DJ QBert @DEAD Magazine

Here's an interview I did with the legendary DJ QBert for DEAD Magazine. Please feel free to check it out.

http://www.deadmagazine.de/2015/04/16/en-dj-qbert-the-man-the-myth-the-grandmaster/

Interview #30 - Tommy V

Low Key L.A. Legend

One of the most humble cats out there on this crazy scene called indie hip hop must be Tommy V. He's been part of some classic records and set ups, but he's always been in the background letting other people shine. He, if any, is the personification of why I started doing these interviews. To let the true heroes get heard. So without further ado, here's Tommy!

Even though you’re a cat who’s been around the block a few times, would you like to give us a short introduction to the man and the myth that we like to call Tommy V?

Thanks for the obligatory flattery (blushes).. Ok so I'm Thomas Valencia, I was born in 1975 in Los Angeles, California to a Mexican father and North American mother. The rest is pretty boring...

What made you start making music to begin with?

My mother's side of the family was pretty musical. My grandfather was a singer, with a deep and gravelly baritone voice. I recall taking rides with him as kids as he would sing along with his favorite songs. My grandmother was the foot tapper, heel slapper, finger-snapper type of gal who liked to point out instruments and melodies within the songs that she liked. At our house we had an old Hammond organ in the house that my mother would always sing along with. I remember in 5th grade music class when my friend Chris & I rapped in front of the whole elementary school while reading our lyrics off of a paper. I had some turntables in high-school and we'd freestyle and scratch over records. Then i got a 4-track and a sampler. After that I got an 8-track, then a 16 track, then Pro Tools. Some 30 years later Chris would help to press the Mockingbird 7" vinyl as part owner of Seaport Records.

What do you consider yourself mostly? Musician, emcee or producer?

I think all 3 have their moments, along with epic failures! The musician in me wants to understand the music more... I think that applying some theory with instinct makes for good results. The emcee in me is pretty withdrawn I think.. I feel like I bite everyone when I rap, so I feel more comfortable with melodies and harmonies, but my roots are pretty rappy :/ As far as producing, I enjoy fusing life instruments with samples, or vice versa.

Even though you never completely left, Mockingbird was your first solo release for quite a few years; I suppose the last one up until then was the final Toca album back in like 2007. What made you decide that 2012 was the year for you to release some new music?

Yeah I wish I was more consistent, where does the time go?? It was nice to release Mockingbird with Fake Four & Seaport Records towards the end of 2012. I mostly didn't want another year to slip by without releasing anything, so I squeezed it in before the year ended. I wasn't trying to align with the Mayans or anything.. Here I am now at the end of 2013 and I haven't even finished the rest of Mockingbird, ugh!?

I know there were plans of making the album a physical version too. Is that something that is still in the works?

Yeah, after that digital release of Mockingbird I got evicted from my spot, and since then I've been in transition. I can never really record unless I have a quiet place to set up my equipment, and I hate doing a bunch of takes where the whole neighborhood hears me or I'm annoying roommates. I've finally arrived in Connecticut and have all of my studio equipment set up, so I'm back in action. There is hope..... I think???

Influences/inspirations?

I had filled out this section, then I erased it... I listen to everything I can though...

One of the many things that I like about your music is that you don’t seem to be afraid to make fun of yourself without coming off as corny. Is that a conscious decision or just what happens when you put your pen to the pad?

Uh oh, now we have to psychoanalyze my motives, eek... A basic text book response would point out insecurities that I'm attempting to mask, kinda like a class clown maybe? I just don't wanna take myself so serious, keep it fun! Rappers are too annoying...

What do you want to accomplish with your music?

I want to connect with people and grow within my own understanding of music. I've made lots of good friends through music and just want to contribute what I can to the musical landscape.

What are you up to when you’re not making music and being one of the friendliest dudes out there in the digital world called the Internet?

I enjoy adventure and am always down to travel and commune with nature. You'll find me cliff-diving at Hermit Falls, hiking in Joshua Tree, chillin' in a Sequoia Tree, floating the Kern River, hangin' at Venice Beach, swimming in Flathead Lake, riding horseback in México, soaking in Hot Springs. Nothing like some adventure!

I've always collected rocks, I just got a bunch of new rocks at Kehoe's Agate Shop while I was in Montana visiting. I don't make energy grids with them and swing pendulums or anything but have always enjoyed collecting them.

Also skateboarding has always been a part of my life, I've broken a few bones and just last year took a bad spillI and woke up on the street with a car coming right at me, yikes!?

I like to study languages, and am currently working on my Spanish Degree, I'm about half-way there.. I would love to minor in music but can't pass Harmony 1, ugh!?

Any upcoming projects that you would like to let us in on?

Well I'm working on a 7" with you, David and I are writing to some of the instrumentals now. Plus I'm always working on music, and have all kinds of unfinished material that needs to resolve... Shouts to TorpedoHead! ;)

To finish it all, first off I like to thank you for taking the time to do this. Any final words?

Thanks for the interview and we'll be working on those instrumentals that you sent :)

Maybe one day we can meet up and have a beer? Take care yo!

Interview #29 - Tenshun

The Untitled Tracklord 

For fans of dirty distorted beats and noise, there are few people out there at the moment making it better than Tenshun. Both as a solo artist and together with his different crews, he's been making sure that there's always interesting and dark music to be heard. So I decided to look him up and ask him some questions. 

First off, would you mind sharing with us a bit about yourself? Who’s Jon and who’s Tenshun?

I'm Jon Calzo from San Diego, California. I make music under the name Tenshun and am part of Creatures, Kilowattz, Skrapez and Dtm.

What made you realize that you wanted to create music, and how old where you at the time? Was there a lot of music around you in your family growing up?

I have always been interested in sound ever since I was small and was really curious to how it was created. My older brother was into hip hop and he introduced me to mixtapes and records.

I remember hearing mixtapes and the DJ would be going off on the scratches and I would be thinking "how the hell did they make that sound?"

Or hearing beats and thinking to myself, "Did they hire a whole orchestra to create those sounds?"

And then later on as I found out about samplers and equipment and how people were actually taking sounds from records and other things and re-flipping them to create something totally different. From there I was hooked! Mike Russel from MRR ADM hooked me up with a Tascam 4 track and I was making beat tapes and looping records with a old Gemini mixer which had a 12 second sampler on it and a beat up turntable.

How would you describe your music and could you briefly tell us about the music-making process?

I would say my style of music is a mix of Turntablism / Noise/ distorted drums, feedback and improvisation.

The core part of my music is usually the drums Or a loop that has some type of pulse to it.

From there I find sounds which fit the mood of the rhythm.

Only a few people seem to be as productive as you when it comes to releasing records. Do you feel a need to have your music as physical objects or how come you like to release records so often?

I feel like music is one of the only things out there keeping me sane in this crazy world. Without it I would probably be getting into trouble.

