EL-P’s career has been full of triumphs. From Company Flow’s paradigm shifting Funcrusher Plus, to the label successes of Def Jux, EL-P has been in the thick of it all. His production style is completely original, blending thrashy sounds with pulsing urgency into smooth arrangements. Compound that with wide-ranging remixes and the overseeing of other great projects, and determination emerges as EL-P’s strong suite.

“There are two types of mornings in this life I can surmise, I wake up early in the first, to help supply the second type” so says EL-P, on his latest work, I’ll Sleep When You’re Dead.  And like his past undertakings, his latest reflects an ear for sound layering and detailed songwriting. After all, he was able to garner the support and participation of other genre-bending artists like Cat Power, Cedric Bixler-Zavala of The Mars Volta, Trent Reznor and James McNew of Yo La Tengo-all of which are intelligent artists in their own right. It wouldn’t be a stretch to assume EL-P is at the helm of his own creativity as of late, but his complete career might prove otherwise. Who knows, I’ll Sleep When You’re Dead  might be his weakest effort when looking back at his discography years from now. But as it currently stands, I’ll Sleep When You’re Dead  might be his best to date.

At a juncture where most rappers/producers/label execs never reach, I talked with EL-P about his career, the new album, RJD2′s departure and other important ongoings at Def Jux headquarters.

HHS: What’s changed since Fantastic Damage?

El-P: The new one is just a different time, different era, and different person. There’s a difference in the approach, the production and songwriting. But it’s obviously the same dude. I think it’s more of a snapshot in time that shows the development of someone’s mind and experiences five years later. I hope that growth is illustrated in this record compared to Fan Damage.

Your production seems like it has been a logical progression since Funcrusher, to Cannibal Ox, to Fantastic Damage, to this new one. Is that fair to say?

I want to leave it up to the listener. But I do also think that the approach to the production on I’ll Sleep When You’re Dead is a lot better.

It’s been a few years since you’ve done a solo project. Which song on the new one are you most proud of?

TPC [Tasmanian Pain Coaster] took pretty much the length of the entire album. I was tinkering with that one for about a year and a half to two years alone. Poisonville has a lot of meaning for me too.

So what happened that inspired those songs you’ve mentioned, or in the last few years that have directly affected I’ll Sleep When You’re Dead?

I don’t feel like people have to go and search for inspiration anymore. I think that if you turn the TV on or watch the news, or read the newspaper or walk outside or have a conversation with someone like I do, you can find inspiration easily. It doesn’t necessarily have to come from some sort of huge internal struggle.

Has this outlook of yours changed since you first decided to make music?

Definitely. When I first started making music, life in general was almost like a secondary character to me. I mean, with Company Flow, my life was rap music. Everything was hip-hop. It was all about coming up with the best thing possible, the cleverest rhyme possible. That came out of the way I came up. And now, I think I have bigger fish to fry. I’m older and more spiritually and philosophically trying to trudge through reality. Just like everyone else. And my music now is just a snapshot of one man’s perspective of trying to walk the muck of these somewhat strange times. I don’t like making records that preach to anyone because I don’t know anything. But I have moments that are genuine and I wanted to convey that. That way, in ten years, you could throw this shit on and gain one man’s perspective on what its like to be alive right now.

And most of this, I’m assuming, is reflected through your writing is it not?

Mostly lyrics. But I try to have the mood of the beat capture emotions as well.

Let’s talk about your production, which I love by the way. What equipment did you use to make the majority of the new album, and what do you try to get out of your production? Is it anything specific?

The main workhorse is still my EPS16. That’s what I mainly use. But there’s really a lot to name. I’m a tech-head, you know? I spend most of my money investing and buying this hodgepodge of bullshit equipment [laughs]. But I mean, I have modern synths, Moogs, all kinds of stuff. Having a lot of equipment allows me to use certain pieces here and there, and not rely on one beat machine or keyboard or something.

