The Big Ten with The Spectre
What up! Hope everyone is having a tremendous Tuesday. We are going to break from the norm slightly today and prempt next month’s Featured Artist Week by delivering an early dose of real hip-hop from across the pond.
Being that I do live in one of the world’s dopest cities, I thought may be it was time to give a glimpse of what is going on music-wise over here in the UK. We recently had the chance to catch up with a special guest, London MC The Spectre. The dude got a dope style, and I think you will all enjoy getting a different perspective on things. We definitely appreciate the time he gave us for this interview.
Interview complied and edited by MK
THP: First, let’s begin with the obligatory introduction. Fill in our readers at The Higher Plane on the background of The Spectre?
The Spectre: I am originally from London but was brought up in a French and Canadian Household. I guess I am the product of globalization, having lived, studied and rapped in the UK for the biggest part of my life, but having developed my music in Paris thanks to 9side records . I rap about life, relationships, partying, social issues and more. Some say Spectre is a living legend. Some, not me.
THP: When did music begin to play a prominent role in your life, and at what point did you decide it was time for you to create your own lane?
The Spectre: Music has always been important to me. Whether it was Guns ‘N’ Roses or Trance when I was growing up, I always loved the feeling you get from listening to a certain track. Hip-hop triggered my interest when I was about 12-13 with Wu-Tang Forever. I was immediately drawn to hip-hop. It had swear words, amazing music and guys performing feats of lyrical artistry. Every ingredient to get a 12 year old interested! I started writing later though, around ’99 in the whole Eminem and Dre era. I think a lot of the themes Eminem wrote about you can relate to as a person, regardless of where you are and where you come from. I think he brought a sarcastic humour to hip hop which really inspired me to do my own thing.
THP: What are your thoughts on the hip-hop scene in the UK right now?
The Spectre: I think it’s in the right place. For a long time, Britain was dominated by garage and jungle and ways to let the world know we don’t follow styles, we create them. But now, I think the development of UK hip-hop is drawing on those inspirations as well as getting commercial. I think it’s a good time for MCs in the UK. My style is still very US inspired though, and I think the UK has a difficult time trying to breach the gap between underground hip-hop and gimmicky pop- hop.
THP: On the topic of inspiration, describe your creative process as an artist for us a little bit. How do you go about creating a song, and where does your inspiration come from?
The Spectre: It’s rare for me to write without the music. I’ll hear a beat, or I’ll make a beat and that will lead me down a certain path. I’ll visualise a feeling in my mind which will dictate how I write to the track. If it’s sad, nostalgic, happy, commercial, whatever. I don’t have a preference for the emotion a track conveys. I just think it’s important to be in unison for the track and blend yourself in with the music as much as possible.
Read more
Featured Artist Week: The Big Ten with Youngs aka Landon Wordswell
Edited by MK for The Higher Plane
We recently had the privilege to catch up with Youngs aka Landon Wordswell. From real lyrics to mean hooks, the boy can do it all. He is a frequent collaborator of James John of Divine Minds and has been busy carving his niche in this hip-hop world. Take some time and get to know Youngs a little better. Oh, and definitely check out his music. It’s nice!
THP: First, let’s begin with the obligatory introduction. Fill in our readers at The Higher Plane on the background of Youngs aka Landon Wordswell.
Youngs: Well, Im and emcee from the St Louis area. I currently reside in Normal, Illinois where I came for school.
THP: When did music begin to play a prominent role in your life, and at what point did you decide it was time for you to create your own lane?
Youngs: I hate saying/admitting it, but I was late catching the train. My youth was full of garbage music to say the least. ha When Juvenile was “backin’ that thang up” I was there singing along. My much needed introduction came when I was about 15 years old through an old friend from New York. He introduced me to a lot of east coast hip hop and thats when the Black Star album threw away all of my childish, preconceived notions as to what hip hop really was about. Around a year later I went to work on myself as a person both spiritually and mentally and it equated to iambic pentameters and other poetic devices. Innovation sparks inspiration. After diving head first into this whole hip hop thing, I felt compelled to pen up some bars and put some songs on wax.
THP: I recently watched an interview with Pharrell Williams where he said his inspiration comes from necessity. Where does your inspiration come from?
Youngs: Necessity is powerful. It will make you aware of things that you pocess when you think you have nothing left. As far as inspiration though, it doesnt do it for me. When something as essential as inspiration is concerned I look to desire. Desire to be. Desire to change. I look to colleagues and experience; experiencing life. Granted, once and a while I will give you a 16 with chocked full of metaphors and similes and dripping with double entendres, but thats just fun. ha. An album – an LP will have everything that I’ve experienced while creating it. My colleagues often times hear it and are shocked that I relive conversations through some of these songs. A lot of my work is personal.
THP: While, we are on the topic of inspiration describe your creative process as an artist for us a little bit.
Youngs: Same thing everyday. Ive gotten to a point where even now I’m working on an album for late 2011. The work just doesnt end. Which is a good thing! Problem is that the only time I feel the serious urge to pen something up is at 5 in the morning. So I wake up every morning around 5, stretch, make gallons of tea and get into that zone. Whatever the zone may be for that day is what comes off into these tracks. I start mumbling to get a feel of how I want the flow patterns to sound like and freestyle a bit then I get going. Im a fairly quick writer so generally a verse will be written in a good 10-15 minutes but the recording process is tedious. I’ve never recorded a track in less than 3 hours. It just doesnt happen for me.
Read more
NEW ARTIST WEEK: Savant of RAREBREED
Interview by MK
THP: First, let’s begin with the obligatory introduction. Fill in our readers at The Higher Plane on the background of Savant.
Savant: First and foremost, thanks for lending an ear to the debut and selecting me to be a part of ‘The Big Ten’ interview series. Some background info about me: I was born in El Paso, Texas the son of a chaplain/ minister, the third oldest in a family of 10 children, and the second born in a set of fraternal twins. My family moved to Chicago when I was 4, shortly after my father’s active duty military stint ended. Being the son of a minister, my musical foundation consists mostly of gospel, and contemporary Christian.
At age 9, I picked up the piano and a year later picked up the trumpet. Over the course of the next 8 years, I received a classically based music education at Chicago’s Merit School of Music wherein I learned advanced music theory and basic composition, among other things. Upon graduating from high school, I spent 4 years in the military on active duty as a musician and an athlete, and I’m currently in the final year of a national guard commitment. I completed my undergrad studies at Chicago’s DePaul University in 2008 and I am currently a first year law student at the James Rogers College of Law in Tucson, AZ. I am one half of RAREBREED and one fourth of the RAREBREED Extended Family music collective (REF). I’m also an affiliate of the Nerdy Rotten Scoundrels international hip hop collective, the UK based Evil Twin collective and the Chicago based ‘80s Babies collective.
THP: When did music begin to play a prominent role in your life, and at what point did you decide it was time for you to create your own lane?
Savant: Music has always played a prominent role in my life. My first memories of life in general are of my dad singing to me and hearing him play the piano two or three times a week for about an hour at a time in the evening before I went to bed. Eight of my siblings are musicians, and in about a year or two I anticipate that my last sibling will pick up an instrument of his own. Suffice it to say that music has been a 10th sibling. As far as recollecting the moment that I chose to create my own lane, it was my sophomore year at Chicago’s Young Magnet High School, after having heard Mos Def’s Black On Both Sides for the first time.
THP: Tell us a little bit about RAREBREED and what that is?
Savant: RAREBREED essentially plays the same musical role that Black Star plays to Mos Def and Talib Kweli. It’s a hip hop alliance as opposed an actual tandem and is comprise of my younger brother Joey Downtown and me. Unlike such entities as M.O.P., and The Clipse, Joey and I are individual emcees who have come together, but are focused on our solo projects first and our collaborative projects second. Another great example that comes to mind is the Murs & Slug comprised entity, Felt. While RAREBREED does plan on releasing a collaborative project in the future, in the meantime Joey will be appearing on a bevy of my solo projects supplying guest verses and vice versa.
