Stream Ghetto Division's SECOND LP,the Booty Clappin which is 9 tracks of there take on Chicago Juke. Now get werkin on that footwork and booty clappin!
Showing posts with label Juke. Show all posts
Showing posts with label Juke. Show all posts
Tuesday, October 20, 2015
Ghetto Division | Booty Clappin LP
Stream Ghetto Division's SECOND LP,the Booty Clappin which is 9 tracks of there take on Chicago Juke. Now get werkin on that footwork and booty clappin!
Tuesday, February 17, 2015
TT The Artist | Art Royalty
At first encounter, 'Art Royalty' seems to be a fusion of music styles: Baltimore Club, EDM, and Hip hop. Audiences are taken on an exhilarating sonic journey as they become blanketed by the collection of funky, body-shaking grooves delivered by TT the Artist. However, TT has transcended traditional club sound by teaming up with an all-star lineup of producers on the rise—in an effort to fill the music gap that the inspirational Club Queen K-Swift began to globalize. Enlisting Baltimore Club hero Mighty Mark (known for his raw, hardcore Baltimore club bangers), the bass-heavy incarnations of Thunderbird Juicebox, and the magnetic voice of the progressive Baltimore club legend Blaqstarr on her debut solo EP, 'Art Royalty,' TT the Artist just might be ascending the throne as the next Club Queen
All tracks mixed by Guess Who On The Track for Studio 17 except Fly Girl which was mixed by Devin Brynes and Let Me See Ya which was mixed by Matt Bittman for Wright Way Studios
Monday, January 12, 2015
Knxwledge & Ahnnu Debut Juke EP | DGM.VOL.1_VATOGATO&CAKEDOG
Los Angeles producers Knxwledge and Ahhnu adopt new aliases, delivering a new juke-influenced EP called DGM.VOL.1_VATOGATO as Vatogato and Cakedog. Running in at six tracks total, the newly released project pays homage to late footwork pioneer DJ Rashad, creating a chaotic, futuristic, enjoyable mix of mashups and original records with familiar samples. Stream DGM.VOL.1_VATOGATO below.
Friday, December 26, 2014
Behind The Scenes Of Chicago's Footwork Renaissanc | FADER
By ALEXANDER IADAROLA/FADER
Photographer Wills Glasspiegel shares his candid shots of the figures at the heart of Chicago's footwork community
Footwork, the bracing 160bpm dance music which grew out of Chicago house and juke music, has progressed from a long-established local scene into a worldwide movement over the past three or four years. Its rise is in part due to seminal releases by European labels such as Planet Mu and Hyperdub, the latter notably releasing the breakthrough LP Double Cup by the late DJ Rashad in 2013, and through tireless promotion of the sound by Lit City Trax here in New York.
Since getting his first taste of it five years ago, Chicago-born photographer Wills Glasspiegel has become tightly embedded in the scene: earlier this year he participated as a founding advisor in the creation of dance crew The Era, led by preeminent dancer Litebulb; he's worked with the Teklife family in documenting their musical history for a forthcoming film; and the photos he's taken over the past five years capture the figures at the heart of footwork's genesis.
This selection of pictures, published for the first time today, capture moments both prosaic and career-changing. There's Traxman, DJ Manny and Rashad blowing up NYC at one of J-Cush's Lit City Rave (pictured above), DJ Earl and Frost collaborating on a track in Earl's living room, and dancers Weezy and Murda Moma in the heat of the moment at Chicago's famed footwork dancing spot Battlegroundz. Below, Glasspiegel shares his story of being in the right place, at the right time, for one of the most important eras in dance music's history.
DJ Earl and footwork dancer Dre at Battlegroundz with the championship belt (2013).
WILLS GLASSPIEGEL: "The first I time I heard footwork was in 2010 from my friend Jamie, who goes by J-Cush and has a label called Lit City Trax. It was love at first listen. I was heading back home to Chicago for Thanksgiving and I had the opportunity to do a piece focused on footwork for NPR Music, which eventually turned into something for All Things Considered. That was the tip of the iceberg for me.WILLS GLASSPIEGEL: "The first I time I heard footwork was in 2010 from my friend Jamie, who goes by J-Cush and has a label called Lit City Trax. It was love at first listen. I was heading back home to Chicago for Thanksgiving and I had the opportunity to do a piece focused on footwork for NPR Music, which eventually turned into something for All Things Considered. That was the tip of the iceberg for me.
