Mid West/West Coast hybrid Silentarmy released a video this week for his track "Still Addicted" off of his DVD "The Sight."
A close friend of Hip Hop Lovefest, Ron, came out to film the interview. Some parts are a little hard to hear (gotta love LA traffic, even on back streets), so scoot a little closer to your speakers and enjoy.
Big thanks to Crista for arranging for an interview.
When it comes to packing I raise chaos to an art form so it was an event bordering on miraculous when I was packed and ready to roll a record breaking five minutes before my ride to the airport. For me there is something strangely calming about finally touching down at MSP and it was a truly beautiful Thursday evening in Minneapolis when I arrived. Linked up with Crista at the lightrail station on Franklin and we were off. A lazy evening spent gossiping about hip hop and the impending weekend. We managed to swoop through Last of the Record Buyers for a bit. I wish I could have caught one while they were still at the Dinkytowner, it just felt odd at Fifth Element. It will be interesting to see if they keep it there and how that works out.
I wasn't as prepared as I thought I was for this weekend. It was all a blissful blur. After arriving in Minneapolis May 23rd, the first activity on the list was the Big Quarters release party at the Triple Rock. The line wrapped around the building, and the night was buzzing with taxis blaring hip hop, scenesters complaining about life, and triple rock regulars guzzling drinks barside. The show started an hour later than posted, but I wasn't very surprised. Any hip hop show I've been to goes by the same formula: they say 8, you come at 9. The lineup was a menagerie of local talent. The energy even in the line was so amazing to me. I was bouncing from one end to another hugging, laughing and catching up with old and new friends alike. It was just a beautiful community vibe and it makes me sad that a lot of those kids I only get to catch up with in person this one weekend a year.
First to open was Crescent Moon. A favorite of mine since P.O.S.'sIpecac Neat was released ("Spanish rice, burritos and a plate of fish. Man that sounds good as hell, I'm tastin' it") He gave a great performance with abrasive beats infused with native drums and a darker undertone. He did some spoken word and reinforced why I'm such a fan. He has a presence about him that is abrasive and arresting, but not intimidating. Oddjobs, Kill the Vultures, Roma di Luna, Crescent Moon is in Big Trouble... You name it if Crescent Moon is on it I can pretty much garuntee it falls into my comfort food of music catagory. You'll never catch me missing out on an opportunity to catch Kill the Vultures (Ecce Beast!) Next was Big Zach (of Kanser) with Alissa Paris whose hair was a memorable throwback to the 80's flat top. She got a lot of compliments on her style, and I agreed: not many people can pull that look off. Big Zach (the host as well) did a few songs, one including a tribute song to the history of the Minneapolis rap scene and the legends of which it has been comprised. It was a big hit and had a lot of names I recognized. I've always enjoyed his warm stage presence and light-hearted nature. Big Zach is good people. Lastly before Big Quarters came on was Mankwe (you've probably seen her sing backup for Atmosphere on their many tours). She sauntered on the stage with an aura of elegance, and stimulated the audience with jazz-and-spoken-word infused songs with only an electric bass as an accompaniment until her last song, where Medium Zach joined and played a jazzy-tribal beat for a single from her album. Her songs were an eclectic mix of sass and soul.
When Big Quarters came onstage, the audience was enamored and ecstatic. The first song was full of energy, and every audience member had their hands up. With guests such as Toki Wright, M.anifest, I.Self.Divine., and P.O.S., it was pure fun. The audience was compelled to dance and the beats rocked our rib cages. They performed for almost an hour and had the audience involved the whole time. Great show! I have so much respect for what these guys do and how dedicated they are to both their craft and their fans. You can see it in the reciprocated energy of their audience at every show they play. If you haven't been checking them yet times a wasting! I'm plugging this again because I think its a really great deal and a perfect example of just how hard Big Quarters grinds. $5 a month for 5 new songs every month. June featured Toki Wright and a Mux Mool remix of Hand Over Fist's Prizefight. Do yourself a favor and become a "Director" nooooww.