THP: I recently watched an interview with Pharrell Williams where he said his inspiration comes from necessity. Where does Savant’s inspiration come from?
Savant: Honestly, inspiration comes from any and everywhere. While I was living in the Chi, more often than not inspiration would come from my surroundings because I ALWAYS had something going on. The Chi life was non stop. Because that isn’t the case in Tucson, generally inspiration comes from within or from conversation. My writing since moving to Arizona has become much more introspective and narrative based, whereas in Chicago it was based more on commentary and ciphering. There have been plenty of instances, however, where I just picked up a pen and randomly started writing, or pulled out my BlackBerry and started typing bars onto my memo pad just because. That goes back to something that I was taught when I was younger: there’s something to be said about always practicing and always seeking to perfect a craft even when there’s no particular reason or specific source of inspiration spurring you on.
THP: While, we are on the topic of inspiration describe your creative process as an artist for us a little bit.
Savant: If it‚Äôs a solo cut, and I‚Äôm writing to an instrumental, I’ll commit to whatever topic the instrumental dictates and allow it to mold the structure, cadence and flow of the bars. I literally ‚Äúdo what the beat say do‚Äù (¬© Bad Meets Evil). Although I ultimately want my lyrics to stand out above the soundscape, I also want my voice and whatever flow I‚Äôm using to blend so that they both sound like additional elements of the backdrop. If it‚Äôs a collaboration, I‚Äôll try to find a conceptual/ topical common ground with the other vocalist prior to writing as opposed to dictating to them what to write about. If I‚Äôm free form writing, more often that not I‚Äôll simply ‚Äúlet the pen bleed‚Äù and after finishing, make revisions and tighten up the rhyme scheme.
THP: Chicago is a very storied hip-hop city from Crucial Conflict to Twista to Do or Die to more modern day artists like Kanye and Kidz in the Hall, what type of influence did growing up in Chicago have on you? Who are some Chicago artists you would cite as influences?
Savant: To be honest with you, I wasn’t a fan of Chicago hip hop, initially. It was impossible for me to relate to Twista (and the Speedknot Mobstaz), Do or Die, Crucial Conflict and the like and additionally, I felt like their respective sounds were too dark. I’ve always had an East Coast bias when it comes to hip hop because everything that I‘ve learned about the culture was done so retroactively from hearing Black On Both Sides. Even after discovering Common about a year later, I really wasn’t high on the city’s hip hop scene because he was the only emcee on the scene that I actually enjoyed listening to and some might even argue that he really didn‘t have a “vintage Chi-City sound“. I guess what I’m saying is that coming up, the city’s hip hop scene had virtually no influence on me. However, ever since becoming serious about emceeing, I’ve fallen in love with Chicago’s independent/ underground scene and have been influenced by several stalwarts, most notably Dee “Shogun” Jackson of the ‘80s Babies and Molemen affiliates, Longshot and Vakill.
THP: Who are some of your other modern day influences? And talk briefly about the difference you see after spending some time in Arizona in terms of the music scene there compared to Chicago.
Savant: In answering your first part of the question, I’m going to assume that you want me to list my just hip hop influences. In terms of emcees with a large amount international notoriety, my principal influences are Mos Def, Rakim, Big Pun, Nas, Royce da 5’9, Pharoahe Monch, Joe Budden and Lupe Fiasco. Those that currently aren’t as internationally renown include the three that I mentioned in my previous response, the other three emcees that comprise REF (Youngs, James John of Divine Minds & Charity Clay), Finale, Rasheed Chappell, Lyrikill, Random and Luck One.
To answer the second part of your question, the biggest difference between the Chicago hip hop scene and Arizona’s scene is that Arizona’s remains largely undeveloped. There also appears to be a lack of identity, and my opinion is that the best emcees currently living in Arizona aren’t from Arizona. Many of the aspiring emcees that are actually born and raised in the state seem content with emulating the sound and “swag” of their California and/ or Texas peers, as opposed to attempting to create their own sound or forge their own lane.
THP: Let’s talk about your project that dropped in 2009, The Delayed Entry EP. I first want to say congratulations because it is a brilliantly cohesive piece of work. The beat selection and lyricism are superb. What was the driving force behind this EP? Give us some background behind the mindset you had going into a project like this? Did you have any specific messages you were trying to get across?
Thanks again for checking that out. The driving force behind the EP was my search for sonic and lyrical balance, but because I knew that it was going to be my first release I didn’t really have one overlying mindset or message. I simply set out to record 15 great songs and decided that I’d choose the best seven for the EP. I tried to make sure that the final product touched on a myriad of topics and showcased several rhyme/ writing styles, as well. The hardest part of the assembling the final product though, was ensuring that it was musically cohesive because the 15 instrumentals that I originally used came from 12 different beatsmiths. The search for sonic cohesion is partly the reason that the project’s release was delayed so many times and thus titled “The Delayed Entry EP”. When it was all said and done the project still ended up having nine songs, but I’ve no qualms about that.
THP: Off Delayed Entry, what are some of your favorite tracks and why? Also, as an independent artist, how do you go about measuring the success of your efforts in today’s digitally driven world?
Savant: If I had to choose some favorites, I’d probably go with:
“The Lyricist ThreeMix” because it’s my official genesis. Yes, there were individual verses that I wrote and recorded before I writing this song, but “The Lyricist” was the first complete song that I ever wrote to original production (even though the lyrics were originally written to a different beat). It’s absolutely relentless and contains references to virtually every emcee that influenced me to start rhyming in the first place. Plus, it’s three remixes in one. The last time I heard someone do something even remotely close to that was Mos Def on his Brooklyn records.
“Concrete Techniques” was my first collabo with another emcee. Going into the record with Three60 the Universal Ruler, I felt like I was completely in over my head, but looking back now I feel like I hung with him pretty well and at some points throughout, the record is even more verbally relentless than “The Lyricist”.
“Marry a Memory” was the first time I that ever bore my soul on a record, the first time that I showed more than a hint of vulnerability and the first time that I actually made a conscious effort to give the listener a chance to get to know me as a person, and not just as an emcee/ aspiring artist.
In regards to the second question, I measure success based on the feedback I receive from complete strangers. Being selected for a feature in The Higher Plane’s “Big Ten” interview series speaks volumes. The EP’s three singles are receiving spin both here in the states and abroad from renown DJs and have seen an overwhelmingly positive response. It also received a favorable review from RapReviews.com and from one of the largest newspapers in Chicago, The Red Eye. To top all of that, it’s receiving spin on the iPods of several artists that have been pretty influential to me and it’s led to collaborations with some phenomenal artists that I otherwise might not have ever had the chance to work with.
THP:What can we look for coming up from Savant?
Savant: Be on the look out for a short length LP entitled The Resilient, currently on pace to be released this spring. It’ll be sonically laced by North Carolina beastmith Satchill Head and will feature guest spots from Joey Downtown, James John of Divine Minds and Youngs. After “The Resilient“, I’ll be working on another short length LP with Charity Clay. That project will be completely laced by Estonian beatsmith heartMind and has been tentatively titled “The Reason”. In between those releases, I’ll be leaking some individual songs via my Twitter page and numerous hip hop blogs. Those songs will feature production from the likes of Keeynote, Tall Black Guy and Passion HiFi among others, and guest bars from Louis Logic, Wordsmith, Longshot, Phashara of the Beatmonstas, Qwazaar of the Typical Cats, Rasheed Chappell and Dominique Larue, among others. My complete project list can actually be viewed at my MySpace blog. Your European readers should definitely keep an eye open for Youngs, James John and I, as we’ll be coming over there this summer for a 6 week tour.
THP: Any last words? The floor is yours.
Savant: First and foremost, thanks again for this opportunity, Mike. I really appreciate this. Otherwise, be on the lookout for Joey Downtown’s debut, and Charity Clay’s collaborative EP with Chicago beatsmith Smokey Winston, as both will probably be released around the same time as The Resilient. Also, everyone please be sure to
end an ear to the following:
Youngs (aka Landon Wordswell)- Once Upon a Time EP
James John of Divine Minds- Badu In the Basement and
Charity Clay- Forced To Freestyle
And finally, follow/ add me on Twitter, Facebook, FormSpring, and/ or YouTube using the same URL suffix (@SavantRAREBREED).
