Oftentimes the art world can be an expression of serious, referential art. So it’s refreshing to come across someone who is truly having fun with it, and using a subject matter close to my heart, Prince.

Troy Gua is a Seattle-based visual artist, has been working furiously over the past five years, creating art that explores pop culture and his fascination with the social medias. His most notable exhibits are his Pop Hybrids, where he combines two iconic figures and reduces the personality into logo, reducing their individuality into a collective, and reduces the photography to a design, creating interesting images that force you to create your own meaning and subversion. His Colorbandz, are portraits at the speed of technology, a concept at first glance seem like bands of colour but as you grasp the concept of the Colorbandz, it begins to come clear. (See Troy Gua‘s self Colorbandz portrait at the end of interview.)

But it wasn’t until Gua tackled the project of making his own Gerry Anderson inspired marionette of his musical idol Prince, the Le Petit Prince, that his name traveled beyond the West Coast. As you will see below, the marionette captures the essence of Prince, from his hypnotic stare, and his perfectly defined lips, to this pristine and unique sense of style. Gua’s symbolic tribute to the artist who has inspired him throughout his life has garnered much attention, and we are sure to see more of Le Petit Prince in the future.

Muphoric Sounds got the chance to talk to Gua about his work and what sparked him to pay homage to Prince in what he calls, “a loving tribute, that is meant to be a parody” of his idol. Le Petit Prince is quirky yet perfect, all at the same time.

To view more of Troy Gua’s work, visit his website at www.troygua.com. You can also “Like” his Facebook page to receive updates on Le Petit Prince.

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INTERVIEW WITH TROY GUA

Muphoric Sounds: Who is Troy Gua?

Troy Gua: I’m a dude who just grew up expecting that I was going to be an artist. That’s what I got a pat on the head for as a kid. And I’ve been chasing that pat on the head ever since.

MS: Has it always been in visual arts?

Gua: Yes, since I was little kid I just liked to draw, constantly. I was the youngest of four kids. The next one was 9 years older than me; so I was sort of like an only child, spent a lot of time by myself, and liked to draw musicians and pop stars. I made a series of poor decisions in my late teens and twenties, married my childhood sweetheart, and kind of left my dreams on the wayside. And I kind of gave up on who I was supposed to become and played house for a few years. Became an alcoholic and a drug addict actually. [Laughs] I always had a job. I was married and responsible but I was kind of a shell of my real self, and medicated and numbed myself to that fact for a long, long time. Eventually, that all caved in, and my whole life flushed and it was a reboot. And I met this woman online named Catherine and we fell in love and kind of hit the ground running. We decided to get sober together and make a happy life for ourselves. That was around 2005 when we met and since then I’ve been focusing on getting that dream in order.

MS: You’ve been working solidly since 2008, what has been the best experience for you so far?

Gua: To be completely honest, this [Le Petit Prince]. This has been the most attention I’ve had. I’m in Seattle, which is a pretty insulated community, this bubble in the corner of the country and I’ve been working my butt off for about five years, constantly showing work, feeling like a rubber ball bouncing around the room not being able to break out. And I’d been frustrated for a while with that.

MS: But it seems to be working.

Gua: The funny thing is, as soon as I was discouraged enough, to say, ‘screw it, I’m not going to make this kind of art, it’s bringing me down, I’m just going to start having fun …and make myself a little Prince doll.’ [Laughs] That’s when everybody started to pay attention, which is amazing. But of course, it’s Prince!

MS: What sparked you to make the doll?

Gua: I knew at some point I was going to make this little guy but I knew that when I did it, I was going to have to make it so perfect that it was kind of daunting to me. As a kid, I was really into Team America and Thunderbirds. When Team America came out, my buddy and I saw it six weeks in a row, every Friday. And we said, “We need to make our own marionettes.” So I did mine, and then I later did my wife. And then I made a Salvador Dali. Right after Michael Jackson died, I had a show opening two or three days later for the Do You See Me? exhibit, which is all about social media. It was different to what I had been showing around in Seattle, which was just the Pop Hybrids at that point. Nervous about the show and literally glued to the television – I couldn’t believe that Michael Jackson just died, my hands just couldn’t stop, and I made a Michael Jackson doll in a day. Then I was like, ‘I need to make Prince, but I’m going to let that one just sit for a while.’ Then last year was a real busy year for me. I did a lot of work and got a lot of recognition locally. It was going well, but I kept going through cycles of being discouraged, then getting pumped up, and started making this self-referential, cynical art, about the art world – art for artists, which was far away from what I wanted to do. I want to engage everybody. I want there to be multiple access points for as many different types of people and ideas as possible. I was very frustrated with myself, and my career. And then Prince came to town.

MS: The “Welcome 2 America” tour?

Gua: Yep, it blew my mind. It just reinvigorated passion, which happens every time he puts out a new album; I get back on fire with Prince. And I was like, now is the time to make this guy.

MS: The “Welcome 2 America” tour was in December 2010 and you had made the doll and clothes by February 2011?

Gua: The doll itself probably took a week. It really didn’t take long. It was more about the sourcing of the wig, the glass eyes. I think he was born on December 27th. I’ve gotten pretty good that I can bust out an outfit in like a day or so. It’s the sets that take up a lot of time. I’m working on the Sign O’ the Times album cover now and it’s pretty complex.

MS: The clothes are so tiny with such detail. Did you have any difficulties while making them?

Gua: It’s all been kind of trial and error basically. I was just trying to find somebody to make the clothes. I was scouring the web for someone to make me a little ruffle shirt from the Purple Rain era. He was going to have just the one outfit and that was it. I was emailing places in China, looking for people on Etsy and nobody wanted to do it. And then I found somebody in town who designs clothes for Chris Cornel and rock stars and she was asked, ‘What’s your budget?’ And I was like, ‘I don’t know. I don’t really want to spend more than a 100 bucks.’ And she was like, ‘Well that’s not going to get you very far.’ Then my wife was like, ‘Why don’t you just do it?’ I don’t sew! And she said, ‘Figure it out.’ And so I did.

MS: Has Prince seen the dolls yet?

Gua: I haven’t heard anything from Prince or his people. I’m assuming he has through Questlove. We’ve been back and forth on Twitter and he told me he sent out this mass email after he found Le Petit Prince, and he said it’s an email trail that keeps on giving. He sent me these five little quick quotes and said ‘I can’t tell you who they’re from, this is for your eyes only, but 5 of these people were in Purple Rain.’ So I guess, he has to have seen them at this point. As far a reproducing the dolls, he [Prince] could easily sue me but I wouldn’t reproduce the dolls without his consent. But as far as images of the doll, it would be his record label that could have issue. If I was to sell copies of the album covers reproductions, that’s where I could possibly have a problem. That bums me out because those are most fun pieces to make. I really want to make a book. Bust out a few more eras in [Prince’s] work and publish a book.

MS: What’s next for the doll? A remake of Purple Rain?

Gua: That was my first idea of wanting to do a remake of Purple Rain with these dolls, and make everybody. I wanted to hook up with Matt Stone [South Park]. Don’t know what the whole legality of what it would all entail. It’s another weird issue that I have to think about.

MS: You mentioned your Do You See Me? installation, where you bring in media, culture and society, where all these questions come up. Were you trying to find an answer to it all?

Gua: I think what I was trying to do was explore my own obsession with it [media]. At the time, Facebook wasn’t new, but it was pretty fresh for me and all fascinating, especially the “20 Random Things.” I was just blown away by some of the things people were putting out there. Some heavy shit, the kind of things you would never say to somebody’s face but it was just so easy to put it out there and the hit return button. It was just a cathartic kind of experience. So I started with my own “25 Random Things” which lead me to my friends. I chose a random thing from all these different lists and I did a piece with those random 25 things. There was a bunch of other things in that show too, but it stems from that and just this whole need to be seen. I got a desperate desire to be acknowledged.

MS: I was going to ask you about that – your quest for recognition and esteem. Why you do you feel you need it?

Gua: Why do I feel I need recognition? I’m not sure. I think it’s my stab at immortality. Planting my seed, so to speak. I’m not going to have any kids, so the art I make is my offspring. I want it to be recognized. It’s some kind of existential thing, I guess, of wanting to be acknowledged. Maybe it’s some kind of weird psychological thing that I have. I think the Internet and social media feeds that. Maybe it also has something to do with my wanting to be a pop star and this is the thing I do best. I’m never going to be an actual pop star, but I could be an art pop star. I think I’m still chasing that teenage dream in some way.

MS: What does art mean to you?

Gua: Art is my language. It’s part of my DNA. I hate labels, but I’m labeled as a pop artist, which can sometimes be looked down upon by other types of artists. There’s room for every kind of art as far as I’m concerned. Just the other day, I was on a lecture panel at this local academy about “Image Accessibility.” I showed slides about advertising and how there’s a psychology behind the reasoning with what is used as imagery, the colors, the shapes, and how it’s compiled and composed. I talked about how the Mona Lisa went from being a renaissance masterpiece to artists doing reproductions of peanut butter and jelly. It can be about art, product, and idea. This particular academy are taught Italia style art, like this is how you paint a figure, you use this type of brush, this type of paint, this is how you mix paint. It’s very structured. My art is like an antithesis. In the question/answer portion a woman said, “That’s not art; that’s just commercial.” And I was like, ‘Wow people are still having this discussion.’ Art is expression. If she feels the need to express herself by painting still life in the techniques of the masters, then that’s great. But if I want to express myself with weird portraits of pop icons and coat it in resin that should be fine too. We all have our own language.

MS: With your Pop Hybrids, what was the selection process with the two subjects used? They were used in a contrasting way, even as a form of ridicule.

Gua: They all have to have multiple meanings and connections in order for me to want to do it. A lot of the times, I’d start with a name. It’s like I have to have a punch line but then I also need it to have a deeper philosophical connection. With all my art, I like it to have multiple access points.

MS: What is the technique for the Pop Hybrids exactly? Is it digital?

