Aesop Rock has used his creativity in a completely different way this time, creating an art website? Well kind of. What 900bats.com is, is basically a blog with awesome pictures and videos, most of which have been crafted by Aesop Rock himself. What it really is, is a creative outlet for one of the most creative minds in music today.
The pictures are unique, the videos funny and cool and the exclusive music, awesome. Bookmark like a mufuckah!
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Wednesday, September 22, 2010
900 BATS
Wednesday, September 15, 2010
ORIKAL UNO - PARTY LIKE IT'S 2012
(Cover Art for Uno)
Saint Paul, MN -- Orikal Uno was up until 3AM last night, awoke by 7AM this morning, and by the time you had your morning coffee today he was probably in the booth recording a new free single for the internet, penning his next verse for a hot collaboration with one of the many crews he works with and/or represents. By the time you hit rush hour traffic Orikal may have been working on a new graffiti, or web design project or was just making a new beat for the likes of underground veterans like Sab the Artist and Abstract Rude for whom he recently made the hit "The Awful Truth."
Having just celebrated his 21st birthday, Orikal Uno has already established himself as a fixture on the celebrated Twin Cities music scene, He is probably well liked by your own favorite hip-hop artist, even if you've never heard of him. By 2011 that will probably change as Antonio Rosario a.k.a. Orikal Uno releases his debut LP simply titled "Uno."
The artist previously known simply as Orikal, has been a workaholic since first entering the game at the ripe age of 13. The native of the West Side of Saint Paul, self released numerous albums and mixtapes and shared stages with some local heroes from the Rhymesayers and Doomtree crews as well as many other Twin Cities hip-hop legends. Three years ago he tapped longtime collaborator Anonimust to produce a full length debut LP for him that would set the stage for this next chapter in his career.
Anonimust, who was previously known as "Jayechs" has been a long time fixture of the Twin Cities music scene and songwriter for artists locally and nationally. He gained his first exposure as a member of the groundbreaking hip-hop group S.U.S.P.E.C.T.S. and went on to continue a successful career producing songs for artists and music for TV and movies. As a father of two young children, the former Jayechs changed his stage name to Anonimust in 2007 to reflect the change in his musical style when he founded the group Hour to Hope, to personally work on positive music and no longer wrote songs that included profanity or the "n-word." As a producer, he still allows a "no-holds barred" experience for the artists he works with, and for Orikal Uno he provided a soundtrack unlike anything ever attempted for a hip-hop artist.
Together the collaboration of Orikal Uno and Anonimust two artists at the top of their game, and in a crossroads of life made for an LP worthy of cover-to-cover listening, even in this world of song-by-song downloads in iTunes. Capturing three years of risk-taking and progressive songwriting, the album presents a fully-fledged introduction to one of the most innovative artists to emerge from the Twin Cities. This album ranges from the synth-pop influenced lead single, “Party like it's 2012” which, to the blues-infused heartbreaker “You're Sure Not Ready” all the way to the salsa-driven “Bacardi Island” featuring Maria Isa. Orikal Uno re-defines the creative limits of underground hip-hop.
Orikal Uno will be performing shows to promote "Uno" along with Anonimust and Hour to Hope, and others this fall. "Uno" is slated for digital-release via http://www.orikaluno.com and iTunes, on November 2nd, 2010 with a full-scale release through Best-Buy, Fifth Element and other local music stores on November, 9th 2010.
In addition to his solo debut you’ll can hear Orikal Uno on a number of other collaborations and leaks via his page on http://www.orikaluno.bandcamp.
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In addition to his solo debut you’ll can hear Orikal Uno on a number of other collaborations and leaks via his page on http://www.orikaluno.bandcamp.
Monday, September 13, 2010
Sunday, September 12, 2010
NO TEAM IN I EXCLUSIVE INTERVIEW WITH PHINGAZ!