Overtime with The Higher Plane
OT: If you could pick four MCs for a super cypher, who would they be?
Rasheed Chappell (New Jersey), Lyrikill (New Orleans), Luck One (Portland, OR) and Finale (Detroit)
2OT: Three favourite TV shows of all time?
The Cosby Show, Tom & Jerry, and ESPN First Take
3OT: Suggest one book for the good people to read and why.
I‚Äôll go with something current and recommend “How to Rap: The Art and Science of the Hip-Hop MC”. The title is self explanatory, the foreword is written by Kool G Rap, and the book itself contains first person insights from the likes of the Clipse, Cypress Hill & Public Enemy. The author, Paul Edwards, explores the dynamics of the hip hop genre from all possible angles and covers everything from content and flow to rhythm and delivery. I’d be lying if I said that I agreed with everything in the book (for example, Nelly also gets to add his two cents), but it’s a hell of a read.
NEW ARTIST WEEK: PARISH CARTER
Interview by Jay Up
The Big Ten with Poetic
Interview by Salvatore Hall
THP: You have been working hard in the booth to perfect your latest EP. Can you tell us the name of this album and the significance of the name?
Poetic: Well I’m def excited about the next project. I teamed up with producer Tone Mythology to create a series of EPs that will be released every winter and summer moving forward. If you’re from the mid-west you can relate to the cold, grey, wet winters as well as lush, green, warm summer nights. Being from this area, your mood seems to be hopelessly influenced by the weather.
The first EP is titled Basement Diaries Vol.1 – The Cold Touch. Without going into too much detail, the cold touch represents the hand of the devil reaching to steal your passions and strengths. You can expect the winter EPs to be rather gloomy in nature representing the hustle, the struggle and the pursuit to happiness. Our summer EPs will embrace the long days of summer and be more up lifting.
THP: How does the struggle effect the output of your music? To specify, nailing down studio time, rides, money, finding beats and procuring relationships. This breaks many a talent, how do you rise above these obstacles to perfect your craft?
Poetic: Let me start with this: If it wasn’t for pain, you would never have happiness.
I am one of the most unlucky cats I know. At times, it can seem every month I step on a fucking land mine and some shit I think would never happen to me just did. I’m forced to react to it. But as a man, this is what defines us. Not in times of fame, fortune and popularity. In times of solitude and doubt, and what you would do for a dollar when you don’t have one defines you.
It‚Äôs funny how Hollywood idolizes the drug dealers that become famous celeberties. How about the mother fucker that smiles at everyone, or opens the door for the old lady walking into Walgreen’s with a cane? Someone who gives 2 bucks to every homeless dude when he only has 10 bones in his pocket. People like that are the ones truly worthy to look up to.
To answer your question, I rise above obstacles because I am committed to my vision and my significance to music and God’s people. I push to get through all this bullshit because I realize the path I picked has more challenges than a 9-5. I believe I am entitled for greatness and everything that will come to me will be well deserved because I’m grounded in my principles of loyalty, love and growth. It’s just the beginning for me. I haven’t even begun to scratch the surface of what I’m capable of.
THP: Why this album now? What do you seek to convey with this EP? Is this more of showcasing your range or is there major emotion for this album?
Poetic: This album really just happened because the opportunity was there. In life you’re destined to meet certain individuals that have the ability to relate to your vision, as well as, use their gifts to compliment your craft, whatever it may be. What Tone and I are doing is a classic example of that. I’m the rapper, he’s the producer. Now sit back and enjoy, ladies and gentleman. Haha.
With The Cold Touch, I hope to inspire people through the Winter months to keep their head up. To stay focused on their dreams. Inspire people to not let their significance be defined by the boundaries laid upon them by past generations and those with authority. Use your gifts to help those around you. Take pride in your private victories. To put in work, no pain no gain and believe me, it’s gonna hurt.
THP: With the current state of affairs of the world there is a lot of fright and scare tactics going on. I.E. global warming, the uncertainty of terror attacks, apprehension about America’s economy, swine flu, and the expansion of the government. How does a young man stay grounded during these times? By putting effort into passions?
Poetic: I’m true believer in the power of awareness. It might be one of the top best skills to have in life. So, don’t take me the wrong way with this next statement, it’s just the way I’m feeling right now.
I could give a fuck less about Tiger Woods banging escorts, Obama’s approval rating, or Iran trying to build nuclear weapons. I got too much shit going on in my own life right now to worry about. New baby girl on the way, looking for a house to cop, then all that complimented by never ending court cases. It’s important I invest all my energy in the places that lead to positive progression right now. The media and government just aren’t one of them.
I encourage everyone to listen to “Crazy” on the album. You will hear how I really feel about our leaders in Washington. We touch on a lot of topics about curtain affairs on that track.
THP: How do you deal with adversity as you work to showcase your passion to the world?
Poetic: By the realization that in order to achieve success the devil is going to do everything within his power to make my journey as difficult as possible. I’m aware of that. If you see that around you bad things keep happening to you, it might just be because you are doing something righteous and the enemy doesn’t want you to succeed.
My true inspirations to deal with adversity can also come from the fans. I would like everyone to know that yes I want to make a career out of music, but I’m not doing it for the money. When someone provides me feedback saying there feeling my tracks and can relate to the message that what it’s all about. That keeps me committed to following my dreams more than album.
THP: What instrument inspires you the most?
Poetic: That’s a hard one. I would normally say the piano or the guitar, but when I think about it I’d have to say the drums. They’re the foundation to every song. All other instruments build off the rythm and tempo. I use to mix records like every day back when I was younger. In order to match two records together I’d have to listen to the snare beat very closely to time everything out. I think because I spent so much time listening to different beats it improved by ability to ride a beat, as well as, my ability to hear everything that’s going on in a track.
THP: What role does your spirituality play in your craft? Or does it at all?
Poetic: As you can tell from reading this interview, a lot. A man’s principles and values are what defines there character. My spirituality and relationship with God play a role in that. My entire search for purpose comes from trying to discover what God’s plan is for my life. I believe I won’t truly be satisfied with my existence until I succeed with His purpose for me on earth.
THP: Is there anyone you would like to collab with in the near –term?
Poetic: I have usually stayed within a certain circle of people and resources. Right now, I’m more than open to work with any artists that are on my same level of thought and principles. I think it’s important for me to do songs that are outside my typical sound. It will allow me to get better as an artist, as well as, reach new listeners. So if you are reading this, get at me.
THP: How do you maintain a positive mental attitude in your daily life?
Poetic: Sometimes I don’t. Sometimes I wanna just drop the first mother fucker that looks at me wrong. However, through years of experience and maturity I’ve learned having a positive attitude is extremely more effective than having a negative one. As you and the Higher Plane always mention, and I agree, through collective intelligence we all have a better chance to achieve greatness. There’s power in numbers.
If you spend your whole life shutting people out, pretty soon no one will want to help or follow you. Good luck finding purpose alone. It won’t happen! No one has shoulders strong enough to carry that kind of weight.
THP: Who do you feel is really doing it in the music biz?
Poetic: From what I have personally witnessed, Brother Ali’s one of the hardest working artists in the industry. He never stops touring, and to me, he should be the poster boy of inspirational music. What Slug and Rhymesayers do proves we have entered a new music industry. Independent artists are selling more records than ever before, and these boys should be considered pioneers in the movement.

THP: What is next for Poetic? Do you have anything else coming down the pipeline?
Poetic: 2010 will be a very busy year for me. Along with the release of Basement Diaries Vol. 1-The Cold Touch, Tone and I will also be releasing Basement Diaries Vol. 2 in the summer.