Soundset Soundset Soundset. I'm going to just say it Soundset 2009 was about a hundred times better then 2008. I even shock myself when saying that, I mean Aesop Rock was at '08... Mac Lethal was at '08... it was still in MINNEAPOLIS in '08. I don't think it had anything to do with the lineup, or the location, but the people really made it great this year. I had a chance to meet a bunch of people from Lethalville... and come on Internet message board friends... what could be better? Friends came in town from all over, including London, and I couldn't walk more then 10 feet without running into someone I knew. Everyone seemed to get along, despite the one dirty ass cat fight we did witness. Sage and I decided the vibe was similar to Scribble Jam.
My biggest and only (aside from the parking disaster and food tickets) complaint this year has to be where in the world was Mac Lethal? Honestly Grieves repped it hard for Black Clover on the Fifth stage but I know Crista and I were not the only ones grumbling and rumbling about the shunning of Mac Lethal. Grieves was on of my favorite sets of the day I'm more and more impressed with the addition of Budo to the live show every time I see it and seeing Lovefest favorite, Macklemore, get up and do a song with them was a treat as well (respect the Rick Ross piece.)
The weather was gorgous and it was nice to be able to check in and spend some time with so many other out of towners and locals. I'm pretty sure I'm still in hug withdrawal from that weekend. (more hugs please!) I got crispy to Hand Over Fist. I'm pretty sure Lazerbeak is one of the happiest dudes on the planet. Sims kept shit rowdy with promises of a winter release. (Yes please!) Doomtree block was solid as usual.
I was most stoked about seeing El-P perform, the last time he was in town my friends dragged me to Nappy Roots and I had to miss his show. So I was not about to miss him again this time. It was a main-stage show, and I really don't do well in big crowds, I'm about 5'2" and always end up behind the tallest man alive. So I kicked in the bleachers with Salina and Abjekt which was perfect. Dibbs as always was great to watch, and El was almost what I expected. A little more energy wouldn't have hurt, it almost seemed like he confused the crowed who at that point were posted up waiting for Atmosphere. I'm not going to lie, I totally played the fan girl at the after party, and went up to El and was terrified. I've always been a Defjux kinda girl and admire the way he runs the label; and who knows when he opportunity to express that would arise again, plus I'm pretty forward I tend to blurt out anything most of the time anyway. So I was lucky enough to thank him for what he does, and he was very responsive and appreciative which is always refreshing.
Most of the day for me was spent wandering around, watching a few minutes of a set here and there, and bullshitting. I think this what brought me back to scribble jam the most. It was just a great mix of like minded people hanging out. A lot of the day was spent with Mes and Marolyn while the held it down at their booth.((shameless blog promo for fresherthan.com)) It is always great to have a home-base at this kinda thing, and that was definitely it.
The theme of the day was definitely hanging out with good people and home base was the GCS booth. Mes and Marolyn were kind enough to share their shade and company throughout the day. Sososo much love to our Fresher Than friends. *cough*downloadSTEALINGSTARS*cough* Ahem.
The only other set I HAD TO SEE was Buck 65. Buck held down the 5th element stage while MF Doom did his thing on the main stage. I've always loved Buck, and didn't want to miss his performance which a good size crowed stuck around for. I really didn't have any desire to see Doom, and still don't know if it was even him? The verdict ruled he actually did show up, after missing his original performance time. Buck danced, and dj'd his way through a good sized site, including Wicked and Weird, Roses and Bluejays, and Centaur. It was kind of that camp-fire sing along vibe surrounded by indie rap kids in a parking lot under direct sunlight. I can easily say this was my favorite performance of the day.
YES! Buck 65 was hands down the Lovefest pick for Soundset 2009 MVP. If you only caught one act this year his was the one to watch. So good.
After party! I think this will always be my favorite part of Soundset weekend. After a grueling hot day in the sun its a collective sigh of relief to finally relax indoors red faced and grimy but blissfully content. A quick breather, drinks, dancing your ass off, more hugs and hip hop karaoke. The homies Patric and Ander both killed it. Ander doing E&A with a little help from Eyedea and less help from Abilities was a highlight of the night. I caught Crista doing some hip hop of her own as witnessed above. Can't wait to see everyone again next year! KC holler at your girls in September and NY, Crista and I will be seeing you in October. <3
Jamee,Crista & Salina
Soundset Crowd. 14,000 people plus!
B-Boy Battles featuring Mr. Dibbs on the 1's and 2's
Crista, Patric & Salina @Soundset afterparty '09 courtesty of Patric.
p.s. I (Salina) am doomed to never catch El Guante live. Doomed. Sadface, exclamation point, doomed.