Footwork has definitely changed a lot. It's gone from a local thing to a global movement—a history that wasn't on the map in any way, shape, or form outside of this culture is beginning to be understood by people from all over the world. But at the same time, if you go to Battlegroundz on 87th Street in Chicago on any Sunday night, you're gonna feel some of that same energy that I felt originally upon becoming a part of the scene in 2010.
Murda Mommy, one of Chicago fiercest footworkers, in the circle at Battlegroundz (2014).
Japanese producer and dancer Weezy visiting Chicago and footworking for his first time to crowd approval at Battlgroundz (2014).
DJ Spinn and Lil JaBBA at Lit City Rave, 285 Kent (2012).
When Rashad passed, it was almost destined that we start The Era because it seemed like there was a real need for a dance wing to support what Teklife had been doing. Rashad had such a history with these guys—he'd known Litebulb for fifteen years—and they'd all grew together for so long. Something deep was there in terms of the role that we had to play as a crew, and I was just helping with organizing, with press, doing everything I could around that stage.
DJ Rashad and DJ Manny, one of Rashad’s key proteges, after a Teklife meeting on the west side (2012).
We gotta be real about it: because I come from the North Side of Chicago and a relatively well-to-do family, and I'm not black, I have access to a network and resources that these guys just don't have access to. Being honest about what people call privilege and trying to share that as much as possible, that's been a part of the dialogue. I try to offer as many resources as I have to offer when I'm working in the footwork scene, so sometimes that just means being a friend when you came to be a photographer.
Dancer Frost Da Boss and DJ Earl practicing in Earl’s basement (2013).
The Era dancers Chief Manny, Litebulb and P-Top practicing at Litebulb’s apartment in South Chicago (2014).
Footwork music and dance have long played a central role at the massive, summertime Bud Billiken Parade. Here's DJ Earl pictured on the decks on the float (2013).
We do a lot of things together. It's hard to classify what I do in terms of one role, or what any of those guys do in terms of one role. One memory is being at Earl's house, on the couch, somebody's making tracks, somebody's dancing, I'm taking photographs, and the night's going really well. That's always been what keeps me going: just chilling in somebody's basement, everybody's doing something creative, maybe somebody's doing animation or drawing. It's a real creative group of guys, and we keep it that way.
Teklife DJs and dancers outside DJ Earl's house in Roseland, South Chicago. From left: DJ Tre, DJ Earl, Frost and DJ Taye (2014).
DJ Clent and his daughter by the building where Clent grew up and produced number of iconic footwork mixtapes (2014).
Footwork originator RP Boo at home in Chicago, Sears Tower in the background (2013).
This idea that being a photographer allows you to see the world through other people's eyes—and see things that you would not have a chance to see, that's a major inspiration for my practice. Once you start picking up a camera and start seeing things through that perspective, and sharing that perspective with others, that can launch a beautiful life. I'm just following in the footsteps of my pictures."
Teklife business meeting with DJ Phil, DJ Rashad, DJ Manny and DJ Earl. (2013)
Traxman on stage at a Lit City party at 285 Kent.
(2013)
TMO throws up an L, the Teklife hand gesture, at the iconic Anish Kapoor bean in downtown Chicago (2012).
Photographer Wills Glasspiegel shares his candid shots of the figures at the heart of Chicago's footwork community
Footwork, the bracing 160bpm dance music which grew out of Chicago house and juke music, has progressed from a long-established local scene into a worldwide movement over the past three or four years. Its rise is in part due to seminal releases by European labels such as Planet Mu and Hyperdub, the latter notably releasing the breakthrough LP Double Cup by the late DJ Rashad in 2013, and through tireless promotion of the sound by Lit City Trax here in New York.