I will also be working on a demo that will be a genre outside from anything my fans have heard. The demo consists of live instruments and will be an acoustic/rap feel. I have already recorded two tracks, and I’m really excited to create something completely different that what most people would expect out of rap record. I plan to shop this demo heavely to A&R reps upon its release. I’m also planning on releasing my first mixtape. So, that’s three new albums. As I said, a busy year!
Overtime with The Higher Plane
OT: Shakira or Beyonce?
Neither, I got 100% wifey material in bed at home.
2OT: Starbursts or Skittles?
Blasts of flavor in my mouth or taste the rainbow? I don’t know they both sound homo to me. Haha. Jk.
3OT: Three albums you cannot live without?
Latyrx – Latyrx
Atmosphere – You Can’t Imagine How Much Fun We’re Having
Stephen Marley – Mind Control
4OT: What is your biggest dream for 2010?
Getting my first house and doing a sold out show.
The Big Ten with 6th Sense
Interview By MK
For this installment of the Big Ten, I had a chance to interview Notherground CEO, artist and producer 6th Sense. He first caught my attention a while back when I heard him on a Mick Boogie hosted tape called Go For It. Since then, I have always been on the lookout for his music. 6th is as talented as they come in the industry with a grind to match. Enjoy the interview and big shouts to 6th for taking the time.
THP: For our readers who may not be familiar with 6th Sense, can you give us the obligatory intro with a little background about where you are from and how music became such a huge part of your life?
6th: First off, thank you Kriegs and shouts to The Higher Plane. My name is 6th Sense, I’m a twenty something from NY. I’m a musician, always have been, always will be.
THP: Do us a favor and describe the music scene in New York when you first got into hip-hop in comparison to now. What differences do you notice? Further to that, how does a new artist or producer get recognized in New York City amongst all the noise?
6th: That’s a really good question. One of the biggest reasons I got into hip-hop stemmed from the New York hip-hop scene. I was 15, 16 going to open mics at the Nuyorican, catching shows everywhere. It’s definitely a different vibe now then how it used to be, but I don’t know if that’s just because I’ve gotten older. I feel like the spots are mostly filled with people within the industry. I don’t pay too much attention to the scene aspect of things, I’m not much of a scenester. People may see me out and about though, I have places I like to go.
How does a new artist or producer get recognized here in NYC? GRIND. Be dope and original. Do as much work as you possibly can, and network with people. You can’t be standoffish or have a “talk to my manager” attitude.
THP: I am intrigued by your company, Notherground Music. Your motto is ‘It ain’t underground, it’s Nothergorund.’ Where does the name and concept originate from? What makes your group‚Äôs brand of music stand out amongst the crowd?
‘It‚Äôs about holding true to the artform while creating a universal palette.’ – on Notherground Music THP: Let’s talk about your body of work for a little bit. You function as both an artist and producer. Every time I open Google Reader, your name is appearing somewhere in relation to some project. You have recently worked on projects for Outasight, and The Kid Daytona to name just two. First, do you sleep‚ĶEVER? Second, where does the inspiration come from to create and collaborate on all this music?
6th: Do I sleep? Yes. Do I tan? Hardly. When you work with talented artists you don’t always have to rely 100% on yourself for inspiration. Having artists present motivates and pushes me to create. As I’m creating I stay in tune with their vibe to make sure everything’s quality.
THP: You are also a frequent collaborator with one of The Higher Plane’s favorites, Mick Boogie. How did that relationship come about?
6th: The way the story goes is that I did a freestyle on a Cornerstone mixtape that Mick and Terry DJed. Mick heard the freestyle and liked it. Bout a month later we did “Go For It”. I can’t say enough good things about Mick. No matter what, if he asks for ANYTHING, I do it. Most of the time it’s fun. He always involves me, and he believes in my capabilities as an artist and producer. We’ve always been looking for that one concept/project that we can do entirely together, and I know once it comes along it’ll be dope.
THP: Speaking of collaborating with Mick Boogie, you were heavily featured on the De La Soul project, Le Da Soul: 20 Years of De La Soul. What type of influence did De La have on you? Who are some other artists, groups or producers that have had a large influence on your career to date?
6th: There aren‚Äôt many folks that aren‚Äôt influenced by De La. I even had a song called ‘De La Soul.’ As far as De La goes, I‚Äôd say Buhloone Mindstate, Stakes Is High, and The Grind Date are my favorite albums. I‚Äôm just being honest! De La‚Äôs all about being yourself, not being afraid to be abstract, but keep it funky. I‚Äôm hugely inspired by J Dilla, Stevie Wonder and Kanye West.
THP: I saw an interview you had done earlier in the year where you were saying you made a New Year’s resolution to focus on the production side, but you recently released It’s A 6th Sense Mixtape, Yo! that features you spitting on every track. Not to call you out and shit but, you throw that resolution out the window or what? Is your plan for the future to focus more on the production side?
6th: Well, half of that mixtape was done in ’08 and the rest was done throughout ’09. So, there’s really only 5 songs that I’ve done all year behind the boards and on the mic. And plus, there’s no hooks. It’s so minimal. I just wanted to put the 6th Sense Mixtape Yo!! out because I thought it stood on it’s own sonically and lyrically.
THP: Let’s talk about It’s A 6th Sense Mixtape, Yo! a little bit.
First, when ‘Thoughts’ dropped on the Internets, I thought the world was about to end. On one track it seems you have created this juxtaposition. When the beat comes in and you begin to rhyme, it’s quite dark. You seem to be in this jungle, or your mind is trapped in a certain place and the only thing that will set you free is to let your thoughts out. During the last 1:17, the sound becomes different. It’s as if the heavens have opened up and this weight has been lifted. Can you describe everything behind how the track was crafted. The beat? The rhymes? Your mind state? Its arrangement?
6th: I feel like you described it so well already. I don’t know if I set out to create a juxtaposition. I definitely went into it disregarding any rules. I just didn’t give a fuck. I mean it’s two long verses with no hook. I just drop out the drums. And when I’m done rhyming I decided to bring some melody into the picture. Even though there was no intention of juxtaposition, it works. I totally agree. More than anything I think I just wanted to get on the keys and express myself just through music and melody.
It’s amazing to me how much incredible response I’ve gotten for that song because it IS so dark. What I’m actually saying comes from a very real part of me and the way my brain sometimes works, especially the second verse. I had the first verse already and I wrote the second, I also disregarded any rules, and I noticed how the style of it was very much a thought after a thought. I was in the booth and for some reason right before the 2nd verse started I said “thoughts.” So, I kept it. And what’s eerie is how the first verse starts “a penny for your thoughts.” It was all random.
THP: On It’s A 6th Sense Mixtape, Yo! , I would agree that you deliver a minimalist sound on the production side. Is that intentional in order to compliment your rhyming style and message you wish to deliver? When you are putting a tape of your own together, do you write or produce the sound first?
6th: Part of it is to compliment the rhyming, but I’ll tell you what it really is. I’ll make a minimal beat and being both the producer and the artist I’ll know what direction to go in. Even if it’s not a direction per say I’ll feel liberated enough and comfortable with the track enough to start flowing. I feel other artists wouldn’t be interested in the tracks if they heard it, and they don’t have that connection with the track cause they didn’t create it. It always happens that once people hear me on the track, then they want it! I don’t know, it’s a little difficult to explain, but when you work for other artists you have to go out of your way sometimes to create something for yourself.
THP: I referred to track arrangement above. Kanye is a producer who is noted for his arrangement. For his ability to put all of the elements in their proper place to create a masterfully cohesive song. Is this something you focus on heavily as a producer?
6th: I’ve always noted Kanye for his melody and message. Not to say he doesn’t have great arrangements, but when I think of arrangements I don’t normally think of hip-hop musicians and producers. To me, great arrangements stem from multiple musicians that are tight and have an excellent producer and songwriter leading the way. I love to study music intently listening for that aspect. Sometimes what might sound like a simple arrangement is so dense in musicianship and songwriting.
THP: Let’s end with a douzy. The music industry is in an interesting state with digital sales beginning to heavily outweigh traditional SoundScan numbers. As an artist in today’s industry, first, how do you define success? Second, how do you then measure the success of one of your project?