Gua: They are now. But they started out on canvas and I would do layers of color until it reached the saturation point and then I would epoxy resin over the top to make it have a mirror finish. The whole concept was to make it look like it was silk-screened and printed or machine made, and it worked. Everybody thought that it was machine made. So I started designing them digitally and having them printed on this metallic photo paper, mounting them on a sintra board, and then still do the resin coating at the end.

MS: Do you prefer digital or the actual paint brush and canvas?

Gua: I enjoy it [digital] more. I can do it faster. I like the idea of virtual art; stuff I can do on my computer, such as my Colorbandz. I did so many of these digital studies of people in town of my friends and they only exist online. They’re portraits but they only exist as whatever those files are made of. It appears on the screen and they’re kind of intangible.

MS: Who would you say your biggest influences are?

Gua: Visually, artistically? Prince. He is my biggest influence, period. I include that as far visual art too. He’s an inspiration as far as his work ethic goes.

MS: What would you say is the biggest thing that influences and inspires you about Prince?

Gua: His ability to tackle any genre and just master it. Just the fact that he’s so prolific and it creates his own aesthetic. He borrows from all these other sources and mixes it into his own flavor and it becomes his. I just love the fact that he doesn’t stick himself in one box and he has no qualms about experimenting with any type of music he feels he wants to. That’s how I feel about art; I don’t want to be labeled as a pop artist, because I can paint a landscape too, I can do whatever I want to do, if I put my mind to it. That’s top of the list on what Prince does for me.

MS: As we’re a music site, I have to ask, what are you listening to right now?

Gua: Sign O’ the Times actually. I’m working on the album cover, the set. Ever since I started on this project it’s been non-stop Prince. I think my wife is going a little crazy.

Few people can belt out a tune clearly and melodically at a rally, wedding, street corner, or office as well as she can with little to no strain. Relaxed and modest however, you would never know it unless you asked. California’s Bay Area has a historic body of incredible musicians and producers who have broken ground on new frontiers of music, and the business of independent music regardless of genre. Siaira is part of that legacy. If you look up her work, you’ll see she has shared the stage and beats with Bay Area fixtures such as revolutionary rhymer T-Kash (Guerilla Funk/ The Coup) and producer Nick James who is responsible for countless remixes and a few cuts for Native Gunner Bambu. You might also hear her on tracks produced by Zakiya Harris (Fiyawata).

In this interview I ask Siaira a few questions about her musical career, the future, and what inspires her as she prepares to set sail for Brooklyn, New York. Welcome Siaira Shawn to Muphoric Sounds.

MS: What does your stage name mean? How did you get it?

Siaira Shawn: My stage name is my first and middle name. Mommy gave me the first name, and she allowed my fathers choice to be my middle name.

MS: For our listeners/readers who are unfamiliar with your work, how would you describe yourself as an artist? Who are you and what do you do?

Siaira Shawn: I am a lover, an all around artist, a worker of and for the community, an aspiring renaissance woman, in the tradition of Paul Robeson and others; my ultimate expression is being a singer/songwriter.

MS: What are some of your biggest influences in terms of your songwriting and singing?

Siaira Shawn: I get influences from everywhere; from my life, others lives, culture, history, politics, nature. I want to speak of and for people. I want to speak the truth and spread love and contribute to culture. I like to make the macro, micro; I think we learn in many different ways and music is a very important tool of liberation and education.

MS: Can you tell us briefly what your first positive performing experience was like?

Siaira Shawn: One of the most important performances occurred when I was in the fourth grade and I starred in Alice in Wonderland and my solo received a standing ovation. That moment solidified that performing would be my life.

MS: You’ve performed a lot as an up and coming musician. How would you say this has changed, advanced, or influenced your craft?

Siaira Shawn:I feel like you have to perform, it’s a part of being a musician, so it’s not separate from my musicianship. Performing makes you a better artist period.

MS: How’s the music biz looking to you in 2012? Is it a grim or bright world?

Siaira Shawn: I see a very, very bright world. I think there is a lot of great music out there and it’s finally starting to get it’s due, particularly independent soul/R&B music and all the amalgamations that pull from that tradition. A lot happened for me last year, so I see 2012 as the year where things go to the next level.

MS: You’re voice and your style of delivery is beautiful and unique. I’ve noticed you have a certain flair when it comes to fashion too. Is that on purpose or is it less “thought out” or planned?

Siaira Shawn: Thank you! It’s always been apart of who I was, the women in my family are quite fashionable, even my great grandmother. I have always been into fashion and aesthetics. I actually do styling too, so I want to take that farther as well. At this point it comes naturally, but I do think about it in the way that “my look” is seen as outside the norm or unique as you said. I want to make sure that I represent who I am wholeheartedly and by doing that I can inspire others to do the same and represent for those of us on outskirts. I hope to curate images that are unique and promote culture through a venture I call “The Outsiders Inside.”

“Incarus”

MS: Being from the Bay area, how has your hometown or environment shaped your sound/lyrics? Have any other cities added to “Siaira”?

Siaira Shawn: Yes, I was born and raised in San Francisco. Growing up in the Bay has definitely shaped me as an artist.  I think we produce very unique artists here. It is a great place to develop as an artist and incubate because there is so much culture and music here. There is such a spirit of activism and independence here and that bleeds into everything I do. I lived in DC for a year as a freshman at Howard (University) and I frequent New York a lot and I am moving to Brooklyn as I type. So, being on the east coast definitely influenced me. I just always wanted to work everywhere, I never wanted to be just a “Bay” artist. So going to other cities and performing in DC, NY, LA, TX, has let me know I have an appeal everywhere.

MS: Any new plans for 2012?

Siaira Shawn: Definitely more music, more performing, I’ll be releasing music videos, and I will be starring in a theater production. I also have plans to do more styling, education, and community work; I want to bring redbikeandgreen.org(a community building collective of Black cyclist seeking to improve the physical and mental health, economy and environment of the Black Diaspora) to Brooklyn and hopefully a manager and a company that believes in me and takes me to the next level. Changing a little bit of the world.

MS: Any shout outs you’d like to give?

Siaira Shawn: Too many [laughs] but, particularly, Christine Mehr, Marta Martinez, Melinda James, Nick James, and George Hearst. I just want to thank everyone who has supported me thus far!  Thank you and I won’t let you down!

MS: Name five musicians you have a constant rotation right now in your headphones?

Siaira Shawn: Hmm… Bilal, J*Davey, Emily King, Muhsinah, and Lianne La Havas.

MS: You released a music video in 2011. Can you tell us a bit about the song and the video?

Siaira Shawn: Not quite, a great friend of mine Nick James (look him up lol) and I just did a DIY style video, splicing some beautiful images together for my song “Dusk.” Dusk is a song about going after your dreams, working hard and being ready to attain them. I have an actual video coming out for my single “Icarus” directed by Melinda James and that’s coming out in the spring, so look out for it!

“Dusk”

Les Nubians recently released their third studio album, Nü Revolution, which is deeply rooted in ancestral sounds of Africa, love, liberation, and expressions of freedom. Muphoric Sounds had the chance to speak to the Parisian Princesses, Hélène and Célia Faussart, during their album’s promotion, where they spoke about who they are as artists and women of a new generation. Check out the interview below. And if you haven’t purchased a copy of Nü Revolution, it is available on iTunes and Amazon.

Les Nubians - Nü Revolution Snippets

Muphoric Sounds: Who is Les Nubians? What do you stand for?
Les Nubians - Hélène: Les Nubians are two African sisters, with an African and European background who are doing music together, who are interested in the black Diaspora and into projecting ourselves as universal citizens. We are mothers, women who are activists, we are involved with how our world is working and we are trying to do music that looks like us.

Muphoric Sounds: What are the things you’re involved in that aren’t necessarily music related?
Les Nubians - Hélène: We are involved in women empowerment, fighting against AIDS, especially in Africa. We’re involved in the fight against malaria because it is something that is also a plague in Africa. We are involved in sickle cell, another difficult tropical disease and we are fighting against child molestation. We’re pretty involved in things that relate to Africa, and being Ambassadors of a new African generation.

Muphoric Sounds: Your heritage is at the forefront of all you do. Is that what you want to dispel upon your audience? Influence them in some way to the motherland.
Les Nubians - Hélène: The Motherland being our roots, but also with our arms reaching to the sky and the sky being universal and this is what is the passion of what we try to show. Africa is an inspiration for us. We are something else; we grew up exposed to different backgrounds and we created our music to reach the universal. We don’t want our audience to only see Africa Africa Africa. No! They should also be able to look around them, at the corner of their street and see Africa in all.
Les Nubians - Célia: Yes, Africa is the motherland to all. Africa being the motherland to all of us. It’s the first continent. Talking about Africa as the motherland opens to universality and love.

Muphoric Sounds: With your album Princess Les Nubians, did you anticipate the attention you received when you made it, given the language barrier?
Les Nubians - Hélène: Not really. We didn’t anticipate anything really. In the beginning we just wanted to change the face of music made in France, in our certain way of writing songs. We didn’t anticipate that the album would have worked so well in America and foreign countries. It was a surprise. Also, when you do your first album, you don’t know. You don’t know who’s going to reach out. You don’t know what your audience is going to be like. You’re completely open.

Muphoric Sounds: The Nü Revolution is a sexy, but lively album. What was the thinking behind the overall project?
Les Nubians - Célia: As you said, lively and definitely with a lot of energy. We wanted people to dance and to celebrate with more up-tempo beats. I think our music evolved with us. The way we evolved from being young women turning into mothers. In Nü Revolution, there’s evolution—the change through the woman. So the album is a tribute to the women and our complex powers, and also identity with the energy we probably need for ourselves in this world that is crazy. There’s war, there’s recession, climate catastrophes and Nü Revolution is about bringing people up where energies are down. We are at a point in our lives where we are about action. The album reflects where we are, who we are right now, and what we wanted to share with people.