Since getting his first taste of it five years ago, Chicago-born photographer Wills Glasspiegel has become tightly embedded in the scene: earlier this year he participated as a founding advisor in the creation of dance crew The Era, led by preeminent dancer Litebulb; he's worked with the Teklife family in documenting their musical history for a forthcoming film; and the photos he's taken over the past five years capture the figures at the heart of footwork's genesis.
This selection of pictures, published for the first time today, capture moments both prosaic and career-changing. There's Traxman, DJ Manny and Rashad blowing up NYC at one of J-Cush's Lit City Rave (pictured above), DJ Earl and Frost collaborating on a track in Earl's living room, and dancers Weezy and Murda Moma in the heat of the moment at Chicago's famed footwork dancing spot Battlegroundz. Below, Glasspiegel shares his story of being in the right place, at the right time, for one of the most important eras in dance music's history.
DJ Earl and footwork dancer Dre at Battlegroundz with the championship belt (2013).
WILLS GLASSPIEGEL: "The first I time I heard footwork was in 2010 from my friend Jamie, who goes by J-Cush and has a label called Lit City Trax. It was love at first listen. I was heading back home to Chicago for Thanksgiving and I had the opportunity to do a piece focused on footwork for NPR Music, which eventually turned into something for All Things Considered. That was the tip of the iceberg for me.WILLS GLASSPIEGEL: "The first I time I heard footwork was in 2010 from my friend Jamie, who goes by J-Cush and has a label called Lit City Trax. It was love at first listen. I was heading back home to Chicago for Thanksgiving and I had the opportunity to do a piece focused on footwork for NPR Music, which eventually turned into something for All Things Considered. That was the tip of the iceberg for me.
Footwork has definitely changed a lot. It's gone from a local thing to a global movement—a history that wasn't on the map in any way, shape, or form outside of this culture is beginning to be understood by people from all over the world. But at the same time, if you go to Battlegroundz on 87th Street in Chicago on any Sunday night, you're gonna feel some of that same energy that I felt originally upon becoming a part of the scene in 2010.
Murda Mommy, one of Chicago fiercest footworkers, in the circle at Battlegroundz (2014).
Japanese producer and dancer Weezy visiting Chicago and footworking for his first time to crowd approval at Battlgroundz (2014).
DJ Spinn and Lil JaBBA at Lit City Rave, 285 Kent (2012).
When Rashad passed, it was almost destined that we start The Era because it seemed like there was a real need for a dance wing to support what Teklife had been doing. Rashad had such a history with these guys—he'd known Litebulb for fifteen years—and they'd all grew together for so long. Something deep was there in terms of the role that we had to play as a crew, and I was just helping with organizing, with press, doing everything I could around that stage.
DJ Rashad and DJ Manny, one of Rashad’s key proteges, after a Teklife meeting on the west side (2012).
We gotta be real about it: because I come from the North Side of Chicago and a relatively well-to-do family, and I'm not black, I have access to a network and resources that these guys just don't have access to. Being honest about what people call privilege and trying to share that as much as possible, that's been a part of the dialogue. I try to offer as many resources as I have to offer when I'm working in the footwork scene, so sometimes that just means being a friend when you came to be a photographer.
Dancer Frost Da Boss and DJ Earl practicing in Earl’s basement (2013).
The Era dancers Chief Manny, Litebulb and P-Top practicing at Litebulb’s apartment in South Chicago (2014).
Footwork music and dance have long played a central role at the massive, summertime Bud Billiken Parade. Here's DJ Earl pictured on the decks on the float (2013).
We do a lot of things together. It's hard to classify what I do in terms of one role, or what any of those guys do in terms of one role. One memory is being at Earl's house, on the couch, somebody's making tracks, somebody's dancing, I'm taking photographs, and the night's going really well. That's always been what keeps me going: just chilling in somebody's basement, everybody's doing something creative, maybe somebody's doing animation or drawing. It's a real creative group of guys, and we keep it that way.
Teklife DJs and dancers outside DJ Earl's house in Roseland, South Chicago. From left: DJ Tre, DJ Earl, Frost and DJ Taye (2014).