6th: I’ll say this. I’m always pleased, never satisfied.
OT: 3 Artists You Want to Work With
6th: Justin Timberlake, Andre 3000, Questlove
Greatest Yankee of All-Time
6th:Freddy Schuman
More Comfortable: Rhyming or Producing?
6th: Either.
Name A Project You Got on Deck
6th: Outasight’s Further dropping December 15th
To find out more about 6th Sense:
Notherground
MySpace
You can also cop his new mixtape here.
New Artist Week: The Big Ten with Film Director/Producer Chris Lagarce
Interview by JayUp
Here at The Higher Plane, we like to consider ourselves somewhat of a “canvas” for up and coming artists to show their work. Traditionally, we have only covered musical artists, but we were recently able to sit down with talented film director/producer Chris Lagarce, a 2005 graduate from Southern Illinois University. Chris is from southern Illinois, but also has experience working in various cities around the country. He has been able to produce some impressive films and commercials for SIU. Bon appetite…
THP: We usually cover stories and interviews with musical artists, but as of late, we would like to expand our reach to those who we consider artists in other areas. You definitely fit that mold. Tell us how you saw your future as a youth. I mean, did you always have aspirations to become a film producer/director?
CL: For the most part, yes. I knew I wanted to be in entertainment. I use to make small skits on a VHS camcorder when I was a kid. I also watched tons of films when I was a kid. I still do. I watch at least a film a day.
THP: What were some of your influences as a youth? Are there any documentaries, movies or commercials that you can look back on now and say, ‚ÄúThat definitely had a big impact on me?”
CL: Absolutely, I’ll keep this brief and not name every piece that influenced me, but as far as cool directors I loved Spike Jonze, Michel Gondry, Chris Cunningham, Jonathan Glazer, Patrick Daughters, Garth Davis, David Cronenberg, Paul Thomas Anderson, Coen Brothers etc. I mean that is all I really do is take what I think is so fascinating about their work and try to incorporate it into my stuff. I’m a creative biter.
THP: Since we are a website that focuses heavily on music, what were some of the musical influences in your life coming up? We all have those songs or albums that make us reminisce about middle school or high school. I know you have some.
CL: That’s another long list. As far as what music I listened to growing up I would say Radiohead, Beastie Boys, and Nine Inch Nails. That’s one of those things that always changes though. Like right now, I’m listening to Ennio Morricone, Madlib, MF Doom, Aerial Pink, Prefuse 73. Last month, it was sixties Brazillian surf bands and The Delfonics. I don’t sit still with music. If it’s really good I listen to it.
THP: As a fellow Saluki (shout out to those Southern Illinois boys) I have to ask, what made you choose SIU as your college of choice? Was there anything that sold you on the school, specifically in your major of choice, or any other areas?
CL: My major was the one sole decision for me going to SIU. I actually went to high school in Carbondale. When it came time for college I wanted to leave bad, and I was set on U of I, but for what? I didn’t want to do anything but go into film, I already knew that, and that meant SIU. I don’t think I would’ve fit in at U of I, it’s not known for it’s art scene.
THP: At what point were you able to finally branch out to produce and direct your own commercials and films? And what did you learn about the process that you might not have known otherwise?
CL: Well I was given the opportunity to do any and everything through Barking Dawg Production. I was living in Chicago looking for freelance. I came home to visit, bumped into this guy Ryan Claypool, and he hooked me up with a job. This thing was just two guys in a room at the time. I got to do everything by getting in on Barking Dawg when it just starting, everyone was on equal ground, we just had this attitude that was ‚Äúsure why not, lets do that.” It was a learn as you go world, every project we did got just a little better.
THP: I’m glad we got a chance to chat because I remember sitting in my apartment one day (down in Carbondale), and this extremely dope commercial came on TV featuring Bryan Mullins, SIU’s starting point guard. It was something I had never seen before, and something I most definitely did not expect out of SIU. What was your thought process and inspiration for that particular commercial?
CL: Athletics came to us and said they would like a tickets sales piece to get seats filled for the new season. Our only stipulation was that it had to be no more than 30 seconds. We thought well we could just make a nice safe ad that was like, ‚Äúcome to games have a nice day‚Äù and it would be forgotten about in a month, lost in the barrage of other commercials just like it. Or we could make a serious piece that frankly could scare the shit out of people. Something where people would be like, ‚Äúwhat was that, what just happened, I don‚Äôt know but I‚Äôm interested.” It‚Äôs important to ruffle people‚Äôs feathers. I think Ryan named it Second Nature, and we made a storyline about the split second decisions an athlete has to make in a game. Something to bridge the gap between academics and athletics.
THP: On your website, you cover an array of things in your productions. Do you feel you have a specialty area in filming such as sports, or do you enjoy trying your hand in anything?
CL: I have done several sports pieces because the athletics department has faith in my work and I appreciate that; but I flip flop between serious pieces and funny pieces. I used to film short comedy skits and I really want to get back into that. I don’t have a specialty, nor want to. It’s a lot like the music I listen to, it changes all the time. Some months I want to shoot serious, some months not. I’m bipolar when it comes to projects I want to do.
THP: Out of all the commercials and films that you completed while attending Southern Illinois, which project or film would you consider your flagship? Meaning which one is your best work, in your opinion?
CL: I don’t think that is something I can answer, they all are different, I don’t have a favorite. I can tell you the hardest one’s to shoot were the One Place ads because every scene was somewhere different with completely different people, it took a long time to shoot. My most quintessential piece was called “imouth”, it’s an old piece that isn’t on my site yet. “imouth” was the first time I used graphics, it was my biggest learning experience; and I think my most creative piece would be my crude cartoons, because they don’t have any production value and are just crazy rants. Sorry that didn’t really answer your question.
THP: You were able to put together another classic commercial for the SIU men’s hoop team. It featured footage from the Midnight Madness dunk contest in 2008. This is might be my favorite film. Let’s take a look . . .
THP: Within any field of work, there are those who set the standard. Michael Jordan, Jay-Z, Bill Gates, and so on. Who are some of the people in your profession that you look up to? What makes these people so good at what they do?
CL: Well like I said to the question about “Who are some of my favorite directors” those are some examples of people I really admire. But in general, people that are able to have a successful profession at creating innovative entertainment are who I look up to. It is a fantasy job to be able to have an idea for, say a music video, then get people to give you a lot of money to make it, then have it be popular because it was a good idea. I mean that takes a special type of person. Besides a bunch of famous directors, there are some great people coming out of the SIU program today. There’s a group called Magic Hugs, which consists of two guys that make hilarious shorts online, and they are getting huge buzz from everywhere, they make comedy look easy.
THP: Now that you’ve completed your time at SIU and have moved on, give us an idea of what you’ve been up to. What can we expect from Chris Lagarce in the near future? Looking a little further down the road, what would you like to be doing 10 or 20 years from now?
CL: Well right now I’m finishing up a music video that has long been postpones, and I also want to film some webisode skits I had written a while ago. That’s what is on the front burner, but as far as long term I guess directing or producing. I don’t know what to expect with this economic crisis baring down on the creative fields right now. I’m considering even going back to school to get a degree in producing. And as far as where, maybe LA, I don’t necessarily like a lot of LA, but it is a place consumed with the business I want to pursue.
OT:
Your top 3 movies of all time:
Uhhh… Vertigo, There Will Be Blood, and Ghostbusters 2
Pick a group: Victoria’s Secret models, Playboy Bunnies, or the Dallas Cowboys’ Cheerleaders?
Victoria’s Secret models because there is a chance I could hold a conversation with one of them.
THP: Hey Chris, We appreciate you letting us take a glimpse into your world. Best of luck with everything.
Anytime, Cheers
Web: http://chrislagarce.com
E-Mail: chris.lagarce@gmail.com
The Big Ten with Just Real
by JayUp
NEW ARTIST WEEK continues! We were fortunate enough to take a minute and chat with Just Real, a talented producer and artist based out of Orlando. Just is originally from Sandusky, Ohio, which is why we had to show him some love here on The Higher Plane. You know!