Muphoric Sounds: The collaborations on the album are varied. How did you choose them?
Les Nubians Hélène: The collaborations come from life’s adventures. Some are old friends like Manu Debango and people like John Banzi, and Andres Levin.
Les Nubians - Célia: Manu Dibango is not just an old friend; he’s like family.
Les Nubians - Hélène: Manu Dibango was on our One Step Forward album. He was already a part of our journey. Then there are the new friends, the artists that we listen to in between, like Eric Roberson. We really like his music and we thought why not invite him; it made sense in us meeting him. Newcomers like Blitz the Ambassador, is the New York connection and then him being African also, we appreciated his work and his message. And it just so happened to be the right time.

Muphoric Sounds: Do you play instruments? And in terms of making music, what’s your method and also with working with other people?
Les Nubians - Hélène: I do play instruments but I don’t play on stage. I think there are masters who are doing it, and I leave that work to the masters. A lot of composers compose with instruments, keyboards, guitar, percussion, and bass. We write at the start in acapella. The way we create with other people is different from one person to another. Some songs were definitely created on the spot, like “Afro Dance” with Durango Head. That song was born in acapella. Others will be written on our own, then we put everything together to see if it will work, or not. It’s a real process of research. What we like and enjoyed, is to use different musicians and producers and bring them into our world and get them to do something different than what they’re used to doing. Like for example, having trombone guitar from Zhir or having a mohetic congo play on a more hip hop beat, trying things that are improbable sometimes is where the magic will come through.

Muphoric Sounds: The song that really struck me was the last track on the album, “Africa for the Future.” How did you come with that? What’s your favourite song on the album?
Les Nubians - Célia: “Africa for the Future” was a collaboration with Andres Levin, an old time friend. He produced most of the music on the Red, Hot, & Riot tribute to Fela album. We actually shared the stage together during the Fela tribute.
Les Nubians - Hélène: He’s actually a part of Euro Babeño, the amazing nuyorican dance music, an amazing producer of Latin music for people like Marc Anthony and Jennifer Lopez, a multi-time Grammy award winner and we had the chance to work with him over the years. I remember when we walked into the studio and Andres said that he felt we needed to do a more uptempo track, and we just built the track together. He brought everything that we are about into the song. I love that track too.

Muphoric Sounds: Can you tell our readers what you’re listening to right now?
Les Nubians - Célia: I just set up a Pandora library, so I have Bob Marley, Rita Marley, Judy Mowatt, Jacques Schwarz-Bart, from the Caribbean jazz scene, Lokua Kanza from Africa, and Donelle Jones and all of that sound.
Les Nubians - Hélène: I’m listening to the New Sector Movements, yes, I’m back to that. I miss that sound. It was so good. I’m also listening to Emanuel Mysore, and John Banzi!

To kick off the release of his new single, “Find U” (set to release March 28th on Soulm8), Muphoric Sounds asked Don-e a couple of questions about what he’s been up to. “Find U,” which started out as a soulful house tune, has gone through many incarnations, which further shows Don-e‘s versatility as an artist. Visit www.Soulm8Online.com on March 28th to buy your copy of “Find You“; the EP, which will contain the single is scheduled to release sometime next month. Check out my two favourites below; there will be about five mixes on the single release. Check back for the video which is currently in production!

“Find U” (Kings of Swing Mix)

“Find U” (Paris Casvette Mix)

Muphoric Sounds:  What has Don-e been up to since the release of “Natural” in 2008?
Don-E: Sooo much stuff! It’s been nuts! I’ve been gigging at home and abroad—Spain, UK, Barbados, and touring with Grace Jones, doing sessions on various tracks, and songwriting!

MS: What advice would you give an aspiring musician/singer/songwriter trying to get into the business?
Don-E: BE YOURSELF! Too many artists sound the same these days!

MS: I remember when your video “My Gosh” was picked up on BET in ’92; it as a big deal for British Soul. What other big moments have you had during your career?
Don-E: Supporting James Brown at Lee Valley, that was a show, boy!! Meeting Stevie Wonder was a day I’ll never forget! Thanks to Omar! And Top of the Pops was a moment too; always wanted to go on that show!

MS: How would you describe the material you’re working on now?
Don-E: I call it future soul, a combination of the melodies from back in the day but with the sonics of now.

MS: What projects/collaborations do you have down the pike? Who would you like to work with, and why?
Don-E: I’m about to do a track with Kym Mazzelle–should be fun! Also working on my new EP; it will have five new tracks and will be out in April on Soulm8. I’m working on a project called Ladies Night featuring UK female vocalists that need to shine.

MS: Are there any artists you’re listening to at the moment, you’d like our readers to check out?
Don-E: I’m feeling Yaw at the moment! That’s some good vibes right there! I love me some Frank McComb and Lalah Hathaway too! I’m also listening to Leroy Hutson and Leon Ware. Been bumping them on my iPod.

In the meantime, while Vikter sprinkles the final touches on Love Machine, you can download For Players Only, a mix compiled by DJ Mars, Vikter Duplaix, and DJ Doc, featuring all the tunes we’ve grown to love Duplaix for! “Electric Love” is from the forthcoming album and “Messages” is one of my all-time favourites by Vikter.

“Electric Love”

“Messages” – Critical Point feat. Vikter Duplaix

DOWNLOAD: FOR PLAYERS ONLY!

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INTERVIEW WITH VIKTER DUPLAIX

Vikter Duplaix: I don’t have any kids.

Muphoric Sounds: Ok…

Duplaix: And I don’t cheat on women.

MS: Ok… That’s a good thing to know and put out there at the start. [Laughter] So… How would you describe yourself as an artist?

Duplaix: That’s a kind of tough one to describe. I think what I try to convey in my vocal styling is a sense of relaxation, sensuality, subtle confidence, not over the top but definitely an essence of being a very confident man without having to overstate that reality. And sonically, I like to paint pictures in people’s minds where they can transport themselves from where they are at the moment and combine those two philosophies with the urban rhythms that move in my bones which comes from growing up in South West Philly—where it’s edgy, a little dangerous, but at the same time, beautiful. I just jumble all those things together and basically that’s what it sounds like.

MS: What you stated there is basically the essence of Bold and Beautiful. It definitely was a vibe — it was cool, sexy, relaxing, and laid back. I got that vibe from it.

Duplaix: That was more the sensual, laid backside of the spectrum. The International Affairs album is a little bit closer towards the urban experience with a lot more energy, a rock edge and house music, with some hip hop feelings. In terms of those two bodies of work, that was the difference.

MS: What do you prefer to make? The soul, house, broken beat, hip hop sounds. What’s your thing?

Duplaix: I don’t have a preference on a daily basis. Moods change for most people, and definitely with being a Libra, I’m in touch with the balance of life. There are times when I feel the need to be aggressive, respectfully so. There are times when I feel the need to be laid back but not to the point of being timid. It’s always about me being perfectly balanced based on the way the universe is standing at that moment. So I’m opened to a lot of different things at different times.

MS: How would you describe your method in creating music? From writing to putting beats together, the sounds that you create. How does it work for you?

Duplaix: It can come as quickly as one second or take as long as four, five years to make one songs on any number of projects that I’ve worked on. It really depends on the mood, again, the subject matter, how fresh it is in my mind—is it something that I’m trying to dictate like an experience. Or is it something I’m trying to turn into a real stream of consciousness. Or if it’s basically an idea or feeling. The next level of challenge is trying to find the music to match or the lyric to match the music because sometimes they don’t all come together. And that might be what makes the song come closer towards the 5-year length of time to make because now I have to figure out how to get that to match, and sometimes it just doesn’t come to you until years later.

MS: What song have you written that has taken a long time to come together?

Duplaix: A good example would be the song “Another Great Love”, a duet I did with Esthero for Bold and Beautiful. That was a track we did for her a long time ago. James Poysner and I created the music and Esthero put the hook down. It was a song she was supposed to sing to, but couldn’t find the time to lay it down, and things changed direction. I remembered how good the track made me feel when we made it and then one day I was listening to it, and heard the story and idea and put my vocals on top of it. It was about a 5-year period from when we started it to when it was finished.

MS: Being from Philly and being around such a vast amount of creativity and various artists during the late 90s/early 2000s, what can you say you’ve gotten from being around those people?

Duplaix: The main thing is a certain standard of excellence after moving out of Philly. I think, in the world at that time, not just Philly, there was a high quality of creativity going on worldwide. All the major hubs, like London, New York, Philly, LA, you had Dr. Dre, Snoop Dogg that movement, Puffy and all the other New York style producers, and Philly, making such great music, with new genres exploding from London, everything from drum and bass, to grime. There was a global explosion. And I think our spin of it was an extension of the principles that Gamble & Huff laid down. The importance of great songs, great vocalists, and great musicianship. So what I’ve gotten accustomed to is being around a certain emotive nature of players, and that’s really hard to find outside of Philly. There’s something about Philadelphian musicians, where they can communicate a moment through their hands, through their instrument, like no other people. I really appreciate that, and it is what set us apart during that era.

MS: Another thing that artists usually grapple with is integrity. Has your integrity been compromised at any time during your career?

Duplaix: The potential for it has been, absolutely. And not even in a sense of me suddenly doing so called ghetto lyrics or cheesy music, as people look at it as something negative. I actually find that cheesy music is a lot harder to make than a vibe, because there’s something incredible difficult about writing a hooky lyric that millions of people will sing instantly. I don’t frown on that craft one bit. But I do think sometimes, what happens is, in the name of the world becoming this place where everything has to be identified and categorized, a lot of times you have to repeat yourself. Do a version of what someone else has done or do things that maybe just a tad bit underneath what you wanted to do, in the name of getting the project or even getting a check. And that’s what I struggled with as a creative entity and as a businessperson. This has ultimately forced me out of dealing with major labels and put me in an independent space — a tremendous financial sacrifice but ultimately it gave me the freedom to be who I wanted to be. There’s the challenge of missing out on millions of dollars versus being happy; I chose the latter, against my wishes, but that’s how it worked out.

