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!

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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.

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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.

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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.

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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.

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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.