DJ Clent and his daughter by the building where Clent grew up and produced number of iconic footwork mixtapes (2014).
Footwork originator RP Boo at home in Chicago, Sears Tower in the background (2013).
This idea that being a photographer allows you to see the world through other people's eyes—and see things that you would not have a chance to see, that's a major inspiration for my practice. Once you start picking up a camera and start seeing things through that perspective, and sharing that perspective with others, that can launch a beautiful life. I'm just following in the footsteps of my pictures."
Teklife business meeting with DJ Phil, DJ Rashad, DJ Manny and DJ Earl. (2013)
Traxman on stage at a Lit City party at 285 Kent.
(2013)
TMO throws up an L, the Teklife hand gesture, at the iconic Anish Kapoor bean in downtown Chicago (2012).
Tuesday, December 23, 2014
SUB.Culture | Jersey Club Documentary | Part 2
In Part Two of our three-part SUB.Culture series on the Jersey Club scene, we look at the influence of the genre's leading second generation producers.
We look at the music of DJ Jayhood, the self-proclaimed king of booty bounce music, a sparse yet catchy form of Jersey Club further popularized by artists like Mike Gip and Kayy Drizz. From DJ Lil Man, we learn the indisputable importance of dance to Jersey Club culture.
We also take a look at the impact of scene's breakout stars, Nadus and DJ Sliink, from their incorporation of other genres to create their own breed of Jersey Club to opening the doors for other producers to be seen and heard by a worldwide audience.
These artists have inspired a third and now fourth generation of Jersey Club producers--and due to the genre's current popularity, not all hail from New Jersey.
Watch Part 1: http://bit.ly/1we7aCf
Featured Music:
"Start It Up" - DJ Tiga
"Booty Bounce Anthem Part 2" - Mike Gip
"Polo Remix" - DJ Jayhood
"Hands On Ya Hips" - DJ Jayhood & DJ Joker
"One Leg Get Back" - DJ Lilman
"Team Lilman Anthem" - DJ Lilman
"Money On The Floor" - DJ Fade
"Haters Anthem" - Mike Gip and Kayy Drizz
EDWARD ELECKTRO FT. JADE LATHAN & BEVLOVE | SONIC DISRUPTION
Sonic Disruption's release party last was weekend at the Rager Haus and if u couldn’t get your hands on a copy of the CD, worry no more because Eddie has uploaded the entire 12-track project on soundcloud for you.
Detroit got alot of goodness yall!
Tuesday, December 16, 2014
SUB.Culture | Jersey Club Documentary | Part 1
From the Brick City to the Brick Bandits, Part 1 of our Sub.Culture Jersey Club documentary explores the local origins of the sound.
Featured Music:
"Sexy Walk 2K12" - DJ Lilman
"This Pussy Will Drive You Crazy" (Uniique Remix) - DJ Technics
"Nwxrk" - Nadus
"The Business Break Beat" - DJ Tameil
"Booty Work Instrumental" - Kayy Drizz
Click here to subscribe to THUMP: http://bit.ly/Subscribe_to_THUMP
Saturday, September 20, 2014
DA WAR ZONE | OCTOBER 3RD | KEMO VS SPEED
DA WAR ZONE OCTOBER 3RD (KEMO VS SPEED) WHO YOU THINK WILL WIN? presented by: 600 Ent / Walacamtv.com THE BOP ORIGINATOR BATTLES THE FASTEST BOPPER ALIVE contact TeeJay 702-415-3195 #DAWARZONE @lilkemo5 @fmb_teamspeed
Friday, September 12, 2014
Mighty Mark & TT The Artist Boiler Room Baltimore DJ Set + Live PA
Alongside a bill of Baltimore Club legends, Mighty Mark & TT The Artist showed us how the genre has travelled from pure strength to strength into the present day.