MS: I agree. I think it’s actually for the better. You have to be able to look at yourself in the mirror.

Duplaix: Well, you’d like to have a mirror to look at yourself in. [Laughter]

MS: Being an independent, you are able grow as an artist and as you said, oftentimes, labels want you to do the same thing over and over, stifling your growth.

Duplaix: Ys, and on the flipside, the record label can be your biggest enemy. I had about 4 underground international underground smash records, songs that every DJ played, and maybe every person didn’t buy because they didn’t know who the heck I was, but they knew the songs and they’d rock to it at every party. What happens is, from that point on, and even on the independent level, is to do that thing, over and over. I remember, especially in Europe the response to Bold and Beautiful was lukewarm because it wasn’t up-tempo, it wasn’t broken beat or like “Sensuality“, or “Messages“, or “Manhood” or any of the things like what I’d done with Louie Vega or Jazzanova, it didn’t have that same signature. So my champions, even my underground champions, sort of frowned on me because I didn’t give them what they wanted. I found that fascinating to witness as an independent artist.

MS: You’ve worked with so many great artists, the bar is really high. Who would you like to work with now?

Duplaix: I recently listened to Raphael Saadiq’s upcoming record and I heard some of the ideas he’s trying to do with incorporating a combination of some of the trendy, Euro soul artists like Quadron and Little Dragon. I’m always fascinated with staying in touch with that space, because I believe they’re my home base—that audience. But it’s also interesting to see how the mainstream artists are searching for us creative types and how artists like Rick Ross, Nicki Minaj and those types of artists are gravitating towards solid creativity and musicality. I’m open to the cross pollination of quality again, regardless of who is willing to step into the field. I’m sort of more open now than I’ve been in a few years to step into the future or step back into the future, so to speak, to reconnect a certain quality and style of music with the future artists or present artists who will carry us for the next 20 years. I think we have to marry the young generation to the idea of being great or else we’re going to lose the art form altogether.

MS: With your DJing, I didn’t know you had such a background. I just knew you as being a producer, singer, songwriter, etc. How long have you been DJing?

Duplaix: I’ve been djing for well over 20-years. Djing took me to the idea of being in front of a group of party people and understanding the certain type of intensity to maintain an audience. Learning to DJ in Philly was kind of like hostile environment.

MS: Why was that?

Duplaix: When I was growing up it was the beginning of the crack hustle. Everyone was in a volatile mood; there were gangs on every two or three blocks, so the DJ culture was sort of an extension of territorial rights. If you had a hot DJ, the other gangs wanted to come into that party. You had to really rock it or else there would definitely be a violent type of situation. I was really young when I was doing the parties and had to be home at a particular time. If I kept everyone happy up until the time I was ready to leave, I would be able to get home on time and they’d be no problems.

MS: With your Mum! [Laughter] In terms of the DJ culture and satisfying the audience, what do you get from it?

Duplaix: It’s really fascinating to see how people move to different melodies and different sounds, especially when there’s a moment in history when things are coming around that are popular that maybe I wasn’t interested in or I didn’t think mattered. It’s like an education for me. Also, it’s very satisfying to make people feel good and watch them dance and them come over and give me hugs. It’s very different to standing in front of a crowd and performing.

MS: Do you play commercial stuff or it can be anything?

Duplaix: It depends on the audience and the space. My preference is to play whatever I want and be in front of an audience who knows how to feel and relate on the journey I’m taking them on. But that style of party person is quickly becoming non-existent. People of today aren’t being trained to dance when they go out; they’re being trained to drink. So it’s a different experience when they show up. All they want to do it put glasses and bottles in the air, chant and sing along.

MS: So true. I remember the days when you could go out and you didn’t really care if you hair turned into a bush. It definitely has changed. How would do you compare audiences in different countries when you DJ?

Duplaix: The most fascinating thing is that with each territory, has a different personality. And within that territory, each city has a slightly different personality. This has given me a solid understanding about the reality of human beings operating in tribes, even in the sense of our own tribe in Philly. I’m a Philadelphian through and through more so than an African, more so than an American. I’m a Philadelphian. I’m humbled when I go into a country like Russian, where there’s obviously no brown faces — at all — and they’re able to feel and groove to the music I present with even more enthusiasm than the people in the hood around my way would respond to it. We have a bad case of disposing what we create so quickly and the rest of the world celebrates the creativity and art forms of the African or a brown person in the USA.

MS: The Centric TV ”Master of the Mix” show. How did you get selected for that?

Duplaix: I did an interview with the creators of the show, the head of marketing for Smirnoff, David Tapscott and Karl Carter. In March I went to Winter Music Conference, and I guess somewhere in July the show was green lit and I got a call to be on set in two weeks. It was pretty as simple as that.

MS: And how has it been? Have you finished taping?

Duplaix: I can’t really say. I’ve been sworn to secrecy. It has been a tremendous life experience, more so than the DJ experience. The idea of being a specialist in a professional space, where you can command exactly how you want to be treated and how you want to be presented, then have that all stripped down, in the name of being judged by your peers, is very humbling and challenging. I really appreciate what it has done for me as a man, aside from being a DJ.

MS: What’s the format of the show? How extensively do you interact with each other?

Duplaix: It’s an elimination show. Each episode has a challenge with a criteria and it’s your job to listen to the criteria and execute the challenge. You’re judged based on the rules and if you don’t make it, you go home.

MS: So you’ve got a new album coming up?

Duplaix: Yes.

MS: What’s the title of it?

Duplaix: Love Machine is the title of the album.

MS: I saw the video to “Electric Love” and I remember when you were tweeting it a few months back. What direction will you be taking us with Love Machine?

Duplaix: It’s not going to be a departure from what I’ve done in the past. It’s just more of a concept of a man’s journey into trying to figure out what is the perfect machine he can make to satisfy a woman. It’s the flawless and satisfying, beautiful and special machine that you can make for every woman to have. And it ends up being that the creator has already made it, and that is the man. But it’s your responsibility and your understanding of yourself that puts you in the position to be the perfect Love Machine.

MS: So it’s more baby making music, I see?

Duplaix: There’s definitely going to be some of that. And there’s going to be some intense ideas of communicating, being forward and honest, an approach to expressing love in different ways.

MS: So do you have a hard release date for Love Machine?

Duplaix: It doesn’t have a hard date yet, but it’s going to be late January – February-ish.

MS: What are you views on the industry in the digital age? How it can potentially affect you and your work?

Duplaix: It’s almost impossible to launch a career right now in music. It’s sad and it’s concerning because I think the days of a world singing the same songs are gone. Unless something else comes around, where there’s a particular way we can monetize safely the art of a great song, we’re going to have to morph into the idea of being content with our small audiences that keep us alive, and hopefully but don’t necessarily, give that stadium style fan base. There maybe a way to address that in the future and it will more than likely be a type of multimedia star — the singer who is an actor, who is the television show creator, who is the owner of a distribution network, and so forth, with an immaculate website that can download all the songs from their show. It will be some artist who redefines the way things are done. Or some show like Glee, that is tapping into the idea of playing music in the show on Monday, and it sells a million copies on Tuesday. I think that’s where we’re headed. But in the meantime, those of us who make music because we love it, must stand by our words and not expect that idea of the love for making music, will make us millionaires.

MS: In terms of this digital age and the speed at which music is easily released, how are you going to combat that? Are we going to hear more music from you?

Duplaix: I don’t know. I really don’t know. I’m leaning towards trying to figure out how to become more of a multimedia presence versus just being a musician, artist, or track maker, or a DJ. I’m focusing more on readjusting my lifestyle to not be focused on the monetary goal and be more focused on being stabilized to the point where I’m comfortable enough to do exactly what I love to do, which is to create music without having to compromise my profession. I am one of those people who’s looking for that new way of bringing the art to the masses.

MS: So what’s Vikter listening to? What’s got you open?

Duplaix: I’m listening to so much music right now, trying to digest it all. I came across this Japanese artist called Marter, who I’ve been listening to a lot. I was fascinated by his melodic interpretation of things coming from Japan, and the mood he creates. That’s what I’m listening to this week.

DOWNLOAD: FOR PLAYERS ONLY!

The build up to the release of Bilal‘s official third album, Airtight’s Revenge has been non-stop for the artist. Currently on a hectic schedule, doing a slew of lives shows both in the States and Europe, with press interviews, Muphoric Sounds was able to get some face time with Bilal. Meeting at L.A. Burdick in the Flatiron District of Manhattan, in a cool environment furnished with delicious chocolate coffee, we spoke at great length about his career, overcoming misfortunes, his clear passion in music, and his forth-coming release, Airtight’s Revenge. His integrity as an artist is unmistakeable and so refreshing. Check out the interview below. [Note: this was supposed to be a video interview, but due to technical difficulties, we had to run it as a Q&A. Big thanks to CochraneImage, for taking such great shots!]

Also, after reading the Q&A below, there’s a lovely download from Miguel Atwood-Ferguson Ensemble, where they do a rendition of Donny Hathaway‘s “Someday We’ll All Be Free” featuring Bilal on vocals.

Airtight’s Revenge hits stores September 14th and can be pre-ordered here. Get one for yourself and a friend!

*****

Muphoric Sounds: Who is Bilal?
Bilal: I’m a musician. I make music from the day that I experience and see and use my music as a platform.

MS: When your career started it was rumored that Erykah Badu was responsible for discovering you. Who were the people that helped start of your career?
Bilal: I kind of met Amir [Questlove] first. But I was also supposed to do a tune with Q-Tip. I met everyone around the same time when I moved here [New York] from Philadelphia. And I also started to work with one of the Mtume brothers, James Mtume.

MS: If you were to look back at your career as a musician, what are the most significant lessons learned?
Bilal: I’ve learned a lot of things. The main lesson, I would say, is being true to myself to making music from an honest place.