Hip-hop just hurt me so good. It left me with an overwhelming sense of inspiration, encouragement, and affirmation. It reminded me that music and musicians can really change minds, lives, and worlds. I am a big believer in being involved with social justice and community activism, and nothing makes me happier than when these two things are combined with hip-hop to form the ultimate trifecta. It’s rare, but if a musician pulls this combination off with genuine sincerity and commitment, I’m a goner.
It happened with Macklemore, a Seattle-based rapper who just finished a tour with Black Clover’s Grieves and his partner-in-crime and producer Budo. First told about his music by fellow Lovefester Salina, I was properly introduced to Macklemore at the last stop of the “Falling Off Your Shoes” tour at the Knitting Factory in New York City. By the end of his set, which included songs from his 2005 “The Language of My World” debut, songs from his upcoming free hip-hop/rock EP with Seattle photographer and producer Ryan Lewis, and songs from his yet-to-be-completed sophomore release, I knew I had experienced something special. Here was someone who came not only to entertain concertgoers, but also to educate, impact, and challenge them. With each song, he effortlessly proved that he had the skills to write great rhymes and the energy to put on captivating performances. But with each song, he went on to prove something even more impressive; he appreciated the context, history, and culture of hip-hop, and possessed a sensitivity to the intricacies and ills of the society which initially birthed and today sustains the genre. The result was passionate and heartfelt personal reflections tinged with intelligent social commentary. And no, this was not on some basic “BUSH SUCKS!” or “OBAMA WILL SAVE THE WORLD!” tip.
Take, for example, “White Privilege,” a performance he prefaced with the recommendation that “if there is anything you take away tonight, let it be this song.” Picking up where Murs’“And This is For…” left off, the song addresses the growing presence of white rappers in a genre that grew out of experiences of disenfranchisement amongst African Americans. Macklemore tries to come to terms with the fact that “hip-hop started off on a block that I’ve never been to / to counteract a struggle that I’ve never even been through / if I think that I understand just because I flow too / that means I’m not keeping it true”. In trying to find his place in a genre that he loves, he admits that “I give everything I have when I write a rhyme / but that doesn’t change the fact that this culture is not mine”. By describing both the original and current state of hip-hop, Macklemore does what very few rappers do; he presents the issue in such a way that it actually manages to cut across generational, racial, and mainstream and underground lines and encourage a constructive dialogue about race within hip-hop.
Couple performances like that with songs like “I Said Hey,” where he warns that “all the money in the world can help you look like a star / but money can’t buy you the heart to go put inside your bars,” or “Soldiers,” in which he addresses the flawed incarceration system and says that “what we need is people that actually get involved / that can educate / get their hands dirty / get in the institute and make a difference from the inside out,” or “City Don’t Sleep,” where he raps, “if you want to see change, then put your ones in the air / now point them to yourself because change starts right there,” I knew I had to pick apart this fella’s brain. And if he really held these views, then I had found my new best friend.
Because Macklemore’s subject matter is what spoke to me the most, that was what I was most interested in talking about. In addressing the process through which he creates his songs, Macklemore admits, “I make music to channel something greater than myself. When you’re trying to choose subject matter, you’re doing too much. My music in the purest form comes through me. My lyrics are sparked by listening to a beat, and the experiences that beat conjures up.” By focusing on specific experiences rather than general concepts, Macklemore stays away from clichés like the ladies song and the club banger. This organic process also forces Macklemore to provide uncensored and honest glimpses into his true self.
Because Macklemore refuses to sugar-coat his personality, everything about him is fair game for subject matter. He reflects, “I put all of myself – the good, the bad, the imperfect, the struggles – into my music because that’s when I’m most human.” In addition to addressing serious issues, he raps at length about his little friend Alfonso on the Type-esque “Penis Song.” He admits that while “humor can be a good way to lure people in,” it can also be strategic in that it introduces listeners to an album whose first full-length song is “White Privilege.” The diverse subject matter grabs different audiences and makes them all “think in a different way about issues they have not thought about before, or issues that they don’t want to address,” says Macklemore. By encouraging listeners to reevaluate their own perspective, Macklemore once more shows the purpose he brings to his music; just as he proved with his live performances, he again proves that his music serves for more than just to entertain.