Thursday, July 24, 2014
M.I.A. | Gold
Dutch DJ duo the Partysquad contributed production to M.I.A.’s Matangi, and now they’ve aligned again for a song on The Partysquad Summer Mixtape 2014. It’s a typically noisy M.I.A. track that wouldn’t have sounded out of place on Kala, with a beat that remains spacious despite busy drum programming and various agitated blasts of sound. It almost reminds me of “Turn Down For What,” though the recent radio hit Maya interpolates here is Sage The Gemini’s “Gas Pedal.” Get into it below.
Monday, July 21, 2014
For The Love Of House Vol 6 | Defected Records
Defected presents #fortheloveofhouse Vol. 6, out 03.08.14.
Pre-order on iTunes: po.st/ftloh6
The sound of Glitterbox, Saturdays at Booom Ibiza with, Hercules & Love Affair (LIVE), Dimitri From Paris, Joey Negro, Lovebirds, Mr Doris, Simon Dunmore. po.st/gb8
Defected are proud to present the latest instalment in the acclaimed classic house series: For The Love Of House Volume 6. The album features thirty classic tracks that are intertwined in the very fabric of House music. From Kings of Tomorrow, to Roy Davis Jr, to X-Press 2, to Soul Central, this is the essential House collection and a journey through the history of the genre itself.
Tracklist:
01. Gusto - Disco’s Revenge (Mole Hole Dirty Mix)
02. Sneaker Pimps - Spin Spin Sugar (Armand’s Dark Garage Mix)
03. X-Press 2 - Muzik Xpress
04. Ralphi Rosario featuring Xavier Gold - You Used To Hold Me (Mucho Michie House Mix)
05. Roy Davis Jr. featuring Peven Everett - Gabriel (Live Garage Mix)
06. Kings Of Tomorrow - Finally (Original Extended Mix)
07. Kristine W - Feel What You Want (Our Tribe Vocal Mix)
Mighty Mark | Mighty EP
Mighty Mark ft. TT The Artist and Sushi Samson - "Ping Pong" (Official Video)
As a proud Cherry Hill-native and inventive Baltimore club music producer and DJ, Mighty Mark bridges the gap between the intensity of old school Baltimore club music and the futuristic style of the new school. "Mighty" is his first EP but this young producer isn't a newcomer as he used to be known as "Murder Mark". His tracks are supported by DJs like Sinden, Nightwave, Brenmar, Redlight, and L-Vis 1990 to name a few and are featured at Vice/Noisey, Earmilk, Do Androids Dance and countless music sites. After remixing Big Dope P's "Bird Flu" and appearing on #DMP6 with Feadz, MikeQ, Dj Earl Teklife, Ezekiel and more, Mark presents his first official 5 tracks EP featuring collaborations with TT The Artist, Sushi Samson, Mike-Mike ZOME, Young H.I.D., DJ K-Spin, Colada and Rachel G.
Meet Mighty Mark:
https://twitter.com/iammightymark
http://www.mightymarkadventures.com/
DJ Technics and DK Ayres Discuss the Past and Future of Baltimore Club: http://bit.ly/U9UJGT
Thursday, June 12, 2014
Kevin "PARADOX" en Perú | Pura Calle 2014
I believe this is a Judges Demo of Paradox at Pura Calle Battle 2014 in Peru, where he was also doing workshops and judging.
Probably one of my favorite dancers! Super Sick...enjoy!
Tuesday, May 13, 2014
Interview with GoldLink | DC-born proprietor of “future bounce”
GoldLink Might Be the Wildest DMV Rapper Since Wale: “I could start a revolution”
STORY BY: DUNCAN COOPER
GoldLink is a rapper who immediately seems to have carved his own lane—”future bounce” as he somewhat imprecisely calls it, “dream rap” as I even more poorly first conceived it. Basically he’s rapping over pittering dance beats that you can’t always dance to. Born in DC and now based in Virginia, he’s got a weirdness that could make him the biggest DMV rapper since Wale; at the very least, he shares a refreshing left-field newcomer’s confidence to experiment. Download his debut album, The God Complex, and below, read what he has to say about discovering club music, linking up with Soulection and the excitement of not knowing what might happen next.
Where exactly are you from? I was born in DC. I was born in Columbia Hospital, not that that matters… I ended up in Maryland. My apartment burned down and then I lived in Cheverly. My mother wanted better for us, so we ended up moving to Virginia, then my mom got divorced, but I stayed there.