Check it out…
THP: So, who exactly is Just Real? I mean, where did the name come from and where do you fit in this current state of the music industry?
JR: Just Real is just a man who loves to make music. I would love to become a major player in today’s industry and really help progress the state of hip-hop to a new level, but I’ll be happy as long as God is still affording me the opportunity to make my music.
As far as the name, my given initials are JR, and that’s the name I was going by for a while. Back in the day, when I would be on the block, rhyming with my boys, I would only speak on things I knew and nothing else. So everyone would always say, “Damn son, you be spittin’ that realness.” So eventually my best friend started calling me “Just Real.”
THP: Being from Sandusky, OH what motivated you to head down to Orlando and set up shop? And do you plan on making a move back to Ohio at any point? I know you miss the weather!
JR: (Laughing) Yeah right! Full Sail University is what really brought me to O-town. They really gave me a good foundation for engineering music. I’m not real sure about moving back to Ohio though. I’m always representing for the 419, but in this industry you have to go where the music takes you.
THP: I must say, you have an impressive resume when it comes to instrumental music. You’ve
performed at Harlem’s Apollo Theatre, and worked with the likes of the Firelands Symphony, Jamie Foxx, Kanye West, and Prince. How has your background with instrumental music influenced your music today?
JR: Those were all just perks. The influence really comes from my days being involved with marching 
band. I’ve studied music theory and composition extensively as a result of that. My ear was developed at an early age, and I can’t thank my band directors and teachers enough for that. Not to brag, but my understanding of how music is constructed allows me to stand out among other producers and composers. I never had private lessons. I just studied hard in school and eventually the opportunities started coming around.
THP: Speaking of Prince and Kanye West, those are two of the more interesting artists in the music industry. What was that experience like?
JR: I didn’t really get a chance to get close to Prince except in performance. Kanye on the other hand was mad cool. I know a lot of people are hating on him about the whole Taylor Swift thing, but I actually knew the guy. In fact, when I first got to LA, I actually ran into him with a 32” drum. My eyes just got real wide and I was like, “Oh man! I am so sorry!” He was like, “Naw man, it’s all good,” and just smiled. Kanye is chill, but when it’s time to work, he doesn’t play.
THP: You were heavily featured in the “Musical Honor Society Presents: Class in Session Mixtape Volume 1. You definitely have some hot tracks on there. Do you consider that your biggest accomplishment so far?
JR: I actually did executive production over that mixtape. It was a good thing. Not many young producers can pull Flo-Rida for a mixtape, but somehow my partner and I pulled it off. I can’t call it my biggest accomplishment though. My biggest accomplishment would probably be the performance I gave in Sandusky back in February at my mother’s funeral. I performed my song “For You.” Even though it was like a special moment between me, my mom, and God; I never felt such an overwhelming response from spectators. It was just one of those experiences that you will only feel once.
THP: Different areas of the country have different things happening in their local music scenes. How would you rate the scene down in Orlando? In your opinion, what’s the best part about it?
JR: Man, Orlando is hype right now! If you want a variety of local music, O-town is the place to be. I’ve met so many local artists and poets just living down there, and I’ve seen so many performances. It really just amps me up more about my music!
THP: When southern hip-hop artists started to blow up a few years back, the rest of the country got a pretty good taste of what the South was about. Being down in Orlando, how has the southern sound influenced your work?
JR: You can ask anyone from Sandusky, OH to attest to the fact that I’ve always been out there, especially with my music. I like being different, and the South has not changed that. Although I have gotten into more clubby-sounding records being in Orlando, though. My taste for music is always progressing, so I’m sure that will change too over the next few months.
THP: What can we expect from Just Real in the future? Do you have any events planned, or any plans to drop more mixtape tracks, maybe even an album?
JR: Yeah, I will be performing at the Deland Original Music Festival near Orlando in November. I have a cancer charity event in May in Fort Meyers. I’m doing that one for my mom. “Faithful Cries” the album is getting ready to be released. A possible new mixtape is in the works. I’m working on a few new artists, and we’re booking performances all the time. Check out my web pages for more information on all that.
THP: You categorize yourself as an artist/producer/engineer. Do you see yourself focusing on one area in the future, or do you plan to stay hands on with all parts of the musical process?
e="font-family:Calibri;">
JR: I’m naturally a jack of all trades. And besides, when you cut out the middle-man, that’s more money in your pockets. But most definitely, I will probably not be only doing one thing anytime soon.
THP: Give our readers one artist to look out for in the near future, one that you think could make an big impact on the music industry.
JR: Check out this dude named Major, aka C Major. He produces some of the nastiest beats I have ever heard! He’s like Timbaland meets Swizz Beatz. The boy goes ham. He’s on my top MySpace friends if you want to check him out.
THP: If we jumped in the car with you right now, give us three songs that we might hear coming from your speakers?
Keri Hilson – “Knock You Down.” Keri, Kanye, and Ne-Yo killed that one!
Dead Prez – “Hell Yeah.” Just because it’s a good song. I like realism in music, and I’m a big fan of the red, black, and green flag. Shout outs to all my revolutionaries!
And probably my new track – “Red Bone part 2.” You didn’t really think you was getting in my car without me promoting something, did you!? (laughing)
Overtime with Just Real
OT
Man I like both of them Kobe’s been a favorite of mine since the 8th grade, but Lebron is like Superman to us in the Cleveland area! (laughing)
2OT: Top three all-time favorite rides at Cedar Point (the dopest amusement park in America):
Top Thrill, Millenium Force, and The Witch’s Wheel only because my mom used to take me on that when I wasn’t tall enough to ride the rides by myself.
THP: Hey, thanks for taking the time out to discuss.
JR: Thank you and best of luck to you guys! The Higher Plane, baby!!!
Where can you find more of Just Real?
www.MySpace.com/JustRealMC
www.FaceBook.com/JustRealMC
www.Twitter.com/JustRealMC
Mixtape can be heard at http://www.datpiff.com/DJ_Royale_Class_In_Session_Vol_1.m63503.html
The Big Ten with House of M
Interview by Kyle Tillar & Salvatore Hall
With our second feature of NEW ARTIST WEEK, we turn our attention to a funky crew out of Milwaukee, Wisc. called House of Mutants or House of M. I am pretty sure everyone will find this interview highly entertaining. Let’s get into it.
THP: There seems to be a lot of personalities in the House of M. First tell are readers who all is involved and what is their contribution to the group?
The House of M consists of A.P.R.I.M.E., Lou-Tang, Trellmatic, Raze, D’Matikk, Dana Coppafeel, Gambit, and DJ Deadbeat.
Lou-Tang: Producer. The get in where I fit in guy.
trellmatic: Beatmaker. Human expression through the form of sound. Oh yeah, I love Latin women.
Raze: I’m Raze. The resident producer, emcee, engineer,
D’Matikk: I’m a producer. The Beat Specialist. I provide that ‘Soul-tastic’ boom-bap flavor.
A.P.R.I.M.E.: I’m an emcee, and also I’m the resident skit writer. They say that I’m a comedian posing as a rapper.”
Dana Coppa: My role is to rap, smoke your weed, bring a six pack for myself, and show up late. In that order. I am the latest white man you will ever meet. Cause in the alternate reality, white people are always late. I’m also the group elder.
Gambit: I’m an emcee, and I also I do a little bit of EVERYTHING else that maybe needed from me, including organizing meetings, online promotion, etc.”
Deadbeat: Nothing. I really don’t do anything. I ride coattails and hope to get rich. Just kiddin. I’m a producer, DJ, and coordinator of all chaotic. I’m a jerk, and I sometimes make people laugh.
THP: These days many artists have hidden agendas and it’s hard to find unity in hip-hop. What bonded you guys to collectively come together for a common cause?