Macklemore consciously strives to uphold that responsibility in all his music. In order to address serious social issues in his songs, he offers, “you have to live life in a way that’s conducive to your music. If you’re not involving yourself with social justice, if you’re not thinking outside of yourself, if your motivation for making music is selfish, then your music is going to reflect that narrowness.” For a long time now, Macklemore has been an active volunteer at prisons. In college, he co-facilitated a writing workshop in which he helped inmates craft rap songs. The inmates then performed these songs in a final cultural fair that was essentially a hip-hop concert. Since then, Macklemore has begun tutoring inmates and helping them get their GEDs. These volunteer opportunities are what bring authenticity to songs like “Soldiers”.
In addition to adding credibility to his music, Macklemore’s volunteer experiences allow him to think beyond his own music; “music is one side of a greater picture of who I am and what I can contribute to society,” he says. He envisions eventually starting a program that provides kids who have been through juvenile rehabilitation with a productive path forward. By giving them access to recording studios, he hopes to one day create a constructive outlet for their budding creativity.
With an appreciation for honest hip-hop, real-life experience in community activism, and a commitment to social justice, Macklemore effortlessly pulls off the trifecta. In this day and age of apathetic youth and misinformed figureheads, it’s so, so, so absolutely refreshing and downright inspiring to see that rappers like him exist. It takes only one musician and one listener to start a dialogue, and it only takes a couple people to start a movement… so the ball is in your court, world. Spread the music, spread the word.
-If you like what Macklemore is saying, then buy his "Language of My World" CD directly from his Myspace, check out his blog, follow him on Twitter, and be on the lookout for his free EP this summer.
-If you want to take action and combine music and social justice by bringing Macklemore and fellow rappers Alexipharmic and Sadistik to your city for the American Beauty tour, a tour in
which the three rappers will donate 100% of their net profits to charity, then click here.
Soundset weekend was huge and this is not the official re-cap but a little teaser...
I've been a fan of Grieves since I saw him as a scrawny little DJ on the Everybody Loves a Clown tour. Every since then I have made an effort to catch the show whenever he came to town. The biggest development in his music has been the addition of Budo. Not only dropping an album together but performing as a group Grieves and Budo were an act I was set on watching perform at Soundset.
I am a fan of a good live show no matter how you spin it. Sage always kills it with nothing more then a discman. The dynamic of these two is not that of most Rapper and DJ combinations. Grieves has an intense energy about himself on his own; adding Budo to the mix incorporating things like a trumpet and guitar - is nothing short of impressive. I decided to take my chance and ask Budo a few questions, keep in mind kids - first time interview here....
It's going to be a good summer. My favorite season. Poolside conversations, drinks with umbrellas, birthdays (holler, Cancers!), sunburns, and lots of air conditioning if you live in Phoenix, like me.
I define my summers by the jams I listen to, and this summer is not going to be a disappointment! There's a new trend going around to which I am never going to object: FREE MUSIC!
The summer is off to a great start. Soundset. New artists. And mixtapes galore. Here are some gems that have recently come out that will surely give you something to bump to.
I'm really stoked on the idea of free mixtapes and downloadable songs. Artists are beginning to branch out and away from depending on major record labels and music stores to distribute their material. The whole DIY vibe is much more accessable, realistic (it's hard to muster up the courage to spend $15 on an album unless I'm SURE I love it), and enables the fans to gobble up more releases from their favorite artists. Sure, losing the hard-copies of albums hurts artists like me a little bit, who depend on people buying the physical copies to display their cover art, but in the case of GahedinDIE, we always include the artwork to make the realeases more interactive.
Times in the music business are changing, but as far as I see it, differen't isn't necessarily worse! Long Live Free Music.
(I'll edit this and include more mixtapes as I come across them in the next couple weeks, so keep an eye out)
-Jamee
P.S.- not sure what happened to the Kid Cudi mixtape. Can't find it anywhere on the net anymore! Anyone find a site hosting it? Or are we looking at a revoked leak?