For me making a album is like creating a limited edition art print which starts from creating the sound to making the album artwork. Each album that gets made is totally different then the next album. For some people the whole process of duplicating the music, drawing the artwork and printing them may seem like a lot of work but I like doing all of it.

I love getting albums that have been hand crafted. It shows that the artist put a lot of time & effort to really create something to present to the world to have.

People might have heard the name Skrapez. but might not necessarily know what lies behind it. Could you perhaps enlighten us all? And please tell us what influences/inspirations you have?

Skrapez is Psychopop and I. We have known each other for quite sometime now. We have always been into the same style of music. I remember back in the days we would always smoke a blunt before we go digging for records. We have always been into hard hitting drums, psychedelic music and jazz and art. So when we got together and jammed out it just clicked and Skrapez was formed. Our first Skrapez show was with Sumach back in the day. We just bum rushed the stage and started killing it on some Sun-Ra steez.

I usually get my inspirations from daily living and whats around me. I try to capture all the good and bad things going on in this world and transfer it into my music.

Or I listen to some of the homies stuff to see what they been working on and get ideas & inspiration.

What do you wish to accomplish with your music?

I just want to inspire people out there to make music and art & to do something positive.

Instead of focusing those negative thoughts on trying to kill someone, you could focus those thoughts and energy into some evil, dark sounding music or art.

What are you up to when you’re not making music? Any other passions besides music?

When I'm not working on music I'm usually out riding my bike trying to do tricks or working my job at the library.

I'm a fan of making guitar pedals, circuit bending and drawing and film.

Any upcoming projects that you like to share with us?

As for projects coming out, I've got a few projects in the works with Son of a Bricklayer, Stuntdouble, Psychopop, Mike Tappen and Deathpera.

Shout outs?

Creatures crew, Skrapez, Kilowattz, drums turntables mpc, San Diego and all the people out there that listen and who I have met.

http://shootyourfuckingheadoff.tumblr.com/
http://tenshun.bigcartel.com/
https://soundcloud.com/10shun-tenshun
http://tenshun.webs.com/

Interview #28 - a.hymnz

California Love

One of this year's most interesting albums is Second World by an emcee calling himself a.hymnz. Some of you might not have heard about him, but you should lend him your ear. I'm sure you won't be disappointed. 

I suppose that not everyone out there know who you are. Would you mind sharing some light on that subject? Who is a.hymnz?

a.hymnz, born Jason Scott Furman in '78. I was a b-boy, graff writer turned mc/vocalist from a little village in central California by the name of Kingsburg. The second son of a Leo and Pisces as a Gemini that grew up on the west side of the tracks and ran with misfits and hoodlums. An ex skate boarder whose only real offence was curfew violations, herb possession and vandalism so I don't got no stripes. A poet turned nerd rapper, an abstract surrealist! who ventured to Long Beach in 97 to attend a now bankrupt school for design, Brooks College, where he expanded his mind and outlook on life, art and spirituality in which I mesh together in my music. Probably ate too many hallucinogens in college, but that just added to the styles,tones and energies that I learned to manipulate. I use to sit at the edge of a b-boy circle and take it all in, and by the middle of the night be able to mimic what I saw. Never really had anyone to show me how to do things but got tips along the way, for the most part I felt my way through it all. I was fortunate enough to have experienced the L.A. underground and jungle scene in those days and that experience helped to shape who I am as an artist today. 

I saw AWOL One and Circus at the school I went to get booed off stage by a bunch of materialistic fashion police, and to me that was the best shit ever. Not that they got booed. but to see the reaction between real hip hop and rap. At the time I understood and followed the underground path with no thoughts of being signed or going mainstream. And as a graff writer and b-boy I enriched myself in all of the elements of the hip hop community and culture as well as spiritual welfare, something that resonated with me all of my life and tends to bleed out into my music, and the message I try to convey. not everything or everyone that claims to be good really is, and a lot of those that are deemed bad really are not. I learned to be a better judge of people and to see through peoples masks at that point.

Working a lot with my boy Murdoc or David Samuels, founder of Mind Theater Records and Articulate Sounds, I developed my style and honed my craft. A lot of who I am can be contributed to the support and time that he gave me as well as other close friends that really pushed me to do something with my talents.

a.hymnz, Jacobz'Ladder, Aux.Inx. These are three different names that I associate with you. Is it classic hip hop schizophrenia looming, or what’s the story behind these names?

I have gone by quite a few names in my past from yo’dif’runtone- yodif cause in college people would call me yoda, runt one – cause I was always a runt and I have always been a little different. Also been know my zonk and poe~wiz da dub dukted kalf, but a.hymnz kinda is the one that stuck.

a.hymnz or artcher hymnz an archer of hymnz, a to z with hym in the middle is the embodiment of all of the lives I have lived present, past and beyond. Jacobz'Ladder - jacobz' plural is the connection and path that I started long ago and was a label that I wanted to start when I was yonger. Aux.inx was a name auxillary ink being the vocal painting of my style and was also a crew name that myself and Murdoc had a few years back. Murdoc and I grew up together breakdancing and writing and both ended up making music. When we first really came together we had a group called nophuralmindz with his cousin Kiko and friend Lupes. But everyone kinda went their own ways and branched out. David and I are the ones that really took it further and continued. Murdoc and Lupes created Broken Language and released an album under that and then we all came together as a hip hop band Semantics adding other members and elements to that sound, but I eventually left the band due to personal issues I was having at the time and focused on my own path as a.hymnz.

What do you wish to accomplish with your music?

All I have ever really wished to accomplish with my music is to progress and be heard to keep climbing Jacobz'Ladder and growing as a person, artist and human.when I was in school I had trouble getting up in front of my class and speaking, I was quiet and inverted, still kind of am, but through hip hop and my music I have been able to conquer fears, find confidence and develop into someone that I am happy to be. I don't see artcher as a alter ego or split personality, but myself as one person now. I grew as a vocalist in garage bands and playing music with my friends most of them played acoustic guitar and so listening to a circle of them I stepped in one day and began to scat in which my freestyle ability developed from. I played percussion in marching band so I learned timing from that the art and creativity I got from my mom and structure from my day, depth I attribute to my grandparents. So I guess I have accomplished what I set out to do originally, but now I see it as a way to meet new people and hear others stories. I really enjoy collaboration as it reminds me of being with a band or crew, and I love that live energy

You’ve been working quite a lot with variex. How did you guys hook up initially?

I met variex. off of MySpace and was a fan of his music for quite some time. Funny thing is I had a dream one night that I was hitting Factor up for beats, and he told me he was extremely busy but I should hit variex. up. I did that next morning and off the beaten path was born. variex. is a great dude and has helped me pull a lot of shit together through out the years and I am so thankful to have been able to work with him.we have started a crew called Universal Roots that actually started back in Brooks College with my souls twin brother Habitat or F8th Folson of TasteBuds Records back then he would be getting on the mic at underground parties and I would be rocking the circles. We roamed the L.A. underground together for a few years and developed Universal Roots, but this last year brought in Variex, Oracy and his brother Leaves or Hiru the hidden light whom was on the off the beat path album. We all meshed well together with our own styles and artistry and I am excited to bring this full circle and what the future holds for us working together.