House of M: Well it’s eerily similar to the Marvel storyline “House of M”. We wanted to be the “outcasts” who rule the world. The way the mutants controlled the world in the storyline as opposed to “normal” humans. We’re all weirdos and different in our own ways, and that’s why we call ourselves “mutants”, but we share a passion for hip-hop and all have similar musical tastes. We felt that we were some of the most talented people around on the hip-hop scene and decided to assemble. We call ourselves “mutants” just for that own reason. Collectively, we have concepts, ideologies, slang, etc. that outsiders wouldn’t even understand. It’s our own world, our own alternate reality, and musically we try to manifest that the best way we can.
THP: How long have you all known each other? Do you feel it was the music that brought you together or were you all friends before the music?
House of M: Well some of us have known each other for 10 plus years. It’s a weird six degrees of separation type thing. The histories and relationships from mutant to mutant is varies, but all tie in together. Almost like a comic book crossover or something. Lou and Gambit have been friends since 6th grade and were the two founding members. They met D’Matikk and his brother Trellmatic in the high school era. Before there was a “House of M”, D’Matikk and Gambit formed a emcee/producer group called “The Acolytes” back in 2005. After hitting the scene they met Dana Coppa, Prime, and Deadbeat, and they were recruited to join this supergroup. Raze came along last year and put the icing on the cake. The rest is history.
THP: What are your qualms with the “Swag” ideal? Is it the idea of poppy meaningless music, or does it run deeper for you? 
House of M: It definitely runs deep. Nowadays “Swag” is considered to be a trend. Swagger was okay when they were talking about Jordan and the Bulls. But now you have the lamest people talking about their swag. Our whole point is that if you have to tell people you have swag, then you probably don’t have it. True swag is inner confidence and awareness of who you are, your self-worth, and what you’re capable of. The term swag has been watered down by the trendy types of people, and now it means nothing. Saying you have swag signals the complete opposite. Swag is supposed to be silent and unspoken. It is a certain level of coolness and not this clown shit you see now. Telling another man you like his swag is homo. Simple and plain.
THP: On your myspace page (www.myspace.com/
House of M: Basically, we do whatever we want. If we want to do a hip-hop song on a rock track or bluegrass or whatever, we’ll do that shit. We aren’t conformist, and we don’t have a blueprint to our art. It’s Hip-hop rooted, but there’s more to it. We hate labels and feel they put you in a box creatively. So besides hip-hop, we decided to go with the most vague classification we could.
THP: I have spent a lot of time in your city being from Chicago. What should people know about Milwaukee that they may not know? What is your opinion on the current music scene in your area?
(All break out in laughter.)
Raze: There’s black people here… LOTS!
A.P.R.I.M.E.: In my opinion, Milwaukee’s hip-hop scene is not as good as it could be because the artists prefer to focus on controversy than making better music. If they focused their energy on making better music then our city can thrive like none other.
Raze: Also, the scene’s greatest downfall is artists are more concerned with trends and what’s “hot” in hip-hop in other regions. They try to emulate that sound as opposed to being original.
Dana Coppa: I think there is a lot of talent here, but the problem is that people get caught up in what they’re doing. They think just because they are making songs, it’s fresh. It’s like at the end of the day, it’s Milwaukee. No major labels are really checking here, so it’s the independent artist’s job to make their music to be that much more potent.
Trellmatic: I think most artists here focus on riding the bandwagon. For example, with TV and radio, they feel if they don’t follow this formula or format, then the music is not good therefore they may not succeed.
Gambit: Yeah I mean, there’s a lot of great artists in Milwaukee, and personally I think this city is on the right path. There a lot of bad elements to the scene, but a lot of beautiful ones too. Just like anywhere. This is home, and I wouldn’t rather be from anywhere else.
Dana Coppa: Yeah, I feel like cats here would rather be from Atlanta, but then be running around yelling that they the “King of the Mil”. It don’t make no fuckin’ sense!
Gambit: Yeah, I agree wit Coppa.
Deadbeat: I love the scene because it’s not contaminated by outside entities. Yet.
THP: Many people get into music for different reasons. What does the group hope to contribute to music? And if you were to hit a prime in your career, what would that look like?
Lou-Tang: We hope to contribute that spirit of people “doing your own thing.” Doing what they feel.
Raze: Being the catalyst of change. Reminding people that music is about unique expression and inspiring artists to be themselves.
A.P.R.I.M.E.: In our prime, I see us inspiring the new mutants to pick up where we left off.
Gambit: Yeah exactly. It is about keeping the artistry alive, and the overall consciousness that it’s okay to be you. Passing that along to kids growing up now being bombarded with the shit they play on videos and radio. We want them to know that there’s an alternative. That’s not what all Hip-hop is about. Hip-hop is just a musical expression of life, and life is NEVER as one dimensional as the way hip-hop is portrayed today.
D’Matikk: Yeah. To maintain the original art form, to keep the creativity present, keep evolving, and keep it from being tainted from the wackness plague that’s been spreading.
Dana Coppa: I also think an important idea we contribute is HONESTY. Kinda like Gambit said, it’s okay for you to be you. You don’t have to put on a guise to make people believe that you accomplish great things. With the House of M, we make sure that everyone’s point of view is a piece of perspective that all adds to the pie. So I guess what my idea of hitting our prime is basically being able to continue to put out music that fits within our guidelines, and that everyday people can still relate to.
Gambit: Yeah, getting rich and famous would be great. I’d be lying if I said that I wouldn’t like that, but it’s not about that though. Going platinum isn’t our motivation for this. Coppa interrupts “Platinum don’t equal success.”
Exactly. And to touch on what Coppa said about honesty, you got niggas who rap about shit they got. These cars, and all this shit, but they don’t have SHIT! They spit that shit because they are programmed by the radio to think that’s what everyone wants to hear. Record labels push for platinum albums and not classic albums. It’s about the money and what sells. It’s not about that art. I understand that Hip-hop is now a business as much as it is a culture and art form, but even now, sales are stale. You can’t just blame that on the digital music era. Sales are stale, and the music is stale. I don’t think that’s on accident.
Trellmatic: I would say being able to change people’s lives, and I would say being an inspiration to them in some form or fashion would be our greatest achievement.
Deadbeat: Originality selling and not marketing.
THP: We took some time listening to your new release “The Alternate Reality of‚Ķ” and were highly impressed by the ability to keep the essence of an original hip hop sound and extend it into your own art form. Do you feel each song has its own story or do they all share a common theme?
Each song has a story or history behind it. They all coincide and were pieced together to tell a much larger story. Back to the fanboy shit. Each song is like one issue of a comic book and the entire album is the Trade Paperback that collects all the issues. But that’s just in the House of M comic book. Our solo projects will be an extension of the House of M, but just from a direct source. Like there’s an X-Men book, but Wolverine also has his own book and it’s all in the same continuity. Throughout our music and career, we will have reoccurring characters like Dr. Wacktagon, our narrator Bobby Drak
, etc. Our entire career is and will continue to be one giant story. And we will continue to evolve our sound and mind state in the process.
THP: What artists do you feel are having the most positive impact in the music industry right now? Who’s more important the artist or the movement?
The entire group feels the movement is more important. The journey, the goals, the ideologies, the culture is always bigger than just one person.
Trellmatic: MF Doom, Talib Kweli (‘Eat to live’ is my shit!), Raekwon to name a few.
Dana Coppa: Dilla dawg for life plus I don’t even care about the industry. I’m not involved in that world. I’m just trying to make music. FUCK THE INDUSTRY!
D’Matikk: I would definitely have to say Skyzoo, Raekwon, & Phonte of Little Brother.
Lou-Tang: Wu-Tang. Chamber Music is ill, and Cuban Linx 2 is out now. Muthafuckin’ classic.
Gambit: Wu, DOOM, Justice League, and Skyzoo is hot. Ghostface is my favorite emcee ever. I think he should get more credit. Between his catalog and body of work, his combined lyricism, creativity, concepts and storytelling. He’s like an evolution of Slick Rick who is also one of my favorites.
Prime: I would say Q-Tip, Andre3000, Blueprint, and Gnarls Barkley.