Let’s ignore the fact that I’m the most neglectful and perhaps laziest contributor on this blog, and cut to the chase. I saw Dessa last night, and I am now going to attempt to convey exactly how freaking ridiculously amazing the show was. My friend Rahel and I initially had concert and bus tickets to see Atmosphere, Brother Ali, and Attracted to Gods in Washington DC last night, but we decided that we could, should, and would skip seeing them a third time in a row (after Boston and Philly) in order to see THE Dessa.
Dessa posted about the show only a couple days before the date, so we all conjured up our own elaborate explanations about how this show came about and what the show would be like. Mike and I were holding out hope that Dessa would bring Cecil or Sims or another Doomtree-er out, and we were both convinced that it would be a really intimate setting that would make for a really personal and especially heartfelt performance.
The hypothesizing continued right up until the show started. My cousin Farzana, Rahel, and I arrived at the venue a good two hours ahead of time. As many of you know, I’m not the most mature person in the world so I proceeded to go wild over the fact that patrons were allowed to use crayons to color on the butcher paper table coverings. I colored my best (and still laughable) attempt wings and teeth and made my dream playlist, while Rahel got busy with the Doomtree stamp.
Keeping one eye on our artistic creations on the table and another eye on the door, I soon noticed a woman walking around with a Dessa shirt. I pounced on her, only to find out that she was Dessa’s aunt. This woman was so ridiculously sweet. She was so proud of Dessa, talking about how talented, intelligent, and beautiful Dessa was. It always makes me so happy to see family members talk about musicians. She told us how Dessa grew up with her aunts always harmonizing around her, and how that influences her music today. The pride that family members have, coupled with their insights about a musician, are just so interesting and adorable to me. Plus, this wom an was cheering like crazy during Dessa’s set. Family is the best.
Really though, it was no surprise that her aunt was having such a good time because Dessa’s set was absolutely incredible. I know that I have a tendency to reuse the same extreme adjectives to describe music and concerts, but I only do so because I am genuinely moved by all of these things. It may have been because the venue was a low-key bar, but Dessa performed more of her melancholy, slower songs. Listening to her on Kites, If & When, and on the singing parts of 551 was just mesmerizing. I would have liked to hear songs like Veteran or Scuffle (BECAUSE SALINA SAID SO OVER AND OVER AGAIN!), but I can see why she might have opted not do those. With every song she did, she put every last ounce of herself into the performance. From the way she held the mic, to the way she twitched her mouth or raised her eyebrows, to the way she looked at the crowd, you could tell that she was fully encapsulated by the song. I’ve noticed that Louis Logic does this too, but I think Dessa has absolutely perfected it. Every movement compliments the song, bringing her stories to life with such an authenticity and emotion that you can’t help but be in complete awe. And this is where the song selection makes sense again. They completely lend themselves to a dimly lit, intimate, bare/simple, and ultimately deeply personal performance. And talking to Rahel and Farzana afterwards, they both agreed that that subtlety is what makes Dessa so amazing. From the way she dresses to the way she performs, everything is so stripped down that you’re left just starring at her raw and unbridled talent. I think what made it all even more special is knowing how talented she is, and knowing that small performances like this are going to be so rare in years to come when she gets all the fame, fortune, and fans that she undoubtedly deserves. And if the new material she performed was any indication of what is in store for Dessa, then the world better watch out. The spoken word pieces she performed, and the two brand new songs she performed were just too freaking good.
Given the total sense of admiration and amazement I felt for her performance, it was an absolute pleasure to interview her for Hip-Hop Lovefest’s first ever vlog. I asked her some questions about her professorship, her collaborations with other Minneapolis cats, how she feels about being a female in a male-dominated industry (the creativity of that question really threw you guys off didn’t it?!), and what’s in store for Dessa and Doomtree. So check it out!
Alrighty, that’s all from me. If you can’t get through my beastly novel of a blog post, then this is the short version: DROP WHATEVER ELSE YOU’RE DOING AND SEE DESSA LIVE. IF IT MEANS SKIPPING ANOTHER CONCERT, DO IT. IF IT MEANS TRAVELING TO THE MIDDLE OF NOWHERE, DO IT. SHE IS DEFINITELY, DEFINITELY, DEFINITELY SOMEONE YOU HAAAAAAVE HAVE HAVE HAVE HAVE TO SEE!
PS: Rahel and I decided that we’re going to the Blowout. We have to. For cereals.