Where are you living now? A few places. Woodbridge is one. Alexandria. It’s aight. There’s not a lot of minorities, so everything’s kinda awkward, but it’s cool. We manage. We stay on the west side, it’s calm and quiet.
I saw you said used to go to Busboys and Poets “on the very low.” What were you like as a teenager? At 17, I was wild. I was really wild. I was really smart for my age, but I thought I knew everything. I was really hardheaded, but I couldn’t control my temper. I was really smart-mouthed. I was the opposite of everything I am now. I was super loud and annoying. I was 17, you know what I’m saying?
Were you recording and putting out music at that time? Not at 17, no. I was just chilling.
That was a few years before Wale started blowing up, and Baltimore Club was having a big moment too. Did you feel that excitement? Even though I was young, I remember it. Wale was cool. You know how you had that friend circle and out of that circle one guy gets everybody hip? I was that kid. So I was like, yo, Wale, you head 100 Miles of Running? I got hip to Baltimore Club music because I took somebody’s CD out of their car and it was a blank CD with nothing on it. I was like, ‘What is all this?’ He was like, ‘Oh, it’s Baltimore club music, all this red light district music.’ I remember I caught that riff. I was young but I was old enough to understand that there was something in the DMV going on.
When you came out, your sound was already really solid. Did that take time? Were you fucking around over Zaytoven beats a few years ago? No, that was the sound. I never crossed over like, trap is cool, I’m going to do this. This is what I started with. I heard Ta-Ku beat two years ago and I thought it was cooler than all the bullshit that was hot. I didn’t care what the fuck was hot. I thought that was cool. I didn’t get it when I was 18 at all, but I just rode with it. That’s why it’s so natural over the beats. I wrote to those beats to challenge myself, not knowing that this is the route I was going to take. I was like, ‘Man, this is weird. I know someone wouldn’t rap over this so I’m going to challenge myself.’ So I just did. I was never really influenced by anybody.
How did you link with the Soulection team? I know you’ve worked with Sango. A friend of ours introduced us through email. We ended up talking and I ended up sending him tracks that I did over previous beats to see if he liked them. He ended up loving them and became a fan and he started sending me beats. From there we built a friendship. We got each others numbers and started talking and we both did Broccoli City Festival. That was two weeks ago and we kicked it there and we kicked it the whole day. It was all through email at first, though.
There’s more in the pipeline coming with him? Yeah, maybe.
I was going to ask you about Broccoli City—Cam’ron and Kelela performed, and you’re kind of like midway between them, to me. I met Kelela. Cam’ron was really protected, so he was kind of in and out. He did his job. But the scene was cool. DMV is such a soul, neo-black city. So people accepted both. There were a lot of people there who liked soul and they liked Kelela and were singing along, and there was a lot of people from the hood because it was in Southeast, and Southeast is like “Oh it’s Cam’ron!”
How do you deal with the not-showing-your-face thing at shows? I did UStreet with a mask at the beginning and then I took it off. I guess it’s like a suspense thing, but I’m really into the music and not into the imaging and I don’t necessarily think we should put an image to the music. I’d rather just make music, and people like that. For performing it’s different, because you actually get to look people in the face—these people that have been following you for months or maybe a few days and you get to look at them. It’s really intimate. I don’t mind showing my face to people because they get to deserve it.
It’s funny that you mention not putting an image to music, because your videos are so striking. The beats are on a spacey, electronic thing, but the videos have a very real street feel. Is that an important tension, for you? I could see why you could say it’s tension, but I don’t think it is. I make it work. Even though the beats are really outlandish and wild, that bounce is really familiar. It’s really different, but it’s the same trap bounce, the same street bounce, the same hip-hop ruggedness, but it’s really new it’s really futuristic sounding. That’s why I feel like people can actually accept it. It’s at a fine line where it’s different, but it’s not so new that it’s annoying or trying too hard. I made it mesh and meet in the middle. Tasteful.