There's no box you can put Jason Brown AKA Phingaz into. There's no way to pigeonhole him, he's not a bird. He digs the dope shit and happens to work with a bunch of talented individuals known for making moves. I had a great time reading his response and I'm sure you will too. Enjoy.
NT-Who are you? Where are you from and where do you call home?
PH-My name is Phingaz - But my parents and friends call me Jay. I'm born and raised in Utah - its pretty. I live in south Minneapolis - that is home.
NT-Why the name Phingaz?
PH-I was part of a rock/funk band all through high school. I played Bass. I had really big hands and everyone made fun of me. Especially the drummer in the band - we called him Sloth Dubbs (He plays in like 3 bands now: Feel Good Patrol, Shades of Gray, and Samuel Smith Band) one day he dubbed me fingers - and it stuck. When Phaust and I formed Sinthesis we were really feeling the PH thing - so I ran with it.
NT-How long have you been making music?
PH-Roughly since the 7th grade. So 12 years now? That's weird...
NT-What's one of your fondest memories of music as a kid?
PH-I had this giant trunk that I could fit in when I was young. I would sit in the trunk with my parents really crappy beat up boom box and make mix-tapes off the radio. I wish I could find some of those tapes...
NT-Are you picky when it comes to producing for an artist?
PH-I think I am - but I think the question holds more weight the other way. I like a certain sound/style and I really want the artist I'm working with to hold the music in the same light. When its working - its working. When its not - its not. I really like to work with people who have a vision - I create a lot of beats on a 'project' basis. Meaning I don't have this huge vault of beats that are un-used. I like to paint a song for an artist with a particular feeling or emotion or something that they want to convey. So if your a picky rapper - I'm your guy.
NT-Who are you working with at the moment?
PH-I've given a slew of beats to Status Reign for his Solo Album. I JUST finished mixing and mastering ToneKrusher Smith's newest album "Big Bombs Of Love." I made all the beats on it - except 2. Egypto handled those. We are dropping it FREE REALLY SOON!! I'm currently wrapping up the final Capaciti disk - "8 1/2 Months." I made a few beats - but I mostly sat behind the sounds mixing and sang on a bunch of the songs. He is gonna give that away for free too in the next few months. Sinthesis is super hard at work on a new disk. Its a completely new sound and we are damn excited about it. I just spent a week in Utah with Phaust recording and working on songs. We also have 4-5 songs on an EP that we plan to give out for FREE before the new year! So Free is the name of the game here. Lastly - I'm making a bunch of beats for TQD's next album. I won't get into details cause that's his Dilla-yo!
NT-How did you meet?
PH-The BNC guys? The short story is through Egypto Knuckles. The long story involves DU Nation, a crazy Mix-Tape (The Mixed Up Tape SHOUT OUT!), a bunch of booze, music, and somebody that Frugalis doesn't allow me to talk about anymore.
NT-What groups or bands are you really digging right now local or national?
PH-Locally Cecil Otter is one of my favorite musicians. I'm all about his production and his flow has this awesome story-telling feel, Rebel Yellow is one of my all time favorite local disks. Kristoff Krane has been a favorite since the day I didn't realize I was running sound for Abzorbr when I had just finished telling them I like the local group Abzorbr. The National is a crazy grab bag of craziness. Trombone Shorty's new album is AMAZING! The Black Keys and anything Jack White touches. I'm a huge Tool fan and I still bang Primus on a daily basis. I've been listening to a lot of Big L and Outkast - I'm really really, really, really hoping 3 stacks drops a new disk soon. Please?!
NT-Where do you do your digging? Do you have a secret crack spot you get your vinyl from?
PH-I used to live right in Uptown and I would hit the Cheapo a lot - They just have a staggering amount of vinyl. I really like Hymies Basement. The crack spot? Egypto hipped me to a place - but I'm not gonna share it cause EVERYONE is a producer now-a-days and I don't want them to go snag all the good shit first!!