This morning I was lucky enough to sit down via aim with one of the hardest working men in the Northwest before he packed his bags to head off for Portland. Abadawn and I talk Seattle hip hop, digital and the death of hard releases, Camobear and what's next.
Salina: So you recently discovered you've had ten releases all before turning 21. Break those down for me. Abadawn: 10 releases, that even surprised me. The first was in 2003 with my homie Assylum from California, we both went to a community school for expelled students, saw a lot of potential in eachother and began recording, we then released "Despite Rhythm: Chapter Won" under our own "label" Tactikz of Tongue. It was a very limited run...then I moved to Seattle and in 2004 released my first solo ep/demo "Earwig Romance" which caught the attention of indie label "Violent Art Records"...I still made music with my friends in California and we released the Tacktikz of Tongue Summer Compilation. In 2005 I put out another solo EP with Violent Art Records called "Kindergarten Dropout"..I also released a mixtape with my group then A.S.P. called the "Spare Change Mixtape."
Abadawn: after leaving the label due to unspeakable things the CEO pulled, I independently released another solo EP titled "Unfamiliar Ceilings", shortly after I dropped another backside EP to that "Unfamiliar Unreleased" which was strictly digital...in 2008 I teamed up with the label Elephant Memories, emcees Ariano and Mac Lethal, producers Sapient of Sandpeople, DiVinci of Solillaquists of Sound and tons more of my friends to put out the "Good Villain" LP.
Abadawn: then I released two digital mixtapes in 2009 called "Steal Gas Buy Music" volumes 1 and 2.... and that spells 10 releases.
Salina: Is there anything you wish you hadn't released? I know a lot of artists look back at their younger years and cringe.
Abadawn: Actually, no...I think I've become comfortable with my style, a lot of beginning emcees are on a journey to "find their style" but after a few releases I realized I've always had my style, and I'm at ease with it. I'm not completely satisfied with any of my releases so far...but that's part of being an artist and I'm perfecting it. I do not mind people hearing my old material though, some of it is considered my best work.
Salina: Walkman!
Abadawn: NUHHUHH!
Salina: Haha. Had to.
Abadawn: One thing I pride myself in is how hard I've made my releases to find. They're out there, I only own 3 of them...
Abadawn: and I'm not even gonna say how much some of my out of print material has sold for. It makes me mad.
Salina: Its insane how much obscure hip hop goes for on ebay. I'm a little ashamed on how much I've shelled out on a few releases myself.
Abadawn: you can't help it... I have a thing for First Edition Hardcover books.,..so I mean, to each their own.
Salina: Some of us ladies over at Lovefest HQ kind of have a grudge against internet only releases. Any plans for future SGBM mixtapes to have hard copy releases?
Abadawn: actually yes...I'm currently working on the third edition which will be physically released, and will accompany the new solo LP. Which has so many surprises in store that I really shouldn't even talk about it. but I am excited. after releasing Good Villain I felt like it would be hard to top...it's some great material, very heartfelt and personal.
Salina: Can we expect more ThirdEye Theory and other friends on Vol. 3?
Abadawn: oh yes... #3 will more than likely be a lot of ThirdEyeTheory collaborations, and tracks that are not making the LP's final cut.
Salina: Excellent, I think you guys work really well together.
Abadawn: They definitely bring out a different side of my lyricism, more fun, less serious, battle-esque stuff
Abadawn: plus they're fast rhymers, i'm more worried about pronunciation, so it's a good contrast on record.
Salina: How did you guys link up? I mean you can't turn a corner without tripping over a rapper these days. What makes you want to work with certain people?
Abadawn: back in the day I was down to work with anybody, a lot of rappers meet up and say "lets build, lets do this and that" but they never take action..I always have been serious about networking.
Abadawn: Recently I've been honored to work with more of my favorite artists, which is amazing on its own, but some people that are still struggling or are at beginning stages, but are hungry and determined to put in the work, always make me want to work with them too, feed off of that energy.
Abadawn: We actually met because I used a beat that i didn't know was stolen, and they used it too and said "wtf?" we were instant friends ever since. Oh yeah and they're dope. That is important too.
Salina: hip hop bffs
Abadawn: i have many!
Salina: You've done a lot of booking, helping route NW legs of tours, I imagine that helps a lot with the networking side of MCing?