MS: The Soul Aquarium Movement. What happened to them?
Bilal: Oh, big question man! Initially, it started off as photo that took showed musicians that always worked together and it appeared in Vibe Magazine. Somebody told me that we were supposed to do an album together but it never happened. We’re all still in contact today. I did a show with Erykah the other day. I talk to Amir all the time. We just did a show at Highline Ballroom recently. Q-Tip, I just did a show with him two days ago. Common, we talk all the time.

MS: You’ve collaborated with a lot of great artists in the past – both mainstream and independent. Who would you like to work with next, who you haven’t worked with before?
Bilal: There’s a lot of cats I want to work with. I would love to do something with Thom York.

MS: That would be amazing. Let’s put it out there.
Bilal: Yeah! That’s how everything has been happening. I think about it and then it winds up happening.

MS: Your falsetto is compared to Prince all the time; however, I’ve never heard you talk about the comparison. Do you like Prince? (Question mark face)
Bilal: [Laughs] I like Prince. He definitely is one of the artists I grew up listening to. I can remember when Purple Rain came out and listening to it in my sister’s room at my grandmama’s house. I’ve been inspired by a lot of things. I initially started to use the higher range of my voice through jazz, because I scat a lot. That’s what I’m used to hearing, almost like an instrument, to try and be like a trumpet. When I was first signed, I was doing a lot if R&B. It just came out like that. I listened to a lot of things, including Prince [laughs]. He’s such force of talent.

MS: 1st Born Second – You were so young when the album came out?
Bilal: Yes, I was 20.

MS: There was so much wisdom, pain, and happiness on that album. Where was it coming from at such a young age?
Bilal: I don’t know [laughs].

MS: The stories and the emotions, felt like it was coming from an old man.
Bilal: I really don’t know where it was coming from. You could say I’ve always been a hopeless romantic, who thought about love too deeply [laughs]. I don’t know. You could say, I just listened to good records as a kid and I would sing them. I’ve been singing since I was 4 yrs old. My Mom had me singing in church. And then my Pops, he was very good friends with a guy in who had a jazz club Philadelphia. So from high school and even earlier on, my dad would take me to the club to hang out with his friends, listen to the music. Man, I could remember earlier on the sound of the music, and saying, “Man, we’re going to be band, playing in clubs! I remember from when I was young always saying that I was going to be a musician.

MS: What was your favourite song on 1st Born Second?
Bilal: I loved them all. You could say, I like doing “Sometimes” because it was so fun to do and I have stories for all of them.

MS: Love 4 Sale, seemed like the bitter/sweet album. You work on a great album, it leaks, and then gets shelved by the label. How did that scenario impact you?
Bilal: [Sighs and shakes head] It is exactly what you said, it was bitter sweet. It started off kind of sad, you know. I put a lot of work into it. I was getting to a period where I wanted to break down the structure of how I was writing music. I was starting to try different carriers and different cadences to write to music because I felt that I was starting to get into a contrived type of head. I was experimenting with different things and my label didn’t really how it would translate. Then it got bootlegged and then they would say, “Ah this is crazy, it’s weird…” But then, everybody started to like it. I got such a positive reception, that I was able tour to promote the album, like it was an actual release.

MS: That’s the thing. How did you feel on that tour, performing those songs, and people singing them back to you?
Bilal: It was strange. But it’s the time we’re in, you know. I was talking about this the other day about the change that’s happening and the labels not really understanding it. Somebody told me that, ‘music is basically free now, how do you feel about that? I was like, “Ahhhhhh…”’ Don’t know how I really feel about that.

MS: A thing of being on the road for the rest of your life….
Bilal: I just want to do real music that will last and stand the test of time. That will last over a saturation of time.

MS: The ladies love them some R&B singers. How do you handle the female attention? How is it for you on the road?
Bilal: Wow! [Throws head back]

MS: Are you single?
Bilal: No, I’m not single; I got kids.

MS: So how do you deal with the fan fair?
Bilal: It’s strange, I never thought of myself as a sexy guy [laughs]. I’ve been called weird my whole life, you know what I mean. [laughs] When you’re doing the show and everybody is into it, it just brings everything to another level, being able to go that much further, and it makes the show that much better. I can just relax into it. My shows are almost like jazz. Every night is different, and we start to stretch and go to different places with the music.

MS: You were talking about the Internet. You doing the social media now. How is that going? Do you like it?
Bilal: It was a big change. I’m getting used to it. It’s fun though. I get to show my personality, meet people, talk to the fans, and actually get to know how they feel, and know what they like. It’s cool. It’s one of the avenues to get my music out there. Things are different now.

MS: Airtight’s Revenge. I’ve heard it. I won’t lie.
Bilal: [Uproarious laughter]

MS: It’s a departure from “neo soul.” Was that part of the plan?
Bilal: I never considered what I did as a “neo soul.” My first album, I did a song with Dr. Dre! Did Dr. Dre do neo soul? No. I think at that time, Blacklilly had started out of Philly through a jam session that Roots had started to do. I had known about the jam sessions they were doing in New York too. I had moved to New York at the time, I think it was around 1999, and I was studying Jazz at The New School. I really came from a jazz place, my whole focus behind my work was to Jazz. I consider myself a jazz musician, a jazz composer. When I’m writing things down, I’m writing things that are open ended and can be translated. So when I would hear, ‘you’re neo soul,’ I didn’t really like it, it put me in a box. My whole thing was mixing genres, not just soul but all different sounds, and make it come together. Kind of like what a Frank Zappa would do, or even Prince. Out of different sounds, creating something new, that can stand on its own.

MS: Right. It’s not really a genre.
Bilal: Right. Like Sly & the Family Stone, that’s what they did, incorporating all different vibes. Somebody told me that Miles Davis actually created a lot of Sly & The Family Stones cords. That’s the way I approach my music and do things, kind of a mixture.

MS: What’s the concept behind Airtight’s Revenge?
Bilal: The concept comes from reading a lot of Donald Goines novels and the first thing that comes to mind is Airtight. There’s this book that Iceberg Slim wrote called Airtight Willie and Airtight Willie is kind of like what I’ve been going through, my album being bootlegged.

MS: What would have been great is if the album that people are getting their hands on now through the web, was in fact an “Airtight Revenge,” — the releasing of a fake album.
Bilal: [Laughter] And with each track they’d get a…Syke!! at the end [laughs]. The good thing is, out of all of this, I’m still inspired. I’m still sure about what it is that I want to do in my concepts as a songwriter. I’m more free-flowing than ever, you know. That’s really the revenge. I have more love, I haven’t been tainted by it. I’ve been burned through fire, and came out golden.

MS: Who worked with you on the album?
Bilal: On this album, I worked with fewer people. This time around I produced with producers. Conley has been playing with me for years and he kind of knows what I like. 88-Keys is a good friend of mine, aside from working with me on the album. “Think It Over” we had for ages. Then it was a thing of playing instruments over the top of it. That’s really what this album is about, mixing electronic with live. I really went from the ground like how John Lennon, and those cats would write, making a strong tune with just voice and one instrument, and then you can move on build a track out of it. That’s what I tried to do with every tune on this album. I would write the song and bring it to the producer and together we would come up with something. I was very hands on with this album.

MS: So when you’re working with producers, do you come in with a blank slate, or is it already mapped out?
Bilal: This time around, I came in with something, whether it was chords, song or a melody and a clear understanding of certain lyrics as we progressed. Then I would add on lyrics, but definitely tried to make the song first, then build.

MS: Airtight’s Revenge seemed more socially and politically aware than your previous works. What were the specific things that shaped Airtight’s Revenge?
Bilal: I’m an older guy now, in my 30s. I won’t say I’m old, but I see life from different angles now; it’s not so straight forward for me anymore.

MS: With age, comes responsibilities. You’re now a dad, with two kids, one with autism and the other with sickle cell. Are you involved in any advocacy groups for either condition?
Bilal: I do the Walk for Autism, and I’m a member of the Autism Speaks. My kids are one of the most driving forces of my creativity now. They’re both musically inclined as well. Musical snobs at best. My son likes everything from Justin Bieber to Billy Idol. Three years old! He’d be like [sings] “Dancing with myself…” Your three years old kid?! What you know about Billy Idol?!

MS: So what’s next?
Bilal: Umm touring… Just hammering out the shows I’m doing right now; pretty much the promotional side of the album. I’d love to tour doing some jazz. It’s a time when I can go out and turn what I’ve done into something else. I get to play with cool musicians. It’s fun every night, like an adventure.

MS: Your touring schedules are crazy. Do you ever get tired of it?
Bilal: Only when my throat hurts.

MS: Will you be doing more work with Robert Glasper?
Bilal: Oh yes! Man, I’ve known Rob since college. He’s played on all of my albums, from the very first one. We will always work together.

MS: So where can people find you online?
Bilal: You can find me at twitter.com/bilal_oliver.

****

Airtight’s Revenge hits stores September 14th and can be pre-ordered here. Get one for yourself and a friend!

Free download – Miguel Atwood-Ferguson Ensemble – “Someday We’ll All Be Free” featuring Bilal

Check out the interview below, which documents the event and showcases Res in action; a very cool woman. Hope you enjoy watching it as much as we enjoyed making it! For Vimeo users, you can view the video here.

The name Res has been floating around for the past decade. Having hit us hard with her seminal debut release, How I Do in 2001, we patiently waited for more. Unfortunately, Res fell prey to record industry politics in the frame of a liquidation, which left her on Geffen Record‘s shelf. This did not stop the urban chanteuse from getting things done, from her song “To Empower” being featured in movie Akeelah and the Bee, forming a band, and now is all set to release her an official sophomore release EP.

With quite a few tour dates to hit in March, expect to see more of Res in the coming months. Headlining the show at North 4th Bar on March 12th in Williamsburg, Brooklyn, will be a chance for Res’ fans to get reacquainted with her.

We were able to get Res to answer a few questions for you to hear about what she’s been doing over the years. Check out the Q&A below!

Muphoric Sounds: What have you been up to since the release of “How I Do”?
Res: I have written another album called Black Girls Rock!, recorded an acoustic EP called BARE set for a indie release May 1st, toured with Gnarls Barkley singing backup for Cee Lo, traveled a bit, started a new group with Talib Kweli called Idle Warship and just continued living life as I know it!