How did you get into rapping to begin with? Early influences?

I began rapping because after band after band broke up I felt it was the only way for me to develop my craft. I began freestyling with my boy Rick and started a local group called Next of Kin. after that another friend Jacob started acquiring tables and records, and he would drop instrumentals and I would rap. We put out a mix tape called Time Travelers and is the real birth of Jacobz'Ladder. Smoking herb, drinking, bbqing and having fun. My first influences where Del and Hieroglyphics, Aceyalone and Freestyle Fellowship, Visionaries, Outkast, Brand New Heavies, The Pharcyde, The Nounce, Living Legends, Atmosphere and a lot of other California hip hop, and bands like Portishead , Rage Against the Machine, Madness, Operation Ivy and Rancid.

Back in the 90's there was a music station called The Box. Before The Box I listened to whatever my brother listened to, death metal, ska, rock, and what ever played on the whack radio stations. The Box really opened my musical influences up to a whole new world and hip hop just resonated with me and gave me a way to find myself and to channel my creativity in a positive direction.

Do you mind sharing your creative process with us?

These days I do a lot of ghost writing. On my way to or from work, when ever a thought comes to mind. I use to do a lot of word play but as I get older I am working on bringing some more solidity and depth into my writing. Then I look into beats and what writings match. A lot of the times I would mismatch verses and edit it all together into a cohesive track. Although if I get a beat that just speaks to me which I feel are my more solid tracks it just kind of flows out of me. I really look for those types of beats these days, kind of like painting I do a bunch of motion sketches and paint what I see within those lines or positive and negative spaces. For the past few albums I have used a Boss digital 4 track recorder that took a lot of time and had no way of punching in and fixing shit, so I would have to do it all in one take. variex. or Oracy have really helped in cleaning up my vocals for me and I am eternally thankful for that, ‘cause without them my music would have not been what it is. I finally was able to upgrade and now have a better working method for recording and look forward to learning more of that process in the upcoming projects I am working on

You've been working with some of my favourite emcees and producers on your records. Do you have any dream collaborations?

Dream collabs for me would have to be Adeem, The Chicharones, Aceyalone, and David Ramos, and to do more tracks with Ceschi and James P. Honey. I have such appreciation for the music they make and the people that are, but other than that I've always dreamed of being a part of a crew the size of Wu Tang, Living Legends, Heiro or Visionaries. I just love the energy between people and how creativity sparks and the brotherhood in it all.

I’ve been talking to other artists about this. What is your view of the so-called scene? It is a real international scene where artists from all over the world create music together without necessarily ever meeting. Does that make it harder to get a good vibe going when creating a song?

I am actually a big fan of this international scene and honored to be considered a part of it, and to be honest I have found it easier to work on stuff with artist abroad then with a lot of artist in my local area. It is more supportive then the local scene and I find a lot more like minded and humble people out there then I do at home. Now don't get me wrong, there are a handful of dope artist in my local scene and I respect what people are doing, but I find it more accepting in the international realms. So I tend to aim more of my creativity towards that while working with local artists that deserve more respect than they have gotten from our local scene. Oracy, Leaves, Splynter, Murdoc, and E.Rose  Just to name a few are all dope local cats that should get more recognition. They are all dope in their own way, along with countless others that I haven't worked with.

How did you hook up with New Cocoon?

I hooked up with New Cocoon through variex., and have been a fan of what they are doing before that. They are a talented group of artists that have bonded together to put out some really dope music and I am honored to be a part of the collective. I am inspired by what we are doing individually as well as collectively.

Upcoming projects?

Universal Roots = myself, variex., Oracy, Leaves and my boy F8th Folson are working on putting together an album and building for the future. As well as I am working with wormhole to get a New Cocoon compilation together and I am working with my boy Splynter on an EP. As well as starting work on a new solo a.hymnz album in which I will feature some dope artist that you have as well as haven't heard of. I am constantly writing so who knows what else will be on the list of things to come but those are the ones I would say to look out for.

Final words/shout outs/last thoughts?

I'd like to give a shout out to everyone that has been supporting this scene and the music we all make. Shout out to everyone that is supporting the Free Ceschi campaign, if you don't know about it you should defiantly look into it. Ceschi has not only helped in building this scene but has really supported all of us. I would like to thank Epic cause without the track Side Effects most people wouldn’t even know who I am. variex. and Murdoc for always having my back and helping me to grow and find my own style and voice. All of New Cocoon, I love my tribe and all that we are doing. And to Michael at beats, breaks and big smiles 2.0, much respect for everything you do for us artist and exposing our art form to a wider audience. My wife Andrea and kids Kylee and Levi who keep me grounded and focused on what matters most in life, and to everyone that has ever listened. You have all help me become the man I am today and to continue to grow. Be on the lookout for the new projects in the near future and the video for Light Posts feat. Tommy V, Thorts, and variex. from off my last album Second World coming really soon.

Peace and blessingz

a.hymnz

http://www.newcocoon.com

http://ahymnz.bandcamp.com

http://www.reverbnation.com/ahymnz

Interview #27 - soso

Way More Than So-So

Behind the name soso hides one of the finest artists that have come out of the alternative hip hop scene in the last ten years. He might not be the most productive emcee out there, but everytime that he release something, you can count on it being extraordinary. So when he's just about to release Not for Nothing, his first album in 4 years, I made sure look him up and ask him some simple questions.

Could you please start off with telling us who you are and what made you into that awesome person that you are today? A brief background history that is. 

My name is Troy Gronsdahl. I grew up in a-semi rural place near a pleasant little city in western Canada. I fell in love with hip hop in the pre-internet era through videos, magazines, and movies. I was a voyeur (and pretty ignorant in retrospect) but my love of the music really drove me to move from spectator to participant. I started dj-ing and making beats in 1995 and became active in the community as an organizer. Almost everything I've learned has been in the service of hip hop. I've met some really generous and sincere people and visited some wonderful places.

You are a multiple skilled artist and you have a lot of projects with your name on it and, if I understand it correctly, it all seems to be connected, can you tell us how?

I started my formal art studies at the same time as I was getting my feet wet in independent music. I think my studies helped me to think critically and my music and visual arts practice has grown over the past ten years or so. My work is usually based on personal experiences, family history, ideas of place and often deals with issues of an existential nature. I've always been trying to figure shit out. I'm actually starting a new graduate degree program in visual art and it will be interesting to see how my practice develops over the next couple years.

Since you are both making music and visual art it would be interesting to know what gets you started and maybe a bit of the process that you go through when you making music or/and art? What are your sources of inspiration?