Abadawn: definitely...I have to give major credit to that to Josh Martinez too...see, here in Seattle there's a certain booking giant, that is really picky about who they put on... they would NEVER book me, so I decided okay, it's time to do this myself...So I would look at who was coming through here, who should be coming through here and got in contact. After I booked and promoted a successful release party for Josh Martinez he was kind enough to tell others I was the go to guy for booking around here. Which gave me a lot of credibility and now people are asking me to help book dates rather than vice versa.
Salina: Seattle is tiny.
Abadawn: It is..the scene is massive, but everybody is connected and knows eachother in some way. my only complaint is...the somewhat favoritism. it seems that in this area what blows up is the opposite of what should be blowing up. a lot of great talent goes ignored, journalists will downright refuse to write about certain people...
Abadawn: maybe I'm just bitter because I seem to have a better draw anywhere other than Seattle. but that's how it works with local scenes.
Salina: I think every big art city is like that to a degree. Things get very tight knit and its hard to break through that sometimes.
Salina: It amazes me the local acts that don't have a bigger draw out here. I'll go out expecting a show to be packed and... nothing.
Abadawn: it's just overflooded though, certain people get this rep and get known, so then they are booked on the constant thinking they'll have draw but you can't play the same city every week and expect more and more people to show up.
Abadawn: I've always said my greatest fear would be landing a weekly...fuck that. once people have seen you they need some time to digest, nobody wants to see the same set 12 times in a row.
Salina: True, but it still shocks me when homecoming shows don't sell out. I've seen the kind of welcome home other cities give and it just doesn't seem right sometimes.
Abadawn: hip hop author William Upski Wimsatt claimed Seattle was the most ungenerous city, everyone has time and money but don't want to give you either. In past years I've learned that statement to be pretty truthful.
Abadawn: and another thing is, when you're a hip hop artist, your biggest fan base is other rappers, i mean let's face it, that is who is geeking out about underground artists. so the trick is, getting yourself on that level where other emcees want to see you.
Abadawn: I know in this city I'm kind of like a phantom
Salina: Ha, truth. I've commented more than once when I bring my metalhead/punk friend out with me that he and I are the only non rappers in the room.
Abadawn: haha it's and I've learned that my name is pretty known around the city, but people do not know me.
Salina: Of course he's not as nerdy as me and doesn't really see it but its true.
Abadawn: it's totally true, the average music listener is not going to be digging through underground artists and aren't going to be in tune with who is fucking amazing right now. rappers go to shows to cross their arms and pass judgement.
Salina: So who should average Joe and Jane be checking for this summer?
Abadawn: this summer? The Let Go...!!! I love these guys...I've been on a friend basis with them for a minute, I'm so happy they are working with the label I'm working with right now
Salina: Camobear! I love those dudes for real.
Abadawn: YES! they're going to do it big, I know it...Type has that determination that few other rappers have.
Salina: Type is probably one of the nicest AND hardest working rappers I have ever been fortunate enough to come across.
Abadawn: I think the only thing that's brought me this far is the determination, in this business you take HIT after HIT after HIT. to the wallet, to your emotions, even your physical well being. and a lot of people cannot put up with that. it's the thing that's brought Type, Grieves and I to where we are. Simply not giving in.
Salina: You've had a rough last year or so. Its been really amazing to watch and listen to what you've managed to put out under less than stable conditions. Energizer Aba
Abadawn: haha, it's been tough...my life has been a mess since 2006. maybe even before, but I know that's when real turbulance began. but it has also helped me musically, my music is an escape from what is going on in my life, a way to pen out that frustration.
Abadawn: and it also has made me more determined than ever, despite any circumstances music is the only thing I've been good at and stuck with, there's no way I can stop now, or let anything slow me down.
Salina: It can't be easy trying to find the balance between that and the business angle.
Abadawn: it is tough, when i'm in business/marketting mode I cannot write..I can only focus on that...but it's good it gives me a breather, time to focus on another aspect. and it's also a damn good thing to know.. some of the worst rappers have made careers out of knowing proper negotiating and marketing tactics.
Salina: A-dwiddy status.
Abadawn: pretty much.
Salina: You've been putting in work over at Camobear, what can we look forward to over there in the next year or so?