MS: How did Idle Warship come about?
Res: It was a way for Kweli and I to do music in genres we are not known to do. Just another outlet to create something fresh!

MS: How would you describe your sound now?
Res: Lauryn Hill meets Fleetwood Mac.

MS: You released Black Girls Rock! last year. Is there anything new coming? What can we expect?
Res: I have recently recorded an acoustic EP called BARE. I plan to release it May 1st. And I am working on a new album with the producer of my first album. I am also gearing up to work with Kweli on the Idle Warship album. So far we released [in October 2009] a mixtape for free download called Party Robot.

MS: What do you have in store for your March 12th show in Brooklyn, NY?
Res: This performance is going to be the begining of my acoustic series. Me and one maybe two guitar players. It will be very intimate and raw.

MS: Are there any artist’s you’re listening to at the moment, you’d like our readers to check out?
Res: There is a guy in the UK named Tinashé.

—

Also check The1Res.com for tour dates and if you missed the Mick Boogie Idle Warship Mixtape, Party Robot, it’s available here for download.

It’s been a pretty busy season for Brooklyn’s punk rock band Game Rebellion. With the release of their EP Sounds Like A Riot (January 25th), that was celebrated at Santos Party House in NYC to a crowded and fully charged-up audience — the band has been non-stop ever since. I got the chance to speak with Game Rebellion after their show at Le Poisson Rouge last week. If you haven’t seen these guys yet, I cannot stress how awesome their performance is. From the girls loosing control and jumping Netic and Yohimbe on the stage, the audience moshing each other in a chaotic slam dance, to the tight display of musicianship – Game Rebellion truly rock out! Watch the video below where they talk about the meaning of Game Rebellion, artist struggles, how deep the Game rolls and their musical integrity. I thoroughly enjoyed speaking with these guys. One thing that is abundantly clear, the ‘Game is Rebellious’ and they do indeed, ‘play by their own rules‘.

Thanks again to Alaric Campbell for capturing some amazing images, which were taken at their EP release party at Santos Party House. If you’d like to see more Game Rebellion, visit Muphoric Sounds YouTube Channel here.

Watch the never-before-seen until now video created by Dhundee, where he rocks the beat. And below, he shares with Muphoric Sounds his musical path and process, his new album, and what’s on his horizons. Taking his music across the seas, the name Dhundee is one you should pay attention to. His album can be purchased from his Bandcamp page. Enjoy!

1. Who is “Dhundee”?
Dhundee is a Producer, Musician, DJ, Daddy, Connector, Biz Owner who resides in Brooklyn.

2. Do you think you would be the “Dhundee” you are today if you stayed in Baltimore? Why?
Yes. Dhundee started out in B’more 17 years ago. I was in 2 bands — one hardcore rock band and the other, a jazzy hip hop band. I was very involved with making music even before that so I would and could set up shop anywhere I lay my hat.

3. People always say, there’s something about Brooklyn. How has being based in Brooklyn influenced your creativity?
There is definitely something special about Brooklyn. I am influenced by the different sections of Brooklyn, the people, the style, the attitude, the kids, the hustle, the crazy conversations I overhear walking the streets, the conversations I have with the gypsy cab drivers that I come from all over the earth listening to their music while riding in the cab, the feeling of leaving the city and riding over the bridge; leaving the hustle behind me. Most of all I like the pace here and how you can set your own if you choose to.

4. Who are your main musical influences? What did you grow up listening to?
I grew up listening mostly to soul, hip hop and house music, later jazz, electronica, trip hop, Ultramagnetic MC’s, De La Soul, Ralph MacDonald “The Path”, KRS 1, Leaders of the New School, Tribe, Native Tongue Fam, Jimi Hendrix, 90′s rock, Lala Hollaway and ole school B’more Club and Chicago House music, Prince, Stevie, Michael, Stereolab, Can, early Ninja Tune records.

5. Being a musician who plays multiple instruments, what do you prefer when composing music – instrumentation or computerization? Why?
I prefer using both. I approach each song differently. Being that drums/drumset is my main instrument, I usually start off doing drum solos in my studio first. As I’m playing, I can hear the bass lines and chords, and from there I record digitally into the computer. It’s a lot cheaper than reel to reel tape and a lot more efficient.

6. “Take Flight” seems like a labor of love with a wide range of sounds and vocalists. How did working with Kissey Asplund, Cecilia Stalin, Michelle Amador come about? Was there a plan, process, or was it organic?
They all were organic. I like my collabos to flow naturally and timing is important. I was introduced to Kissey and Cecilia through my man OP, of Cornerstone Productions. I found Michelle Amador on on Myspace a few years ago and connected with her there. All of these collaborations just flowed and wasn’t forced.

7. Most DJ’s and musicians start in one genre and evolve into many things. How would you describe your musical journey?
My journey started with my Dad’s records and in grade school playing the Trombone for 12 years. Growing up here on the east coast as a black man you automatically wrote rhymes, b-boy’d, got on the decks at your cousins house, scratched up your parents records, rocked puma sweat suits and did back spins on cardboard; Hip hop was alive and running through your veins back then. I always listened to music and purchased music since I was a little kid. I try and stay open to all types of music. Through early travels, experiences, eclectic friends and peers, I’ve been introduced to lots of music. Music is about sharing but you gots to pay for it 1st.

8. What are the highs of being a DJ? Are there any lows?
The highs of being a DJ is you get to see what people respond and dance to. You are in control of the sound which effects the mode of the room. You can also expose people to great music from all over the world and gain a following. Travel, meeting new people, building, networking. The lows is your amongst lots of drunk people. The late nights and wee hours. Dealing with shady venues that don’t understand what this is all about… Let’s not forget requests.

9. What is your primary goal when you make music?
To make something that I like. I have to be a big fan first. If I don’t like it, then how could the people like it?

10. What projects have you got coming up?
Currently writing music for a television network, I can’t say which one at the moment but you will be hearing them over and over again.
I’m also going to do a kids hip hop electro dance album as well as a few remixes. David Ellis and I are in lab working on some experimental projects together. Also, working on the next project of starting a live band with a few cats.

11. What is Dhundee listening to now?
Everything… This week was: Little Dragon – Machine Dreams; Shafiq Husayn – En’A-Free-Ka; Benga – Diary Of An Afro Warrior; Lee Fields & The Expressions – My World; El Michel’s Affair - Enter the 37th Chamber.

For some reason, I had been missing all of Little Dragon‘s performances in New York City. I even tried to catch them in the UK this past summer, but flights were not in sync either. This past Saturday, I finally got it together and took myself down to Le Poisson Rouge.

It’s been a long time since I’ve been to a show and the band sounds better than the actual CD. Lead singer and percussionist, Yukimi Nagano has this amazing vocal style and range, that has you entrapped, hanging on every note. It’s effortless beauty to your ears. Watching Yukimi perform is like watching a child playing in the sunshine with open arms, spinning till they fall into a pool of laughter. At one point, she got down in the audience and danced with us. Band members Erik Bodin (drums), Fredrik Källgren Wallin (bass), and Håkan Wirenstrand (keyboards), together create magic, and Yukimi is their vocal muse of sheer happiness. Why hadn’t I seen them sooner?!

If Little Dragon are in your town, here’s your marching order: GET YOURSELF A TICKET! They put on an incredible show, and are truly a band enjoying what they do. Although I wanted to see them perform “Twice” from their debut album and “Thunder Love,” from Machine Dreams, I left the venue completely satiated. Watch “Constant Surprises” from the show below and enjoy!

Big thanks to Alaric Campbell for the great photos!

Born and still residing in Lausanne, Switzerland, CHIEF makes me wonder about the vibrant music scene in Europe right now, as a lot of great stuff is coming from overseas. Founder of Feelin’ Music record label, his new full-length release, Collabo Collection features an A-list group of guest artists such as Moka Only, Kissey Asplund, Le Nubians, Dynas, Co$$, Sene, and blu., to name a few. Collabo Collection is a blend of smooth and chilled Dilla infused beats where his collaborations bring the tunes to fruition, notwithstanding the cool instrumentals within the collection. The beatmaker shared with Muphoric Sounds his philosophy and method to creating, his new album, the power of the internet in making musical connections, and his various music influences. Truly someone to keep your ear open for.

Kick back and listen to some of the tracks off Collabo Collection below and for Free Exclusive Download – “Lost Love” featuring Co$$, who will be releasing his new album on Tres Records very soon. Collabo Collection is scheduled for release November 3rd.

Demon Love ft. Kissey Asplund and Moka Only from Collabo Collection

Tru Love ft. blu. & Sene from Collabo Collection

There is so much great music coming from Europe, to a point that people are beginning to think Muphoric Sounds only features music by European artists. How do you describe the music scene in Switzerland?
Although Switzerland is a tiny country, the music scene is definitely very rich, especially considering the size of the country. As we speak 3 different languages in Switzerland (French, German, Italian) depending on which area you live in, there are lots of different influences, sub-cultures and music styles. Each part of Switzerland somehow bears mad similarities with the bordering country using the same language, i.e. France, Germany and Italy. The rock and pop scene is the biggest, but has no chance to export itself due to the language issue.. let’s not even mention the accent for those who try anyway. Both the electronic and hip-hop scenes have been growing stronger over the last few years, and quite a number of Swiss producers have been able to make a name for themselves outside of our mountains. There’s definitely talent, passion, and involvement here.

How did you get started?
Alright, this is going to look like a “copy and paste”, every producer from my generation probably has the exact same story! I first started DJing when I was 14 years old, it was in the 90’s and at that time the hip-hop scene was really taking off in Switzerland, thus I immediately got interested in that scene. When I was 21 I started making beats, with the usual heavyweights like DJ Premier, Pete Rock and such being major influences on my sound. Over the years, as my skills developed, my style evolved, took different directions, I tackled varied styles, and it finally turned in something quite different and more personal. I guess the goal of every beatmaker is to have your very own sound signature, create beats that can be very different from one another, but still retain that one special touch of yours, whether you can pin exactly what it is or not.