Have labels been reaching out? Is it at that point? I guess it’s at that point. I like what I’m doing and I think it can grow naturally because it’s been growing naturally to this point. I want to see how far it can go naturally. If it makes a complete 100 percent sense, then maybe I’ll consider a label, but right now I’m content with what I’m doing.
What most excites you about what you’re doing right now? Knowing that I don’t know where it’s going to go or how big it could possibly be. The unknown is really exciting. This could be big! It could be on the radio, and it could change what people think. It could change the way the music goes. It could change the BPM. Knowing that I don’t know that makes me excited. Knowing that kids could take this route and add something to it is cool. Knowing that I could start something and start a revolution is exciting. That’s the coolest part about what I’m doing. In my city there’s a lot of hate, but I don’t get any of it at all. I get so much love it almost doesn’t make any sense. Kids are changing up the music and starting to let that image shit go. They’re starting to make better music and clique up more. This is the best era for the DMV.
What else do you want people to know? I want fans to be like, ‘Damn, that nigga tight.’
GoldLink is a rapper who immediately seems to have carved his own lane—”future bounce” as he somewhat imprecisely calls it, “dream rap” as I even more poorly first conceived it. Basically he’s rapping over pittering dance beats that you can’t always dance to. Born in DC and now based in Virginia, he’s got a weirdness that could make him the biggest DMV rapper since Wale; at the very least, he shares a refreshing left-field newcomer’s confidence to experiment. Download his debut album, The God Complex, and below, read what he has to say about discovering club music, linking up with Soulection and the excitement of not knowing what might happen next.
Where exactly are you from? I was born in DC. I was born in Columbia Hospital, not that that matters… I ended up in Maryland. My apartment burned down and then I lived in Cheverly. My mother wanted better for us, so we ended up moving to Virginia, then my mom got divorced, but I stayed there.
Where are you living now? A few places. Woodbridge is one. Alexandria. It’s aight. There’s not a lot of minorities, so everything’s kinda awkward, but it’s cool. We manage. We stay on the west side, it’s calm and quiet.
I saw you said used to go to Busboys and Poets “on the very low.” What were you like as a teenager? At 17, I was wild. I was really wild. I was really smart for my age, but I thought I knew everything. I was really hardheaded, but I couldn’t control my temper. I was really smart-mouthed. I was the opposite of everything I am now. I was super loud and annoying. I was 17, you know what I’m saying?
Were you recording and putting out music at that time? Not at 17, no. I was just chilling.
That was a few years before Wale started blowing up, and Baltimore Club was having a big moment too. Did you feel that excitement? Even though I was young, I remember it. Wale was cool. You know how you had that friend circle and out of that circle one guy gets everybody hip? I was that kid. So I was like, yo, Wale, you head 100 Miles of Running? I got hip to Baltimore Club music because I took somebody’s CD out of their car and it was a blank CD with nothing on it. I was like, ‘What is all this?’ He was like, ‘Oh, it’s Baltimore club music, all this red light district music.’ I remember I caught that riff. I was young but I was old enough to understand that there was something in the DMV going on.
When you came out, your sound was already really solid. Did that take time? Were you fucking around over Zaytoven beats a few years ago? No, that was the sound. I never crossed over like, trap is cool, I’m going to do this. This is what I started with. I heard Ta-Ku beat two years ago and I thought it was cooler than all the bullshit that was hot. I didn’t care what the fuck was hot. I thought that was cool. I didn’t get it when I was 18 at all, but I just rode with it. That’s why it’s so natural over the beats. I wrote to those beats to challenge myself, not knowing that this is the route I was going to take. I was like, ‘Man, this is weird. I know someone wouldn’t rap over this so I’m going to challenge myself.’ So I just did. I was never really influenced by anybody.
How did you link with the Soulection team? I know you’ve worked with Sango. A friend of ours introduced us through email. We ended up talking and I ended up sending him tracks that I did over previous beats to see if he liked them. He ended up loving them and became a fan and he started sending me beats. From there we built a friendship. We got each others numbers and started talking and we both did Broccoli City Festival. That was two weeks ago and we kicked it there and we kicked it the whole day. It was all through email at first, though.