Abadawn: well...a whole new makeover, everything is going digital, we're making a whole new blog-style website...Camobears catalog (not even counting their subsidiaries) is so extensive and pre-dates the popularity of the internet, so we're playing catch up and getting organized, and once that is all done for, you better be ready for a slew of new releases.
Abadawn: I've been so honored to be given this oppurtunity. Josh has really put trust in me and I'm learning the entire back-end of running a label.
Salina: Digital... you're breaking my heart. Will there still be some physical releases?
Abadawn: yes, mainly short-runs printed in house. We're done dealing with outside sources, the plan is to be a self-sufficient label. so that we are doing absolutely everything ourselves. and though a ton of people still love physical copies, it is a dying breed...so we do need to cater to the interwebbers.
Salina: I think my cd collection alone is almost worth a small fortune already. I can only imagine what that could jump to in the future as more and more outfits go that route.
Abadawn: CD's will be the new vinyl...vinyl will be the old vinyl. the sad thing about digital really...is the quality. it's practically not worth mastering anything anymore, considering that giant protools session of massive wav's you're perfecting is going to be condensed to a 192kbps mp3 that's strictly listened to through earbuds..
Abadawn: the internet has made people more picky about what they listen to and pay money for, which is what is crippling the major labels and helping the indies. but then the cost-effectiveness of quality that's going to be ruined anyways is hurting the indies
Salina: We finally got Abadawn t-shirts this year. Is there more merch in our future?
Abadawn: ooooooh yes.
Salina: "Can't download a t-shirt"
Abadawn: lots of plans...it's just a matter of time really. I will be working with Someone Clothing, and I will be working with Camobear...and right now I'm spending time in the trenches, gaining favors...
Abadawn: plus I still feel like Good Villain needs it's time. I am very proud of that release, and I've always rushed material...so I'm taking my time...
Abadawn: this next one is going to be amazing though, I'm pretty much done with the first draft of it...waiting on a few features...and then I will build from there.
Salina: I wish more people would take time and play around with mixtapes. Save up for really quality official releases.
Salina: This isn't McDonalds you know.
Abadawn: haha it's true. I could package it up and release it right now...but it's not ready
Salina: No more McRap
Abadawn: I want every song to be individualized.. I'm working much more on telling stories...so you can expect that. as well as much more energy and up-tempo songs. I've always been proud of my versatility and have tried to show it with my releases but I think this one is definitely going to accomplish that...
Salina: Will I see you on the road this summer?
Abadawn: I'm not absolutely sure at this point...touring is always something that for me is promised or planned, and then doesn't go through...I will definitely be doing shows all over...maybe not on specific routes but I do have midwest shows in the works as well as some californ-i-a
Salina: Georgia's couch is super comfy and her neighborhood has excellent breakfasts. If you don't at least make it to Cali it would be a shame.
Salina: Midwest! Take me with you please.
Abadawn: i think this summer I'm mostly going to be toying around with the new material...seeing what goes over well with the people
Abadawn: pack you up in my suitcase. I have a couple people that owe me touring... so it's on them.
Salina: Speaking of Georgia, I told her we were sitting down and asked if there was anything she wanted to know.
Abadawn: oh
Salina: She wants to know: "How much he loves us"
Abadawn: I love you guys soooooooOOO much. here to the moon and back.
Abadawn: plus you guys have put together the best new blog on the net, and I'm honored to have such awesome friends.
Salina: Haha I'd say we promise never to swear like sailors on your voicemail at 3am again but we'd be liars.
Abadawn: it's always welcome...if there's one thing i love it's drunk females harassing me.
Salina: Awe thank you, it means a lot that people are willing to support us as green as we currently are at this blog thing. We promise to get a little better every day.
Abadawn: You guys are already the best...now I need to go pack for Portland and get ready for label meetings and pimpslapping
Salina: Safe travels!
Abadawn: thank you and thank you
You can purchase Good Villain and download Save Gas Buy Music here.
end to another hugging, laughing and catching up with old and new friends alike. It was just a beautiful community vibe and it makes me sad that a lot of those kids I only get to catch up with in person this one weekend a year.
This morning I was lucky enough to sit down via aim with one of the hardest working men in the Northwest before he packed his bags to head off for Portland. Abadawn and I talk Seattle hip hop, digital and the death of hard releases, Camobear and what's next.