Most of my songs reflect on my experiences and the songwriting process unfolds in a couple of different ways. Sometimes I'm working within a specific concept. For example, on the new album I was interested in using the drowning of a raccoon – the kind of banal violence of rural life – as a way to think about my family, the place I grew up, my relationship to nature, the mysteries of creation and certain anxieties around not knowing. When I start writing, I usually begin with a phrase or a couple of lines and build the song around that. If I'm not working within a specific concept, I find that the song takes shape during the writing process. One of the interesting things about writing raps, is that the need to conform the lyrics to a structure – finding words that rhyme or work well together – can lead you into an unexpected place.

Working on art is a similar process. I usually have a topic I want to explore and/or a medium or approach I want to work with. Sometimes I discover things through the process of making that helps develop the work – experimenting with an idea or a medium, responding to accidents in the studio or things that work. It's process of discovery.

How did it all begin, I mean artistically? Is either one of the creative skills more dominant than the other and if so, which one do you focus on the most and why?

The world of independent music was much easier to penetrate than the art world. Through the work I was doing in my local community – organizing shows, recording and releasing music, working with other artists –I felt like I was part of an international music community that shared my interests and values. Through a network of homie relationships and like minded artists I was able to produce and release my music, promote my work and tour across Canada and in Europe and Japan. I was largely self-sufficient and felt like I was contributing to the growth of independent hip hop. In the past few years I have definitely prioritized my visual art practice and have tried to adapt some of the strategies of my music practice into building an art practice – building relationships, working in the local community, striving to create good work and finding an audience for it.

When you have spare time away from your creative work, what do you like to do then? Any guilty pleasures perhaps?

I like to drink beer and kick it with the homies – it doesn't happen as much as it used to. I like to go to restaurants and travel when I can. I go on meandering bike rides with my girlfriend, cook, watch sports on tv. I like getting hair cuts and building things.

What are your hopes and wishes for your upcoming release, Not for Nothing?

I feel like I had something to prove to myself with this project. I'm really proud of the album and I hope some people get to hear it.

Maki is responsible for the productions on the new album. You guys have worked together before, but never on a full length album, how come you ended up doing it this time around?

I've always admired Maki's production. Part of my writing process is driven by the production and Maki provided me with such a great selection of beats to work with it made the writing process that much easier. He really kills it on this record – I think it's as much of his project as it is mine.

Will there be any form of touring following the record release, and if so where?

One of the challenges of being a rapper with a non-rap career is arranging for time off to tour. We've kicked around a few ideas with my pals at Kütu Folk Records and Endemik Music but we haven't made any concrete plans.

It’s been about 4 years since your last album; All They Found was Water at the Bottom of the Sea, that you released back in 2009 together with DJ Kutdown. How come it took this long for a new album to see the light of day?

I pretty much gave up any delusions I had of doing music full time after my last album. The past few years have been a transition time for me – building a career, buying a house, focussing a bit more on art. The transition was difficult at times, I was dealing with disappointment. I decided not to push myself too hard to write but work on it when I was inspired to do so. It wasn't until I had a handful of songs written that I made a more concerted effort. Maki has been really great in keeping this project moving. I owe a lot to that guy!

I’m a big fan of both you and Recyclone, and one of my favourite records in my collection is Stagnation and Woe that was released back in 2006. How did that album come about, and do you guys have any plans of future collaborations?

Recyclone has a really unique voice in independent Canadian hip hop. When I was trying to build my label and work with some other artists he was the first I wanted to approach. We connected through a mutual friend – the incomparable Pip Skid - and had a short but fruitful association. We never met in real life. Although we kinda fell out of touch, I still cheer for him.

Being Scandinavian I must admit that your real name, Troy Gronsdahl, is interesting. What kind of ancestry do you have?

I have Norwegian ancestry on my father's side of the family. We eat strange nordic delicacies at Christmas like lutefisk but I don't the speak the language. I'd love to visit there someday.

Shout outs? Final words?

It takes commitment from folks like yourself to keep independent hip hop thriving. If any of your readers enjoy my music please track down an album on Endshoppe.com or Kutufolk.com. Hearts!

Not For Nothing is released on June 10. The vinyl version can be found at Endemik Music. For you CD people, please check out Kütu Folk Records. 

http://troygronsdahl.com/

Interview #26 - DOS4GW

Make Your Ears Bleed

It's very easy to think that all good producers come from places such as the US, Europe and Japan. There are tons of interesting names all over the place doing great music and new interesting sounds. DOS4GW is one of those. I listened to him a bit a few years ago, but after meeting the guy down in Melbourne last year got me really into his stuff. So it's with pleasure that I present one of my current favourite beatmakers. He's not just an great Australian artist, he's a great artist period.

First off, please tell us a little bit about yourself. Who's DOS4GW and why shouldn't we miss out on what you got going on?

DOS4GW is a few things - a roguelike hiphop producer and post-rave terror, progressive crunk-noise and skweeeelectronica artist, mainly. Basically it’s samples flipped from anywhere and everywhere from SNES roms to MegaDrive roms to GBA roms to NEOGEO roms, big drums, heavy bass synths and sleigh bells. Airhorns.

Why shouldn’t you miss out? well. It’d be presumptive for me to say ‘cos i’m a bad ass’ or something but you should definitely take a listen because I’ve been working hard on my sound for years now and feel like a) I’m super happy with everything I’m doing now and b) I’m still improving. also c) I like offending people with loud, digital abrasion combined with analog synths and drum machines and seriously if you don’t like that i) you can fuck off and ii) you’re probably reading the wrong fucking interview amirite?

Seriously though your mate Dave likes me so check it out.

How did you get into music making and can you tell us about your musical history?

My mother is a very musical person and she took me to Suzuki Method classes before I could consistently shit in the correct domestic appliance. To give you an idea of ‘very musical’ she has a severe degenerative brain condition and is in residential care but can still play a bunch of Beethoven. Anyway, piano and trumpet lessons all throughout primary school, then tuba in high school, and a stint at the University of Western Australia studying classical music performance. I didn’t last long there though. Took up guitar when I was a spotty teenager as well, and spent about ten years playing with rock and funk bands.

However I was always much more interested in computer generated music and synthesizers, from the age of about 13. I worked a whole summer at a petrol station for $6 an hour to buy a sampler when I was that age, and I’ve been obsessed with collecting gear for longer than I can remember.

The other piece of the puzzle is my obsession with technology and computers. When I was growing up, my Dad got on board with the newish personal computing trend. We had a bangin’ old XT which he wrote a thesis on. I mostly used it to play pinball and King’s Quest. My older brother was also into computers and we used to spend our pocket money at computer trash-or-treasure markets. We’d buy a shitload of old motherboards, CPUs, RAM etc and try to cobble them together into working units. I think the first one that I managed to get working by myself was a 286. To say that I was stoked would be an understatement. I had set off the surge protector more than a few times before that but it was a small price to pay. It was the start of a lifelong obsession with being hands on with technology.