Raze: I’m really digging Phonte, and the work he’s doin with Nicolay with Foreign Exchange. I’m also a big fan of Slaughterhouse, Wale, Kanye West (When he ain’t bumrushing white girls @ Award shows…LOL), and my homie D.R.E. (D Arrah) from Memphis. Oh shit, I almost forgot I’m digging J. Cole and pretty much anything Drake does when he’s NOT with YoungMoney. LOL.
Deadbeat: Brother Ali
THP: In respect to you doing this interview, I want to lay a canvas out there for you say whatever you like. If there’s one thing you would want readers to take away from this interview what would it be?
The House of M is the House of M. Plain and simple. We’re a group of individuals that stay true to themselves and combine our personal strong points to create a collective strength that produces great music. Also, despite how strongly we feel about the direction music is going in and our hopeful influence on it, we’re really a bunch of goofballs. We are all individually comedians, but as a UNIT, we’re pretty damn hilarious. LOL. Also, cop our album The Alternate Reality of... on iTunes, Rhapsody, Cdbaby, or Amazon. See what the big fuss is about!!!
THP: Boys, it’s been a pleasure doing this interview. We are excited to be able to extend our Underground Family to the Milwaukee area. We will continue to show you support in the days to come. What things do you got lined up for the near future? Any solo projects? Upcoming events?
It’s been a pleasure also. We thank you for even doing the interview. Yeah, by the time your viewers read this, we will be already working on are next group album. Also, Dana Coppa and Raze are sitting on almost finished solo albums. A.P.R.I.M.E. and Trellmatic are a duo called Automatic. They are working on their second project together. Also Gambit, D’Matikk, and Deadbeat are working on The Acolytes album. In the meantime we’re going to continue to push are current album The Alternate Reality of… and hopefully travel and do more shows outside of Milwaukee.
Overtime with House of M
OT: Top 3 albums in your playlist?
Currently, Cuban Linx 2, SlaughterHouse, and The Alternate Reality of…
2OT: Mountain Dew or Vitamin Water?
6 Mountain Dew, 2 Vitamin Water
3OT: Paul Molitor or Robin Yount?
7 Yount 1 Molitor
The Big Ten with Tone Mythology
Interview by Salvatore Hall
Welcome to another installment of The Higher Plane‚Äôs Big Ten interview series. This is truly a special occasion as we are kicking off NEW ARTIST WEEK. We linked up with this cat Tone Mythology who has done some work with one of our affiliates Poetic. I listened to ol‚Äô boy‚Äôs beats and liked the sound. I could feel the soul in the music, and when I hear something that sounds nothing like the ‚ÄúLean wit it rock wit it,‚Äù beat I become intrigued. Poetic and I got down to business and decided to learn where this cat came from and what made him tick. Enjoy and always be open to others intelligence, passions, and inspiration it could help you achieve your purpose. Let’s kill the hater gene.
THP: Tone please let our readers know first were you from? And your opinion on the current music culture in your area?
Tone Mythology: What’s good! I’m living in White Plains, N.Y !!! I was born in Ecuador, but I was raised here in New York. The music that I grew up listening to was old ballads, jazz, some oldies. I always liked slow and chill music and until today I still do so I try to put some of that on my beats. The music around me is somewhat ok. Most people are into that main street shit. There are only a few who listen to that real good music. New York is the birthplace of hip hop, but many people here just aren’t really listening to music like they use to back in the days. I think main stream music is messing up people because I hear someone say that for him Soulja Boy was his favourite rapper?!!?!??! I mean seriously!! But yeah man, music’s changing little by little here for the good. Ahahaha..
THP: Where did your passion for producing music come from? What sparked your interest to take it seriously?
Tone Mythology: I started taking my beats and myself seriously about making beats when this kid that lives in front of my house would make fun of me when I would play him a beat. He would laugh at me because he said I wasn‚Äôt musical enough to make beats! I guess that made me want to be better than him. I think that‚Äôs when I really got serious about making good music. I spend about six months just listening to underground music, and I happened to come across 9th Wonder. 9th Wonder is one of the top producers out there so his beats caught my ear. I started messing with my Dad’s turntable and chopping old vinyls up. I downloaded Fruity Loops Studios, and that‚Äôs pretty much how I started getting serious!
THP: On your myspace page (www.myspace.com/tonemythology ), you describe your music as Hip Hop/ Alternative/ Lyrical. Tell me in your own words what 
this means?
Tone Mythology: Hip Hop is what changed me life, and I love it! Its Alternative because it refers to Hip-Hop groups that refuse to conform to any of the traditional stereotypes of rap, such as gangsta, bass, hardcore, and party rap. Instead, it‚Äôs a blur genre that gets drawn equally from funk and pop/rock, as well as jazz, soul, reggae. It‚Äôs :lyrical because my beats are meant to express what the rapper‚Äôs life and thought are like. It’s music that you hear and you say ‚ÄúOhh yeah I feel you‚Äù. I want it to relate to the audience.
THP: After listening to several songs I found you use various vocal samples on your instrumentals. What sounds or samples do look for when putting together a track? What are you trying to create?
Tone Mythology: I usually find a sound that is catchy to the ear and play around with it. I use vocals in choruses because I find it easy for most rappers to relate to the beat. When chopping a sample I try to look for songs that don’t have a lot of instruments such as drums and bass. It’s easy to make songs like that because it’s easy for me to play other things on it and to change the way it sounds.
THP: As any independent artist knows the music industry is a very difficult landscape to financially thrive in, leaving many artists with broken wallets, as well as, broken dreams. What do you think the key to success is?
Tone Mythology: Well, first of all you have to know the music industry and how it works. I always thought it was easy to make money off beats when in fact it‚Äôs not! There are more producers out there then rappers which makes it hard for someone like me to get heard. For me the key to success is knowing the industry. It’s more about who you know and making different connections with people all over the place.
THP: What (if any) principles do you live by to keep yourself grounded? Is that a reflection of your up bringing or choices you have made for yourself?
Tone Mythology: My principles are simple. I always say ‚ÄúDon‚Äôt judge a book by its cover‚Äù because every time someone hears a beat from me they think that I’m some different guy. They always say ‚ÄúOhhhh I thought Tone was a black dude.‚Äù
THP: Many people get into producing for different reasons. What do you hope to contribute to music? And if you were to hit a prime in your career, what would that look like?
Tone Mythology: I want to be someone who‚Äôs got something to give. I want to be remembered in life because I feel like I have this musical gift to give and to share with others. I don‚Äôt know about me hittin’ a prime? Haha..
THP: It’s evident you work with a variety of different artists. Do you make beats for just anybody or are there certain characteristics you look for in an artist?
Tone Mythology: I look for certain characteristics in artists. I like artist that are serious about what they do and are true about what they say in their songs.
THP: If you could work with anybody, who would it be and why?
Tone Mythology: I would have to say M-Phazes and Emilio Rojas! M-Phazes is one of the best Producers in the world! I would want to work with Emilio Rojas because I like his music and his flow.
THP: In respect to you doing this interview I want to lay a canvas out there for you say whatever you like. If there’s one thing you would want readers to take away from this interview what would it be?
Tone Mythology: I would have to say don’t let people intimidate you and mess up your life with their stupid ideas and comments. Just be what you are and who you want to be in life!
THP: Tone it’s been a pleasure doing an interview with you. I’m a big fan of your music and wish you the best in the days to come. What things do you got lined up for the near future?
Tone Mythology: Well a new EP with Poetic! I want to get that done and I’m just really trying to get heard and work with other artists. I also want to start my own studio.
Overtime with Tone Mythology
OT: Who would be better to wake up next to Megan Fox or Lauren Conrad?
BOTH!!!
2OT: Trail mix or Cheetos?
Trail Mix! I find it better and tastier!
3OT: What equipment do you most frequently work with?
I work with a Yamaha MIDI Controller and a MPC 1000. I usually use the MPC to make my drums and the MIDI Controller to play any VST’s. I work with a program called Nuendo 3 which works just like Cubase 4 and Pro Tools.