NT-What's your record collection like?
PH-Lots of obscure sound records - I like the crazy stuff. Improv recordings - weird sounds. Solo instruments. But I also by records to just listen to them, non-sample related. I think the last thing I listened to was Jethro Tull "Thick As A Brick" I go through phases of records, sometimes all funk/soul stuff. Sometimes Jazz - Sometimes weird improv doesn't-really-make sense music. Or I get attached to certain instruments and buy a shit-ton of records around it. My last obsession was the Flute - I'm still in that phase. Herbbie Mann say whhhhhat?!?
NT-Who were some of your inspirations in your early years? Who, after listening to it really made you decide to make music?
PH-Primus and The Red Hot Chili Peppers were the two groups I listened to growing up. I really feel like those guys are masters at their crafts. I could listen to them for the rest of my life and be completely happy. There catalogues are deep - lots of experiments - lots of new ideas. They constantly move in a forward motion. I try to do that - I don't like to stand in one musical spot for too long. Gotta keep it moving.
NT-Who do you think is the one producer or Producers changing the game like he or they see fit? The way they want it? Like a Danger Mouse or Dan The Automator?
PH-I don't think its one specific producer. I think hip-hop and music is going through a hyper change right now. Hip-hop acts are taking main stages at massive outdoor festivals!! That's HUGE! I think Kanye has always done his own thing - I didn't listen to 808's - but I think he's a giant force behind a lot of changes. I think guys like P.O.S are doing amazing things too. P.O.S is super cross genre - and he makes his own beats - and he taps into an entire other circuit of fans. That's massive.
NT-In your mind is there any one or two records that is absolutely perfect or damn near close?
NT-Is there anything about those album(s) that you know they just "got it right"?
PH-Its the little things. Like on "Suck My Kiss" - The chorus is played 3 times in the song. Each time after "Is she talking dirty" there is a few hits the whole band does. Each time they do a different amount of hits, depending on which time through the chorus it is. 3 hits for the first time, 2 for the second, 1 for the last time. Its so subtle but it makes such a huge deal to have that patience like that! I'm gonna stop - I could type PAGES about this album.
NT-Do you have any "desert island" records to share?
PH-See above.
NT-Could you describe your music-making process?
PH-Its sort of like a tornado. It sometimes strikes without warning - it can be huge and devastating, or it can be calm and minuscule. I'll drop a record and just listen, over and over. Listening for some little line or moment. When I catch it, I'm off and running. Sometimes I'll just get lost in a record and just end up listening to it. I'll pick up the guitar a lot and just mess around. I'll keep playing a riff over and over again for weeks until I've composed the whole song in my head. Then I'll attempt to put it on track. It always comes out totally different but I think the brewing time is really important. I've made beat skeletons that have sat for months - then I re-visit it and change the whole thing up. Some tracks come super fast - Like "Put Em' Up" on Analyrical's album First Date. I made that beat between 9 - 11 AM. I mean the whole thing - Put guitar and organ to it, dropped the drums. Did some cool pattern changes and bam - I was really digging on the beat. I couldn't wait to show the BNC guys! Then Analyrical came through for his session and I showed him and he said "I NEED that beat!" So he wrote that song on the spot and we recorded it then and there. Inside of 6 hours. Other times shit grows on me forever. "It Came To Pass" on Movement 4:6 took me forever to finally piece together and say "This is it, this is the song." Even when I thought we were done with that song - I made Phaust record me doing another guitar line months after we said its done.
NT-How have people responded to the music you've have been making?
PH-I get a lot of questions about my music. A few haters here and there. But the overall response has been positive. My production leaves some people confused on what exactly to call it. But I like that - It makes me feel like I'm creating something new.
NT-Is there any surprises or a record in the works right now?
PH-If I told you... I wouldn't be a surprises now would it?!?!
NT-What's the perfect crowd to you?