I think being an electronic music artist was somewhat inevitable, right from the start. It scratches a lot of my itches. Plus I enjoy doing it and enjoy meeting other people who do it too. Plus sometimes people give you free drugs!

How would you describe your music and would you mind sharing your creative process with us? Don't hesitate to get geeky for the readers out there.

I find describing my music difficult. Here goes though: it’s 60-170bpm electronic music, more on the head nod type tip rather than the dancefloor vibe, but with rave and tech influences. I produce lots of doom electronica hiphop beats for rappers also. 

My process can start in one of two places:

1. Digging at the trash and treasure market or

2. Generating a weird/cool noise/riff with a synth or sampler on hand.

I have a few spots I hit regularly, and I try to only buy a few records at a time to sample. Too much choice = no creative pressure. There’s always a few crates with unusual stuff spread over the markets. And if not, buy some banging percussive techno riddims or a cheesy soundtrack. Get home, play through, flip anything that sounds good. Sometimes it jumps straight out, other times it’s a long wait or a miss, but there’s usually something to try. Once I’ve got the sample, I find that I can hear what it needs (to my ears, anyway) pretty quickly, be it breaks, drum machine hits, bassline, synth melody/harmony, whatever really. I have a massive collection of sounds that I’ve been collecting over the years, but nowhere near as big as some of the libraries I’ve seen. I’m probably somewhere in the middle on that one, e.g. more than 100 breaks but less than 10,000,000,000. Again, too much choice is a bad thing for me.

I’ve got a few favourite synths and samplers too. I used to be a big hardware sampler junkie but downsized recently. Favourite keyboard sampler? Ensoniq Mirage, or possibly the Korg MicroSampler, which is fucking massively underrated, buy one now. Favourite rack sampler? Akai S612, if you’ve played with one you know what I mean. Favourite desktop sampler? MPC1000, only because it’s the only MPC I’ve had and it’s a lot better than my ES-1! haha. Favourite synth? Hands down, my Roland System100 semi-modular, with expander, sequencer (12 step yeah baby!!?) and mixer. Original Virus is up there too (although Yes No Maybe stole mine! jerk). I haven’t bought a new synth in a while so I’m looking forward to finding something a bit more weird. Always been fascinated by the Kurzweil K2000 series so maybe I’ll try to track one of those bad boys down. Controller-wise I mostly just use my MicroSampler because it’s USB and is always plugged in, or if I’m feeling a bit more fruity then I have an EWI-4000S, or padKontrol.

From a recording standpoint, it’s LPs -> Shure M44-7 -> SL1200 -> Pioneer DJM 600 -> dbx 376 tube strip eq, compressor and de-esser, or straight from synth/sampler outputs to the dbx or direct to interface. On that side, I use a MOTU 896HD interface, all routed into Cubase. Most sequencing, processing and extra FX are within the box, with a range of VSTs. I won’t say exactly what (come on, a girl’s gotta have secrets) but there’s distortion FX, delays, EQs, filters and sequenced fucking-with-shit FX. Brands like Waves, Camel Audio, TC Electronic, Audio Damage and Ohm Force. I’m using a Windows 8 PC, with an i7 CPU, Kingmax RAM, Gigabyte boards and Samsung SSDs. I’ve always been a PC hardware guy so I’m fanatical about things like having a good PSU, top end motherboards with good controllers, really inane stuff like that. Makes the tunes sound better, haha. I use Macs at work and hate them, plus a lot of my hardware has stopped working with Macs as they’ve updated things in the last few years. I’ve always been able to make PCs work in the past, and now they just work without any fuckery, so that particular choice is a no brainer for me.

In terms of monitoring I’m outputting to a Mackie Big Knob which is the piece of kit I touch the most in my little studio. Big fan of a Big Knob. I’ve got Mackie 824s (the old ones) hooked up to that for near-field monitoring. I use the headphone outs to see what mixes sound like on shitty canalphones, those TDK ones you see for $12 on the high street, as well as Sennheiser HD 202s (which I maintain are the cheapest yet most flexible headphone on the market, if you need something that you can DJ with, check mixes with in the studio and use on the train without looking like too much of a cock). I also have reed fencing, plastic plants, and fairy lights. And a 40” LCD screen so that I don’t have to squint.

In terms of tunes, sometimes I can hear a sample, flip it, add a break, chop the break, add another kick and some sleigh bells, layer a bassline, play a synth line in, loop it up, arrange and vary it a bit, export it and be done inside an hour. Other times, it takes me three months to go through exactly the same process. I try not to force things too much - if I try a few things and they suck, well, not point trying to rape a track out of the sample. That said, if a sample sounds like it has potential but it’s not quite there yet, then I keep trying. I make on average about 2 beats I’m happy with per month. Slow, but I’m happy with everything that is coming out now, which wasn’t always the case. People are noticing and that’s really motivating because it means that my process is working, even if it is slow. I am jealous of people who can crank out quality beats much faster than me, but I’m happy with where I am, so doubt I will pressure myself to up the ante in terms of sheer output volume.

What are your influences?

I’m heavily influenced by: hiphop. rave electronica, acid house, and a range of drum and bass from 90s jungle to current 2010s tech. youtube. the rings of saturn. hardcore (all kinds). thrash and doom metal, animated gifs, breakcore music.. um.. dobermans.. and magic mushrooms. and whisky. That’s definitely what my music sounds like. It’s the sound of tenuously controlled techno-alcoholism punctuated by psychedelic experiences, amen breaks screwed to 69bpm and Tony Robinson from Time Team smoking a blunt on the site of a Roman villa excavation.

When I was a kid, my older brother was my god, and he was a grunge and metal guy, so that’s what I was. It was acceptable to like The Prodigy, NIN and Cypress Hill because they crossed over. Then I heard Temples of Boom.. the production on that album is godlike. Muggs absolutely kills it. That disc hit me at exactly the right time. I spent some time in Sweden when my mother went on a lecturing exchange there when I was a teenager and it was just a perfect soundtrack to the eternal darkness and heated bus stops in the north of Sweden. It opened my eyes up to hiphop in a way that no record before it did. It’s funny how a ‘3 and a half star’ album can hit you like that sometimes. I was born in ‘84 so I missed rap music the first few times around, but after discovering Gravediggaz and Wu-Tang after that fateful trip, my path was pretty much set (even though I didn’t know it at the time).

I would say that my list of influences is getting smaller over time as I find more confidence in my own sound. But that might just be the sake talking.

Seeing that you're from Australia, what is your opinion about the hip hop/beat scene over there? 

I’m probably not the best person to ask about that really. I have never been much into the scene here. This is going to sound like a cop out but.. all my favourite rappers growing up were from the USA. That’s just how rap music sounds to me.