There’s more in the pipeline coming with him? Yeah, maybe.
I was going to ask you about Broccoli City—Cam’ron and Kelela performed, and you’re kind of like midway between them, to me. I met Kelela. Cam’ron was really protected, so he was kind of in and out. He did his job. But the scene was cool. DMV is such a soul, neo-black city. So people accepted both. There were a lot of people there who liked soul and they liked Kelela and were singing along, and there was a lot of people from the hood because it was in Southeast, and Southeast is like “Oh it’s Cam’ron!”
How do you deal with the not-showing-your-face thing at shows? I did UStreet with a mask at the beginning and then I took it off. I guess it’s like a suspense thing, but I’m really into the music and not into the imaging and I don’t necessarily think we should put an image to the music. I’d rather just make music, and people like that. For performing it’s different, because you actually get to look people in the face—these people that have been following you for months or maybe a few days and you get to look at them. It’s really intimate. I don’t mind showing my face to people because they get to deserve it.
It’s funny that you mention not putting an image to music, because your videos are so striking. The beats are on a spacey, electronic thing, but the videos have a very real street feel. Is that an important tension, for you? I could see why you could say it’s tension, but I don’t think it is. I make it work. Even though the beats are really outlandish and wild, that bounce is really familiar. It’s really different, but it’s the same trap bounce, the same street bounce, the same hip-hop ruggedness, but it’s really new it’s really futuristic sounding. That’s why I feel like people can actually accept it. It’s at a fine line where it’s different, but it’s not so new that it’s annoying or trying too hard. I made it mesh and meet in the middle. Tasteful.
Have labels been reaching out? Is it at that point? I guess it’s at that point. I like what I’m doing and I think it can grow naturally because it’s been growing naturally to this point. I want to see how far it can go naturally. If it makes a complete 100 percent sense, then maybe I’ll consider a label, but right now I’m content with what I’m doing.
What most excites you about what you’re doing right now? Knowing that I don’t know where it’s going to go or how big it could possibly be. The unknown is really exciting. This could be big! It could be on the radio, and it could change what people think. It could change the way the music goes. It could change the BPM. Knowing that I don’t know that makes me excited. Knowing that kids could take this route and add something to it is cool. Knowing that I could start something and start a revolution is exciting. That’s the coolest part about what I’m doing. In my city there’s a lot of hate, but I don’t get any of it at all. I get so much love it almost doesn’t make any sense. Kids are changing up the music and starting to let that image shit go. They’re starting to make better music and clique up more. This is the best era for the DMV.
What else do you want people to know? I want fans to be like, ‘Damn, that nigga tight.’
Friday, April 11, 2014
ProbCause | Chicago Style
Rap Artist/Regular Artist ProbCause hails from Chicago, and in addition to making tracks with hometown hero Chance the Rapper, he's taken it upon himself to deliver a Chi anthem in "Chicago Style," which starts as fairly traditional boom-bap and ends with his hometown's skittering juke style.
Thursday, April 10, 2014
LUXE ft. Cesqeaux | All Up On You
LUXE, a sister duo originally from Los Angeles, spin and produce an eclectic mix of music, ranging from West Coast Anthems to 808 infused synth maximalism.
The upcoming pair have now moved to London, playing out shows & producing music befitting to their L.A culture mixed with a UK influence.
This release also sees Cesqeaux make a return to Trapdoor after a busy year of touring including recently working with Tropkillaz and fellow Dutch artists Yellow Claw.
Available for free download, and look out for more from LUXE & Cesqeaux.
Released by:
Trapdoor Records
Release date:
9 April 2014
Follow LUXE
@luxemusicla
Follow Cesqeaux
@cesqeaux
Monday, March 24, 2014
DA WAR ZONE | BABYBOP | FOOTWORK
DETRO v QVIP - TYSON v PTOP - BABYBOP ( WALA CAM )
DA WAR ZONE TV DANCE COMPETITION SHOW By WALA CAM in CHICAGO IL. WALACAM@GMAIL.COM
Saturday, March 22, 2014
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