PH-Drunk - they always get down no matter what!
NT-What's your take on the Internet, has it helped or hurt you in terms of reaching an audience or making your money?
PH-The Internet has changed the whole world - more than once. Without it I'm not sure I would really have an audience.
NT-last question...when you hit the venue, what drink is getting ordered first?
PH-Whiskey Coke - It used to be Rum and Coke but it makes me black out a bit and that's not cool!
NT-Anything else to add for the readers? Any shout outs?
PH-Thanks for reading Readers!!!!
Wednesday, September 8, 2010
GREAT READ ABOUT FAT BEATS & MUSIC SALES
Hopefully you've heard of Nasa, not the Space Agency, but the extremely talented emcee, producer, mareketer, engineer etc. Nasa has owned and operated his own record label, Uncommon Records in 2003 to much success. You may also be surprised to find out he interned for EL-P did did pretty much all engineering, mixing and mastering on almost all Def Jux releases. The blog on his label's site has a great article written by Nasa about the state of music and his feelings about Fat Beats. Check it out here.
"So there you have it, without getting that check, we wouldn't have Rob Swift as we know him today. He said it.
So what's my point?
My point is that we MUST have some level of commerce in hip-hop and in music as a whole. His story reminded me about the first time I ever got paid for my music, and to the feeling I get every time I get paid for something to this day. Whether it's to do a show, selling CDs or getting a check from digital sales, it's one of the best feelings you can get as an aritst. I think this is lost on a lot of listeners these days. This is the true barometer of your success. Nothing says your doing something right then money in your hand, nothing says "I respect what your doing" then handing me some dough.
I know what your thinking, "Oh, so it's all about the money then?".
You can think that if you'd like, but I could turn it around on you too. You, you the young cat that doesn't pay for music. So it's all about the money then?
I'm not here to debate whether illegal downloading or Serato or anything else is the reason why Fat Beats is closing their stores. I've been pretty out in front on the digital end of things. We've pandered to the digital retail end of things at Uncommon since about 2006 and frankly it has amazing advantages. I'm not trying to say there weren't horrible pitfalls about the way things were and that we haven't come a long way in the way we can promote ourselves today. I think these days the best thing about what's happening is that artists are far more willing to work with each other for the strength of collaboration then ever before. Believe me, this was NOT the case often in the 90's. Maybe there was an excess of the "Fuck you, Pay me" mind set then in the indie scene and this is all a backlash. But that doesn't make it right.
Bottom line, without commerce, culture can't grow. Paying for something is the only way you can have a real opinion on it. It's just like voting, in my opinion. If you didn't vote in the election, why are you talking about politics? If you didn't buy a record (that's for sale) why are you trying to talk about it? Investing in an album, or any form of culture, gives you a vested interest in it's results.
We now live in a culture where every thing is "aighht". The reason for that is because if you see a movie on your couch for free instead of paying loot to go to a theater, you don't dislike things that are badly done the way you should. You don't have that deep seeded anger about watching or listening to something that sucked and losing money for it. Everyone my age can remember buying that disapointing album. That experience is HEALTHY. If you never feel that disapointment, you'll never really feel enjoyment either.
This is a threat to real hip-hop, just the way you see institutions like Fat Beats close, you'll see the music disapear soon too. It can and will happen. If it weren't for all the indie artists in the 90s, there would be no real rap today. That's a fact. And if no one was willing to purchase what they were selling in the 90s they wouldn't be here today. That's also a fact.
Hip-Hop is in danger of disapearing. Go to a show, buy a CD, buy a download, tell someone about something you heard. Experience hip-hop to the fullest extent you can and support the artists that support you with what they do every day. Or else don't complain when it's ALL gone."
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Tuesday, September 7, 2010
NEW MALLY TRACK COMING SOON!
FREE DOWNLOADS TO HOLD YOU OVER!
FIND MALLY HERE
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Thursday, September 2, 2010
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