That said though, I love the fact that a lot of crews in Australia don’t really give a fuck about what’s happening on a larger scale, they just do what they want. There’s a big wonky beat scene here but I don’t get into that much... and there are a lot of Dilla-likes fucking everywhere. However, there are lots of people who represent originality in pretty much every city in Australia and I have a lot of respect for that. I think that’s what I like about the scene here - people are really dedicated and you can tell that they love what they do. My Dad always told me that was the most important thing in any aspect of life - loving it and being proactive about what you love - and that makes me optimistic about the future of hiphop and beat music in Australia. A lot of guys are having commercial success too which is great because it always drives more engagement with the more real scenes, no matter how commercial and fake the progress might seem. It might seem like those guys have it easy but a few people around me are on that path and it has a whole lot of other stresses and troubles that underground guys don’t even have to know about. Imagine your whole career trajectory being determined by an FM radio tastemaker! crazy.

I’ve been really lucky in that I’ve been at the right place at the right time when it’s come to meeting the right people in my journey through the underbelly of the weird music scenes in Australia and via the internet, the world. Hooking up initially with The Community was a godsend, and then when I moved over to Melbourne from Perth, the genesis of L-Burn was happening and I just lucked straight into such a tight thing with those guys.

Tell us a bit about The Community and L-Burn ILLuminati.

I met Mathas from The Community when we were in high school. We both went to a pretty conservative school that was pretty supportive of the traditional arts like orchestral music, theatre etc. so it was a strange place to meet someone like that. Mathas is a great MC and awesome producer, but I didn’t know that at the time. I knew he was a good actor because I played in the bands for the school plays. I knew the guy and we were friendly but we weren’t tight. A couple of years later I started getting a bit more confident with my beats and my man Loss suggested that I talk to Mathas because ‘he does hiphop’. Fucking lucky that I did too, I took a beat CD down to the Hyde Park Hotel in Northbridge, WA one night because I saw Mathas on the bill there. Shout outs to the old Hyde Park, 40 cent pool representing. I got chatting with him after his set, gave him the CD, and boom, things were rolling. He guested on tracks for me, I recorded his 10lb Hairless Sasquatch album at the house I was living in at the time, and Diger and the whole Community family just opened their arms to me pretty much just through that. Looking back they were insanely tolerant of me, which was lucky because I was a bit of a cunt back when I was younger. Drank way too much, got out of hand easily. I remember once trying to choke Diger’s partner because she stole my walking stick at a party. I bumrushed the decks at another party when YLEM was playing. I was mortified afterwards of course. Getting off on the wrong foot like that can be fucking damaging in the wrong scenes. But they were patient and I am forever indebted to them for that. These days, The Community has grown into a huge artist and creative collab group, making dope beats, tunes, raps, art, visual, everything. Nothing but good shit comes out of there. Peace Community fam, I still got you.

Things were going good and I was getting my MySpace friend numbers up (shout outs Justin Timberlake bringing that back) when a guy called Brendan Webb hit me up asking me if I wanted to play the opening of a night called Render in Melbourne, and he knew this rapper GDP who was coming out, did I have any beats I could send for him? I went over, played the night, met AOI, Mr DNA and GDP (who was in town at the time, in from New Jersey). Got drunk as hell, as usual. GDP and AOI and I made the Magic Bullet tape, in our bedrooms and whatnot, over the internet, which I think still bangs pretty hard. A few years later, after I had moved over to Melbourne and met a few more guys, L-Burn was born. Props to DNA and AOI for getting me in on the ground floor with that!! haha. L-Burn is going from strength to strength now. We’ve got some great releases coming in 2013, Kwasi just dropped his EP which is dope as hell, Yes No Maybe dropped his tape loops EP which is on repeat in my headphones right now, amazing, me and DNA are just about to drop our EP, AOI is still going nuts with the records to prove it coming out left right and centre (24 releases in 2012!!!! what the fuck!?!?!!), Epps is coming hard and killing the battle scene as well as making waves in the acting community and recording on the side, we’ve got Tigermoth down in the L now throwing out MAJOR waves across the globe, watch out for his new disc, KLB is rolling out the soundpond crew in Melbourne, what up Calum, Class A is up for best female MC in the ozhiphop.com awards this year and has more Facebook likes than all of us put together!! GDP starting some major shit in NYC/NJ, NoEmotion GoldMask cranking out videos and internet hits from Miami, Suckerfish P Jones is in Melbourne reppin’ L, watch out for him, RIP Prince Mackadilly, Namine is going to blow everyone away, that kid is amazing, watch out for his album in the first half of this year, DJ LAME rolling out his Drty Shdws Prjkt label worldwide, DANKCITY filming more amazing shit, So High finally being persuaded to release his beats (COME ONNNNNN!!!), watch for that, Dyl Thomas smoothin’ out on y’all, fuck son and we got the L-Burn crew album starting recording in two weeks!!! I’ve heard a lot of the beats for it already and they are m_e_n_t_a_l. so.. watch out for L-Burn in 2013, is what i’m tryin to say I guess, haha. 

Do you have a dream project that you would like to work on?

Yep I’d love to produce a record featuring Sadat X, Count Bass D, Klashnekoff, Prodigy, B-Real, GDP, No Emotion and Danny Brown. Then, I’d just put out the instrumentals. Release the raps on like limited bonus 7”s or something :)

What do you want to accomplish with your music?

Strange question. I’m not consciously trying to accomplish anything, except for self-gratification. I make music because I do, and always have. It would be nice to leave something other than a gravestone and a few memories on this earth, so music is a good avenue in there. Seriously though, I’m not really sure. I think that’s why I enjoy it so much. No boundaries, no expectations, just art.

What are you up to when you're not making music?

I work in user experience design, which is kinda like at the junction of designing interactions (so things like web sites, apps, etc), market research (finding out what users of said apps, sites etc actually want and need) and service design (making sure all touchpoints between a user and a brand, business or organisation are cohesive and comply with a consistent message and vision).

Basically I’m a designer who can also do research and analysis. Sounds sexy, no? I work 9-6 like a good boy, and work my music around that.

I live in Hawthorn with my girl and a cat called Pepper who meows at me a heap. She’s sitting next to me right now actually. I like to watch QI, Time Team, nerd shit like that. I like videogames too, but after 25ish years of playing them, other things in life are taking priority. I used to play maybe 8 hours per day, videogames on PC, when I was a teenager. Now I try to funnel that energy into more creative channels and for the most part it is working. I play games to relax now, not to hone my Counterstrike skills to the next 0.01 percentile. That said I have clocked more than 300 hours in TF2. :S 

What can we expect from you in the near future?