How do you describe your sound?
Electric, vintage, smooth, with an organic groove! I still like to start with samples and build up from that foundation, but the elements that truly make the track are all the sounds and tricks I then add, all the twitching which kind of hide the original samples.

What collaborations and moments at the start of your career made your realize you were onto something as a producer/DJ?
There wasn’t actually one specific event that made me think I was onto something, instead it was a slow evolution. When I was a teen and I was djing and generally really into the whole hip-hop thing, I reached this point when you want to go deeper into it, get involved and add your own brick to the wall. So I bought a mpc and got started. Around the same time, I left my job and started a sound engineer formation. That allowed me to focus on music more generally, start my own recording studio, and hopefully this will allow me to avoid having to get a shitty job in the future!

Tell us about your new album “Collabo Collection” and the people you chose for the project.
“Collabo Collection” is not a real studio album, it’s a compilation of tracks I made over the latest years. You can hear different influences or styles depending on when these tracks were recorded (between 2005 and 2009). I did a number of collaborations over the last few years with many different artists. With most of the artists, it was kind of an “exchange”, you give them a beat for their album, they give you a featuring for yours in return. It all happened very naturally, I hooked up with different artists, others then came to me, etc…. and at some point I realized that I had quite a lot of tracks that I was really happy with and which had never been released, so I decided to compile the best ones and make an album out of it.

I did several albums with Sene from Brooklyn, one got released on Shaman Work and that brought the connection with John Robinson. Sene is friend with blu. and Co$$, and they too got involved for some tracks. And there are other connections that happened via myspace or internet networking in general, like Kay Dee who got in touch with me after checking my beats on Myspace, which led to connections with El Da Sensei, J Sands,….. On the other hand, I once stumbled upon the music of Kissey Asplund a few years ago on the internet, and I instigated that connection. Same thing for Moka Only, who released his album “Lowdown Suite 2” on my label earlier this year, where we invited Kissey on a track. It’s a small world, the word gets spread fast.

What are the things you look for in vocalists/emcees to collaborate with? Is it planned? Or is it coincidental?
So far it has all happened very naturally, through encounters and common taste, in the end it’s really a vibe thing. But of course I only work with people whose work I truly appreciate, the same rule applies for confirmed and unknown artists. I’ve never made any collaboration based on strategic reasons, never will.

When Muphoric Sounds interviewed Moka Only back in June, I threw out that he’d worked with Bay Area emcee blu., when in fact, it was you who had something in the works. How did your collaboration come about with blu.?
I was working with Sene on our album “Garbage Pail Kids” for Shaman Work, and Sene, who knows blu. well, asked him for a featuring, that resulted in the track “King me”. It was before the blu. & Exile album, and we did other tracks after that, like “True Love”, which is on “Collabo collection”. We also played some gigs with Sene, blu. and Exile after that. blu. is a very talented artist, and he’s definitely one of the next big things in hip-hop. I’m glad I could have him aboard.

And of course the wonderful Kissey Asplund. How did working with Kissey come about as well?
It was around 4 years ago, I came across her Myspace page, and I was bluffed by her voice and style. She really has a unique style, and a groove in her voice that makes her special. I got in touch, we got on well, and there! We did a few tracks together, gigs, we invited her on the Moka Only album, and we are currently working on more tracks for a release coming in 2010. Kissey is a great person and an amazing singer, someone I would definitely like to keep working with.

How many productions do you have under your belt thus far? Which are your favorite productions, and why?
I’ve been making beats for over 8 years now, so all in all I did hundreds of productions. I don’t keep a count, but I guess I have about 200 productions that were released in one form or another. Some of my favorites are “Felt before” with Moka Only, “Demon love” with Kissey Asplund, “Anyway” with Moka Only and generally I’m happy with the beats I’m working on nowadays, which are actually quite different from what you can hear on “Collabo Collection,” it’s much more electric!

Who are your greatest influences? What are your musical roots?
When I first started, it was DJ Premier, Pete rock, DJ Spinna,…. And today I’m really into beatmakers like Jneiro Jarel, Madlib, Jay Dee, Sa-Ra Creative Partners… and still DJ Spinna! But I’m listening to a lot of different stuff, so I guess that influences me as well.

What is your method in creating beats? What inspires your creative process? Computerization or live instruments?
Here’s how it usually happens: I go to my studio, put a record on, and start getting ready for the day; drink a coffee, check my e-mails,…. Inevitably, a sample, a sound, a mood or anything from the record will catch my attention and inspire me. And there it starts. I use this as a foundation to create a new beat. I then add keyboards, drums, different sounds, scratches, synth bass, etc…. sometimes you can’t even hear the original sample that I used, I like to rework the whole thing. I don’t like raw samples, I like to make them as abstract as possible, to leave room for something fresh and brand new.

You recently put out a compilation “Random Hearts,” where you and Ngoc Lan refashioned some familiar songs, with some new. How did that project come about? And the choices made for it?
Ngoc Lan is also from Lausanne, and we often DJ together, we have a good music connection. We both regularly release free mix albums, and we recently thought it would be fun to make one together. We both met with a selection of records, and the wax battle started!

What is your ideal musical future?
I would like to keep on working with other artists, expand my horizons, keep developing the whole thing to hopefully someday work with artists that are currently hard to reach. Besides, I’m now working on an instrumental album to be released in early 2010. It won’t be just random beats compiled, these are beats in a “song format” if you will, something that stands on its own and doesn’t have you dying of boredom, beats that can keep you interested throughout the whole duration of a full-length and create a cohesive album. I’m excited about this project, and I’m currently developing a live formula to go with it. And of course I want to keep expanding my label, Feelin’ Music.

What is Chief listening to now?
Sa-Ra Creative Partners, Rozzi Daime, Georgia Anne Muldrow, Madlib, Mayer Hawthorne, DâM-FunK, Mark De Clive Lowe, Platinum Pied Pipers,….

Mayer’s album Strange Arrangement is set to release on September 8. Sorry folks, no sample tune to listen to here; they’ve got the album on “lock.” However, I have heard it and there are some baby-making worthy tunes on there — enough to make your soul smile. Mayer has a cool style, soft, yet raspy voice, that definitely extends beyond his years. Drew Cohen was born to be Mayer Hawthorne; there’s no pretense or contrite, just pure soul. Read what he told Muphoric Sounds and listen to the Astronote remix of “Just Ain’t Gonna Work Out.”

Just Ain’t Gonna Work Out by Mayer Hawthorne (Astronote Remix)

Muphoric Sounds: How did you get started as an artist? How long have you been in the business?
Mayer Hawthorne: I have been playing in bands since high school. My parents are both musicians. My dad taught me how to play bass guitar when I was six years and he still plays in a band in Detroit to this day. My mom made me take piano lessons when I was a kid, which I hated, but now I’m so glad that she made me take those lessons.

MS: Was that because of the technical side of playing and reading music?
MH: It was mainly for the introduction to one of the key instruments of soul music, which is the piano, and music in general. Most of the greatest songwriters of all time, all play piano. Billy Joel, Elton John. It’s an important instrument.

MS: Your bio says you’ve taken from the Motown assembly-line production model and eliminated nearly every element. How would you describe this process to create what you do?
MH: [laughs] Usually, the song just comes to me and I’ll ear all the parts in my head very vividly and the challenge is to take the song and all the arrangements that I hear in my head and get them out of my head and onto a reel. So one by one, play the drums, bass, piano, or whatever the instrument is to get it to sound like it does in my head.

MS: You did a Prince with Strange Arrangement, by playing all the instruments and vocals, being like a one-man production, which is quite amazing.
MH: One of the main reasons I wanted to play all of the instruments myself, in fact I didn’t play them all myself, but I did play the majority them. I had a little help from The County, my live band. Playing the instruments myself, is really fun for me. It’s generally easier for me to get the sounds I hear in my head, if I just play it myself rather than trying to explain it to another musician. I’m extremely meticulous in the studio, I’m an extreme perfectionist and I’ll record a bass line a 100 times in a row until I get the perfect sound the way I hear it in my head. And a lot of times, its easier to play it myself than try to explain to another musician.

MS: This whole thing of Mayer Hawthorne. How did you come up with this character? Is he a character?
MH: Mayer Hawthorne is just… I’m a soul man in real life. I grew up listening to Motown, soul music in general and every guy has a little Mayer Hawthorne in them, I think. Every guy has relationship issues that they deal with and I think that Mayer Hawthorne is just one side of my personality, an extreme side of me that helps me to deal with a lot of the love issues that I’ve dealt with in my life.

MS: So is DJ Haircut another side of you?
MH: Yes, DJ Haircut is another side of me, sort of my more street side. Haircut’s a little more carefree that’s sort of hip hop.

MS: I just saw the video for “Maybe So, Maybe No,” and I thought it showed two personalities merged together.
MH: Yes, that’s right. At the end of the day it’s all me. Those are different sides of my personality.

MS: So Mayer Hawthorne is here to stay? You’re not going to be one of those alter egos that put out a couple of productions and then disappear.
MH: [laughs] I am Mayer Hawthorne, he’s not going anywhere; he can’t go anywhere. There’s plenty of Mayer Hawthorne coming.

MS: So how did the Stones Throw union come about?
MH: I met Peanut Butter Wolf here in Los Angeles at a party called The Do Over when I had moved to LA from Detroit and I was introduced by a mutual friend who had heard my Mayer Hawthorne material, and she was sort of bigging it up to Butter Wolf saying, “You’ve gotta hear this Mayer Hawthorne stuff.” At first I had only played my Mayer Hawthorne stuff to friends and family and I hadn’t shopped it around or sent it to anyone. I didn’t have any intentions of recording a full album of that material. Peanut Butter Wolf took such a liking to the songs, that he asked me to record a full album of it, where previously I hadn’t even thought about doing that.

