carat yellow and white gold and 3800 genuine round cut white diamonds. When I first laid eyes on this piece I had to rub the side of my face like Ace when he saw the gold bbs’. Also I wanna speak into existence Eli Porter – Imported Goodz coming one day. [FN-2188]

Simple – to all the people that supports us. Being able to make the music that we love and inspire an emotion in someone will never be overlooked. Don’t believe the hype, making that human connection weighs more than anything and with that said… shout out to the people! [Wayne Gordon]

Follow Imported Goodz on IG & Twitter @ imported_goodz_

Bandcamp: https://importedgoodz.bandcamp.com/

Artist Spotlight: Nomad Carlos

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RD: For those unfamiliar, how would you describe yourself as an artist?

NC: I’m a hip hop artist from Kingston, Jamaica now residing in the states, New York to be exact. How I got my name is pretty simple because my real name is Damon, so I switched it backwards and got “Nomad” then I added my middle name “Carlos” to it. The word Nomad also fits my personality because I’ve never felt any real attachment to the places I’ve lived outside of yard in my 20’s. My music has always been labelled as “90s hip hop” back home in yard, I never really liked that term although I fell in love with the music of that era. I feel it’s a natural progression of the sound. Some call it Boom Bap, underground or even the term “real hip hop”. I was never really big on these terms, but I guess my music does fall into those categories of hip hop. I consider myself an MC bringing you that type of raw sound with an unusual perspective in my lyrics because of my upbringing and the environment I’m from.

RD: Did you grow up in Jamaica? When did you gravitate towards hip hop, and who were some of your earliest influences?

NC: Yes I grew up in Jamaica. I was born in Florida and my parents moved back to Jamaica when I was 5. Jamaica is my home. My mom was a music fiend and once a month we would go to the record shop in Half Way Tree, Kingston and she would allow me to get one CD. The first hip hop album I ever bought was Busta Rhymes When Disaster Strikes in 97, and I was barely 10 years old. You know Busta had that type of animated vibes us yardies tend to gravitate to. My cousins who were older than me were into hip hop as well, and I used to always listen to music with them watching them rap and be in awe. They were back & forth from Jamaica, and America too so when I started getting deeper into hip hop it was through them. I was definitely into BIG and the Bad Boy era from early out but the older I got I started getting more into Nas, Bone Thugs, Mobb, Wu, and Pun just to name a few. I started checking these guys out mostly when they were on their 2nd and 3rd albums then I had to back track the catalogs. When you ask about influences those names come to mind. Naturally I listened to a lot of dance hall growing up, and even that helped develop my style in a unique way.

RD: Would you consider Me Against the Grain your official debut?

NC: Not at all. I’ve been doing this as far back as 2009. There weren’t too many opportunities for rappers in Jamaica. I had released an album locally in Kingston back then called Fuel to the Fire which was never released publicly. That project was where I gained my respect as an emcee in the community. I made CD’s for the streets and would distribute it that way. After that I had done a mix tape rapping mostly on industry beats called Live From Yard. I wanna say these times I was still honing my skills and trying to figure out the sound I wanted to settle on. Musically I don’t think I fit into what was popular in Jamaica at the time so I found myself trying to cater to that audience. Then I did Me Against The Grain afterwards which was in 2012. Around that time I played a part in propelling the hip hop community to its ceiling in the local music industry. We started putting on shows for the community and ultimately built our buzz as artists while giving others the platform to do they thing.

RD: Your Bandcamp contains a number of releases, if you were to pick one to introduce someone to your material which one would you go with?

NC:  I feel like I would start with Cipher. Mentally I feel I’ve been in a great space since then musically. I set my own expectations and it helped me gain a new audience.

RD: You teamed up with one of the scenes’ finest producers in Farma Beats on your Cipher project. Talk to us about working with him and how that project came to be.

NC: Well, I think Farma is one of the best in the game. I came across his work online and thought it was flames. Reached out on the DM and we went back and forth for a while. I’d share some of my music and he was feeling it. We worked on Leviathan Axe and it was dope. I was in a comfortable zone and so we ended up just making an EP out of it.

RD: Blxvk Desert is the latest offering, how does this differ from some of your other recent drops?

NC: Blxvk Desert has a more yard focus lyrically. I linked up with Inztinkz on that. Inztinkz is the producer for our crew The Council Of The Gods. We are all from Jamaica and he still lives out there. Anytime we link up this is the vibe we on. So there’s a lot of Jamaican references and lingo all over that. I was able to pull from how we used to live in yard and display that lifestyle. Get personal here and there with some experiences. It’s my favorite project thus far.

RD: Do you approach each project with a certain mindset (number of songs/concepts) or does that change during the creation process?

NC: My mindset is always to just make quality. Meaning just stick with what’s working for me in terms of my style and sound. As for concepts, I’m into a lot of shit so my mind is always thinking creative. I watch a lot of movies and play video games too whenever I have time. All that stuff is part of my process. I’ll have crazy ideas and be jotting them down. For now I’ve been just dropping EP’s short projects because I want people to get used to what I have to offer in small doses. I don’t think they ready for a full album yet. That’s been my mindset from 2019 going into this year but I’m working on a baby tho, a full length LP that one day I plan to present. Don’t really wanna talk about that one yet.

RD: What are some plans you can reveal about 2020?

NC: Dropping more work of course, and also finishing up some collaboration projects I’ve been working on for a while. I’m in the process of finishing up an EP with Artivist. I plan on doing more features too. Got a show booked for February, and I definitely want to work on doing more shows. So I’m looking forward to that.

RD: Any Shout outs?

NC: Big ups to y’all for this interview. Big ups to The Council of The Gods and the whole movement in yard. Bless up all blogs and radio jocks who support the music. And big up all the fans who buying and streaming the music. Y’all really the motivation to keep going and staying the path on this musical journey. Bless

 

Support Nomad Carlos’ music on Bandcamp here  https://nomadcarlos.bandcamp.com

Follow him on IG and Twitter @NomadCarlos