The near future: DNA x DOS is coming out very soon, early April. We’re in final stages of mastering it, so it’s done, 99% there. Release party at the Croft on April 13!! I’ve also got a few remixes coming out soon that have been in the bag for a while, most notably a remix for Walter Gross + sole that I did late last year, as well as a Cult Favorite remix that I’m really liking at the moment. New L-Burn album, as I mentioned before - I will have a couple beats on there. New DOS4GW instrumental record, the follow up to SUICIDE, called SUISIDE B, is coming along slowly... it’s a year since I put out SUICIDE and I’ve been getting distracted with other projects so haven’t been spending enough time on it like I planned. That’s the big one for me this year though, I’m getting it done no matter what before mid year so that I can ramp that up with a bit more publicity and what not than I usually do. I’ve got another release with GDP coming this year hopefully too, if I can get onto the guy. AOI/DOS4GW split cassette dropping soon on Seaby Records. DOS x k(no o) split EP also, look out for that, we haven’t started though haha!!

I could drop a bunch of names and say oh I’m hoping to write with this person and collabing with that person but to be honest who knows what will happen this year. I actually want to get started on that dream record I mentioned too (and have a couple of ins so ... who knows, it could happen!). Basically what I’m gonna do is write a whole bunch of music, put it on the internet, update twitter, and see how things go. I have the luxury of hardly anyone knowing who I am, so pressure is self-created for the most part. The blessing of being ‘underground’. But don’t worry, lots of stuff coming, for real.

Shout outs?

You know who you fucking are. L-burn. Community. Reservoir Sound (whatup AM, elucid, let’s do it). GDP, Slangcorp, if you’re still around. Can’t wait for AOI x TMFSE. 3BY3, thanks for the mixtape love - same to SKYWLKR, thanks for putting me on the mixtape god. Shouts to all my heads working community radio and online radio, soundpond, RTRFM, 3RRR, PBS, electric crush, down underground. Shouts Seaby. Kimi Räikkönen, come through this year son. Glenlivet, I’m keeping y’all in business so how about a free hat or something? Dan Murphy. My new dentist, you rock, and BUPA for footing most of my bills like a boss. Insurance is finally paying off. All the hardworking people I pirated programs off of over he last 15 years, I’m sorry, I’m paying for your shit now mostly, I got you, you know me, shouts. I’m good for it. Meow outs to Pepper and to Stevens, RIP you crazy motherfucker. And Kerrianne, I love you, and now you can’t tell me I never shout you out!! and beats breaks & big smiles :) peace!

http://dos4gw.com

https://soundcloud.com/dos4gw

http://dnaxdos.com

Interview #25 - Moshe

קען ניט זאָרגן ווייניקער

When I started up this series of interviews, Moshe was one of the first people I wanted to do one with. I don't know why I never got around to it until now, but better late than never I guess. Being the man behind Milled Pavement, one of my absolute favourite record labels these last few years, as well as releasing great music on his own was the main reason for me to invite him to do this. Him being devilishly funny and nice was another one.

Can you please tell us about who you are, your background and how you got in to this crazy thing called music?

What up?!, I’m Marc Shepard, some know me as Moshe. I began DJ’ing as a little dude, spinning tracks at local high school dances and parties in the late 80’s. Once I was old enough to play at clubs I started looking for a place to spin underground hip-hop – the unconventional shit at that time like Sole, Arsonists, Saafir, O.C, shit very few heads had on their walkman. I got my first turntable from high school friend Moodswing9, and learned to blend from a few local legends like DJ Nicotine & Dale Da Dred. After scratching records with a few different groups I started producing my own tracks. My first album was Milled Pavement release number 001.

I've heard rumors that you have a new EP coming up. What can we expect from that one, and how come it took so long to release it? 

The rumors are true, Suffering Makes for Great Bedtime Stories, will be released sometime this year on Milled Pavement Records. The album features vocal styling’s from Noah23, jamesreindeer, babelfishh, EVAK1, Brzowski, Monsieur Saï, THMS, Riddlore?, Swordplay and more. I started the EP over a year ago, but have been concentrating my creative side towards DJing filthstep, touring Europe with fellow brother-of-the-beard, Brzowski, and running the label. Winter in Maine is the perfect time to lock yourself in and make things happen.

You're the man with the plan behind Milled Pavement, the big cheese so to speak. Can you tell us about how the label all came about, and what are your views about its development so far? 

Milled Pavement goes beyond Moshe truly, we are a conglomerate of artists working together towards a common goal. I mean, I may have the final say, but it truly is a group effort.

Once I released a few of my own albums under the MP label, I figured I could help other like-minded artists do the same. I was meeting other producers & mc’s from all over the world on websites like Myspace and MP3.com who eventually became part of the extended family.

What does a typical day look like in the life of Moshe? What are you up to when you’re Marc and not Moshe?

I wake up, get coffee, smoke 40 cigarettes and see what happens. I don’t recommend this, however.

Apart from the EP, what can we look forward to from you in the future?

I’m currently working on an album with wonky producer 32french, a new Desert People project should be starting up soon with Mike Clouds, an upcoming 12” release and full length album with Brzowski will be started soon. I’ll also be releasing more filthstep mixtapes this year (if the dubstep producers stop making trap music and get back to the filth).

What are your influences? What made you the artist that you are today? 

As a youngster I was highly influenced by early death metal bands like Slayer, etc. and then 90’s hip-hop. As I grew older I was into a lot of downtempo beats, hip-hop instrumentals from artists on Ninja Tune, Shadow, etc.

You are without a doubt one of my favourite tweeters, because you never seem to care what other people might think of what you say. Is this a typical trait for you?

Absolutely! Ha. I’ve never cared what others think of me. That could be a curse, but I don’t care! Truthfully I enjoy making people laugh, and Twitter is a great outlet for that.

What do you want to accomplish with your music?

The music is the accomplishment. Having people listen, and enjoy what I do only makes the process that much more fulfilling.

Any final words?

Big ups to you for thinking of me! Shouts to the entire Milled Pavement Records fam, EmBen Digital and 2-99 Records.

http://www.milledpavement.com/
http://www.twitter.com/moshstep
http://www.facebook.com/moshemusic
http://www.soundcloud.com/moshe-1
http://www.mixcloud.com/moshebenyitzhak

Interview #24 - Emoh Betta

Diggin in the Crates

The DJ has been a crucial part of hip hop ever since it's humble beginnings in the 70's. Without them the culture wouldn't even exist. Most hip hop artists nowadays thinks that the DJ is just part of the history, and that the need for them is non existent. One of the people proving them wrong is Massachusetts own Emoh Betta. 

Would you like to introduce us to the world and mysteries of Emoh Betta? Tell us a bit about your background and what makes you, you?