MS: Right, your bio said that you moved to LA to pursue your rap music?
MH: Yes, that is entirely true. I was focused on hip-hop music production and DJ’ing and this Mayer Hawthorne stuff was kind of an experiment on the side that took on a life of its own.

MS: So how is your tour going right now?
MH: The Lonely Hearts Tour starts September 5th. We’re just preparing right now and rehearsing and putting together a dynamite show.

MS: Weren’t you were doing shows recently? You did London, New York and other states. Were they just teaser shows?
MH: I went on the Stones Throw US tour with Peanut Butter Wolf, DâM-FunK, and James Pants – we toured the US and Europe a few months back. It was a fantastic experience and a lot of people’s first introduction to Mayer Hawthorne. It was a lot of fun and I got to see a lot of cities I’d never been to. I like to try out the food everywhere I go; I’m a huge food guy.

MS: About a week ago, you made a statement on Twitter where you said, “Thanks for leaking my album.” [MH laughs] I was like “Oh no.” But it is definitely a problem in that the digital age makes it difficult for artists to prosper, plus the recording industry model has changed. What are your thoughts on that and how you are combating the obstacles?
MH: Well, to a certain extent you have to be sort of happy that people want your album badly enough that they’ll bootleg it. In a lot of ways, it’s a good sign that people are pirating my album because it means they want it. Basically what pirating music, bootlegging music over the Internet has done is brought us back to the old days where everything was based on the dynamite live show. Its forced artists to come with their live shows, so that people will come out to see them. And in a lot of ways it has weeded out the artists that can’t perform live. It has shifted from record sales to touring. Artists have to tour to support themselves. That’s one of the reasons why we’re working our hardest on the tour to deliver a really dynamite show.

MS: So how would you describe your sound?
MH: My sound is very influenced by Motown and 60s soul. But I wasn’t even alive in the 60s, and I’m a hip-hop kid who grew up in the 80s. So it’s impossible for me to record a straight vintage soul album because I wasn’t even alive then. All of the hip-hop influences in the 80s they come out in my music whether I like it or not. I think that’s what gives it the modern feel and updates it for a new generation of kids who didn’t grow up with old soul music.

MS: You could say the same thing for your songwriting as well. You kind of bring back the simplicity of relationships rather than the bump ‘n grind of the 90s, which is refreshing to hear.
MH: Yes, but there definitely is some bump ‘n grind on there.

MS: Yes. You can definitely make some babies with what’s on Strange Arrangement.
MH: Yeah, there’s definitely going to be some babies made. I hope so. That’s one of the goals. [Laughs]

MS: Are there any collaborations in the future?
MH: There are a few collaborations coming up for sure. I just finished a song with Freeway. We’ve been talking to Snoop Dogg. There are a lot of things in the works, I don’t want to give too much away. We’re working on a few things. I’m mainly focused on this album right now and there are no guests on this album.

MS: I actually heard the album for the first time today. And it’s really great. I grew up in the UK and my family is Jamaican and there’s always a reggae version of Motown hits, and listening to Strange Arrangement made me think about reggae remixes. So don’t be surprised if you hear about a reggae version of “Maybe So, Maybe No” being in production right now.
MH: Wow, I do hope there is. That would be cool. I love reggae.

MS: So what is Mayer Hawthorne listening to now?
MH: I am currently listening too… I’m in love with this Norwegian singer called Hanne Hukkleberg. She’s one the great songwriters of our generation. I’m obviously listening to a lot of Motown. The Marvelettes is big on my deck right. Boss One, who is one of my favorite emcees right now. His album is incredible. I try to listen to as much as I can, always. Anything I can put my ear to.

For the readers of Muphoric Sounds, Moka has provided an exclusive download of “Lemon,” from The Lowdown Suite 2: The Box (hear it below), which can be purchased on iTunes.

Check out the Muphoric Sounds exclusive interview with Moka Only below!

What are your musical influences?
I have many music influences…people ranging from Frank Zappa to James Brown to Eazy-E. It’s all relative, but I usually lean toward stuff that’s interesting or weird, I guess. Lol.

What did you grow up listening to in the home?
In the home when I was a kid I got into jazz rather early so I would listen to Ornette Coleman, Sphere, Monk, Les McCann, Joe Pass…all kinda great cats. Also rocked Joni Mitchell and Stevie.

For me, and this is based on my experiences of Canada, is that it’s a place of calm, order, idyllic views, fresh air, order, etc. But, clearly there is a strong urban culture there. How would you compare hip-hop culture and rap music in Canada to San Diego?
Hahaha. You have a strange view of Canada if you think it’s all streams and idyllic, pastoral beauty. I mean, that does exist out in the country but the same can be said for America or any country. I’m from Vancouver. I would urge people to Google it and see for themselves. I’m not tryna push for the stereotypical ‘street cred/war stories’ but Vancouver is as grimy as any major North American metropolis. We have big gun problems, gangs, and the same horrors that need to be eliminated as elsewhere. Of course there are many cool places in the city too. Vancouver is a lot like San Diego. We are a bigger city though. I moved there on a whim. Literally. No planning. My life’s been like that. Vagabond stuff. One advantage of going to San Diego way back then is the proximity to Los Angeles and the hip hop movement that was poppin’ there at that time. L.A. cats would visit Diego on the frequent. Met lots of people there in situations that might not have happened at that time in Vancouver.

What prompted your move to San Diego?
As I said, it was not a planned trip really. The only thing was, California is so close and it’s familiar culturally so I just picked San Diego out of a hat. That was that. A good choice.

Who was instrumental in helping you get started in music?
I would say that my mom was unintentionally instrumental in getting me started in music. She had a piano in the house and I was attracted to it from the age of two. Later on, she paid for trumpet lessons.

How would you describe your style?
My style? Hmmmm. I don’t think about it TOO much but umm… I would say that I’m not much of a follower. I like to be free, incorporate humor and absurdity and abstract lyrics and beats just happen by default. I am here to notate the things in life that anyone can relate to but they may overlook.

Selling over 400,000 copies of LP’s, is very significant. With your career beginning before the rise of digitized music for the general public, how would you compare the two eras? Has the digital age helped and/or hindered your career?
Selling that much (it’s actually a higher number now, I need to change those stats..hahaha) was a challenge because those numbers are based on physical copies, CD and wax. It would be great to see those numbers today but through the digital age it has become an unsaid notion that music is essentially “free”; you can just rip it off some torrent site. It’s great for fans but may make them feel as if a lot of music is disposable, like wet tissue. I do my best to make them feel like they are not stealing wet tissue but stealing food… from my mouth. Hahaha. That’s the reality of it. In some ways because the fans don’t realize how many thousands of dollars we put into equipment and recording and man-hours, blood sweat and tears, literally. They’ll never get it cus they don’t do it. They can just steal it and move on. Now I must say that if they come support us in other ways like through merchandise sales and concerts, then we can keep on making more art for them to steal and/or hopefully pay for. Hahaha. I am joking around a bit but you and I both know the reality of it. I hope they enjoy the music regardless.

You’ve got over 30 albums out there. How would you describe your musical journey?
I’ve got over 40 albums out there. I’ve lost exact count. It’s been like a diary of sorts. If someone really wants to know what my journey has been like, they can listen to all the music. I’ve been notating my events over time through the music. It’s been beautiful!

Which albums did you enjoy working on the most and why?
Well, I think the most current album is always the one I enjoy most because I feel I get better at making stuff as time goes on. I learn more about music. So Lowdown Suite 2: The Box is my fave because of the knowledge I’ve acquired since the beginning. I’m still learning new tricks and it feels refreshing.

What is the Lowdown Suite? How do you differentiate the two albums?
The real difference between Lowdown Suite 1 and Lowdown Suite 2 is just time and experience and sonics, of course. Do you hear the difference in them? I think it’s almost night and day but there is some familiar terrain.

Blu. is one of my favorite new rappers at the moment. He has a fun delivery and is willing to take risks, i.e. Her Favorite Colo(u)r. There are some similarities in both of your work. How did your collaboration come about? What do you most enjoy about Blu.?
Blu. is dope. Umm as far as I know we have not done a collab. Soon though! Blu. is effortless with his flow and has a refreshing outlook and style.

Kissey Asplund is certainly making the rounds in music and I see big things happening for her in the underground musical scene. How did that collaboration come about? What was it like working with her?
Working with Kissey was a blessing. She is talented and I can already hear that she has developed a style and sound of her own. I would recognize her sound instantly. That’s a power. We actually did our collab together on a flight from New York to France. Some of the passengers around us were a ‘lil bit mad at us but we tried to keep the vocals quiet. If you listen close you can hear the faint hum of jet engine.

Your bio describes you as a “quirky” producer. What feeds your quirky qualities? What are the things that allow you to tap into doing things less conventionally?
I’m quirky? In what way? Blooop! Bleeep! Mooop! Blort! I guess quirky is a good quality.

Male bands are often considered “gangs” by how the members interact with each other and how loyalty is established. How would you describe your time in the various bands you were with? What the pros and cons to you? Which band did you enjoy the most?
I was only in one band before and we were not a gang. It was just guys that I had grown up around, so the fit was natural. We knew each other and we made some concessions as far as agreeing upon song content and things.

What is your method of working? Live instruments vs. computerization? Samples vs. original compositions?
I’m sample based for the most part and I use live instruments to finish things off. Both ways are good as long as it doesn’t come out sounding too sterile when you use digital instruments with digital recording. I use tape often to add sound saturation. Makes the colors bleed together.

What are you working on now? Any new or notable collaborations?
Here’s what I’m currently working on: an album with Bootie Brown from the Pharcyde; a project is coming out with my homie Psy and its called “The Nope”; I have an album I’m doing with my homie Mr. Brady from San Diego and about 20 albums under the name Ron Contour. It’s gonna be interesting. Lol

What is Moka Only listening to now?
Right now, I’m listening to Andrew Bird and I’m putting peanut butter on toast and it’s a Saturday night and all is well.