My name is Emoh or Emoh Betta. I'm a scratch DJ/turntablist and I make beats occasionally. I rep Fameless Fam and Milled Pavement. I was born in 78. I grew up on rap music and got introduced to punk/hardcore at the age of 14/15. This was around '92 I believe. This had a huge impact on my life. The name stems from being part of a scene that shaped who I am. These were some of the best times. Touring with bands, attending every show, meeting new people, finding veganism, straight edge, etc,. Anyway people used to call me Emo Dan, not the best name and I don't think the name fit, but that's what happened when you listened to bands like Indian Summer, Still Life, Mineral, and Ethel Meserve, rather than just Judge and Cro-Mags. Haha. The name just stuck with me, and when I started DJing, thanks to finding Skratch Piklz cassettes in my local music store, it was back to hip hop for me. Whichever DJ name I would choose, people would still call me "Emo". At this point it wasn't cool, not that it ever was, but it wasn't this big deal that it is today. Long story short, my mom sold our house and moved back to Canada, and I added the "H" to my already determined name. Emoh is home backwards. It has a deep meaning to me, regardless how it sounds. The "Betta" was added later on by my homie Al-J.

You're just about to drop the tape Boogie Boy Metal Mouth together with J.Ring. What can you tell us about the project and what kind of expectations do you have on it?

BBMM started this past summer as a result of not giving a fuck about all these sub-genres of music. Not giving a fuck but taking it very seriously if that makes sense. I guess we make psychedelic punk rap, which is what we've been told. J-Ring and I go back years. Him and my ex-roommate, Normal, used to be one of the livest, rawest, hip hop duos in Boston like 6 or 7 years ago. Awkward Landing. Their live show was incredible. DJ Shiftee used to be their DJ, homie is nasty. He went on to win the world DMC's and I started to fill in for him here and there. As time passed, everyone started to do their own thing. J went on to form Gun Shop Daddy, a punk rock blues band. People say he left the scene, but few know he never left, he just went punk rockin for a bit. After not seeing each other for a couple of years, we crossed paths at a Busdriver show and I told him to make a song or two just for fun. He said he didn't wanna do just straight rap, and I said "that's perfect." He brought tracks over he made with his band. I chopped them up, added other samples, and cuts. Most our stuff is isn't really sequenced out, I just lay down live takes of stuff on the turntables. No metronomes. Timing might even be off somewhat, but that's our thing, we don't give a fuck. The samples are played live. It's sample based music for sure. Most, if not all of J's verses are one shot takes. No punch ins. It's a smorgasbord of sounds and it has its hip hop moments, but I wouldn't call it rap. We just have fun making music and that's all it comes down to. The name was made up by J. We had a lot of ideas, but this one stuck. Boogie Boy Metal Mouth.

As far as expectations, we are having fun making it, and that is all we need. Obviously we want people to enjoy it also, but whatever happens is fine. So far so good.

What are you up to when you're not making music and causing havoc?

I work at a supermarket. Ive had the same job for over 16 years. Some people may think I just DJ. Haha. That's cool that people think that I guess, but I don't really DJ clubs. There is def money in that, my homies do it. Ill let them do it. I guess i like the idea of making music more. When I'm not making music, I'm eating or working. I work about 45/50 hours a week. So many hours wasted at a job, but I need a steady income to support my food and music addiction.

Apart from BBMM, what can we look forward to from you this year?

Lots!!! My collective/crew Fameless Fam has so many projects dropping over the course of early 2013 which I am heavily involved with. 

F.Virtue & I have our album We Are Not The Shame (WANTS) dropping on Cooler Than Cucumbers. It will be on vinyl, and the digital will be a joint effort with Fake Four Inc.

F.Virtue & I also have an EP in the works with our homie J57 (Brown Bag Allstars).

Daniel J. W!shington (Exquisite Corpse) has his album dropping soon as well. It's unfuckingbelievable! 

Fresh Dirt (Andrew Milicia, pagezmusic, & myself) have an album The Bedroom Tape out around the same time as this interview is done. 

F.Virtue, Ira Lee, and myself also recorded an album under the name Uncle Prince. The Cluhhh is the name of the album and is being finished as we speak. 

H.W. and I will be releasing new music as well, if he ever comes home. We are roommates. 

I've done a few tracks with my homies Grey Sky Appeal for their new release. 

And BBMM is already working on new stuff including a bunch of videos. Our debut album is out now on I Had An Accident Records.

Nowadays it seems like the DJ has been kind of left behind in the hip hop world, especially when it comes to groups and so on. You seem to be very proud of your origin. Can you tell us what being DJ means to you?And also, do you consider yourself a DJ first and a beat maker second, or vice versa?

I consider myself a Scratch DJ or turntablist first. Beat maker second, if that. I still don't think of myself as a producer to be honest. I have made beats years back. I have an MPC2000xl, which I didn't even touch for the BBMM record. Most of those beats were made with my Technics, a pair of Dicers, records, a Rane 56s, a Roland SP-404, and Serato. All of the samples were chopped, cut, and manipulated live and then layered. Sort of a different approach to sequencing, if that makes sense. 

It's more fun to play with the individual sounds and samples rather than just loop it them. 

As far as DJing goes, there are millions of 'em. There are so many types and it's funny to me that rappers don't have them anymore. Some do, don't get me wrong, but I mean DJs that actually cut. It's a rarity. Things go in cycles and scratching will make a comeback for sure. The scratch nerds are out there and respect goes out to them. We inspire each other and many of us make art. Some push buttons and make people dance and love what they do. That's fine.

What inspires you, both when it comes to your music, but also in life in general?

Inspiration comes from a wide variety of things. Hanging with friends, homies that stop thru on tours, finding new music, new food. Sometimes I'll throw on an old X-Men mixtape or watch a Turntable TV VHS tape and become instantly inspired like it was 2001. Or I can throw on a Dirtstyle or Mr. Henshaw loop and cut for hours. I'm lucky to be friends with, and surrounded by so many talented people in music and art. Every one of my closest friends inspires and pushes me to keep doing what I do. I've played a million shows, toured (not as much as I have wanted) and worked with so many talented artists.

You're an outspoken vegan. How important is that to you and how has that changed you?

I'm vegan. I haven't had any meat or animal products in over 15 years. To me it is very important, it's my choice and I feel great about it. It wasn't hard for me to do, it just takes dedication much like anything. I have a GO VEGAN sticker on one of my laptops but I don't go around talking about it or preaching. It's a personal choice, much like straight edge was for me growing up. I prolly have like 4 vegan friends. I don't judge people on what they eat, never. Would it be awesome if everyone gave up meat? Of course! Only because it would make eating out so much easier everywhere, but it won't happen. I have friends that won't even step into a vegetarian restaurant. Haha. I'm lucky to live in an area with many places that have options though. I eat out all the time. Every day. I can't cook.

Shout outs?

Shout outs are tough because you realize you have friends you may not have seen in some time, you accidentally leave them out, they pop up and get mad you didn't mention them. Haha. Peace to everyone I make music with, hang with, eat with, cuddle with, etc,. I love everyone of you.

http://www.facebook.com/djemohbetta

http://www.facebook.com/BoogieBoyMetalMouth

http://boogieboymetalmouth.bandcamp.com/

http://www.famelessfam.com/

http://www.facebook.com/milledpavement