So is your EPS16 the most important piece of equipment you have?

I’ll always use my EPS, but I think the most important thing in my production isn’t one piece of equipment-it’s my approach. I try to have a lot of stuff so that I don’t overuse one thing and have that attached to my sound. You know how you can tell when you buy someone’s album that you liked before, and their new shit uses the same keyboard over and over and over? It’s like, oh okay; this motherfucker just bought a Triton! I mean, I have a Triton and all, but I don’t want my records to sound like I only used a Triton. I have a lot of shit man. That’s my love right there.

Your production has always been real original. Is your sound purposeful or did it sort of develop?

It’s developed naturally through the years. That’s why when I’m not working on my own album, I’m doing different things like jazz projects and film scores and shit. I take little bits of those experiences and I take those little things and try to apply them into the way I produce. That’s just how I do it. I want to develop. I’m a fiend for development. I want to see what else I can do, what I can add to my shit. I’ve never been the type of person who thinks there’s only one correct way to do something and just stick strictly to that. I know a lot of people who have that mindset. Like they can look back at one particular year and say that’s when they found their sound or style. That’s cool. But for me, I don’t think on those ways. For me, my era of development started early and I want to grow constantly.

What did you listen to during this development phase-what has been big influences on you?

My influences are early Rap, Blondie, Planet Rock, Herbie Hancock, Mantronix, BDP, Run DMC and David Bowie. I mean, I’m just open to everything.

So now, you just decide on a certain sound and do it?

Well, with I’ll Sleep When You’re Dead, I came into it with a certain direction in my head. I’m that way with most projects now, but I’m never dead set on it. I mean, it’d be foolish of me to say I’ve found my style. With I’ll Sleep When You’re Dead, I took what I began with Fantastic Damage and arranged it better. I think Fan Damage was the beginning of an idea of mine, but I don’t think my technical abilities were there yet. With this record, my production came into focus a lot better. I mean, I would like to think my style twenty years from now would be way better than it is now.

Another element of this new album is all the guest spots. It’s not the usual cast of Def Jux characters. How was working with the eclectic musicians on the new album?

It was amazing. I feel very honored. I brought these people into my record because I’m genuinely a fan of theirs and because I have relationships with them. I wasn’t plotting this record thinking; Who I could get that was famous in a different world? If you hear the record, its pretty obvious I’m not making a Rap/Rock crossover record. It really is just an extension of my sampling really. With Trent [Reznor] I had just did the remix for NIN and we had just become friends. With everyone on that record, I’ve had relationships with for the last couple years. And for me, it just made sense as a producer. I mean, as a hip-hop producer specifically, I challenge any fan to study their favorite hip-hop song and not find a rock record that was sampled. I have thousands and thousands of records, and what we do is combine and throw in different genres of music. That’s part of its beauty! I don’t see it being much different. I mean, this record isn’t like, “Here it is, Rap and Rock, finally!!!”

Speaking of collaborations-what happened to all that internet chatter about you teaming up with Dan The Automator for a full-length instrumental album?

Hahaha! Every time we see each other, we ask each other the same question. I mean, the fact is, both of us are pretty damn busy. But we still keep in touch and we’re still friends. I still see him once every few months. I wouldn’t be surprised if that project did come out one of these days. It’s definitely not off the table.

Let’s shift gears and talk about your business side. Touch on RJD2′s career moves. Why is his new album on XL Records?

RJ made a record he felt would be better suited on a label that has experience promoting and supporting that type of music better. I can’t argue with that shit. RJ’s a fucking brilliant artist and he’s taking big risks. Some people understand what he’s trying to do and some don’t. I mean, he’s the type of artist I work with. I work with people who are brave. I work with people who are not afraid to flip it and not look back, knowing full well they might fall flat on their face because they have artistic integrity.

What was your reaction when you found out it wouldn’t be on Def Jux?

I was really disappointed when he told me. But when I heard the album, I understood exactly what he was doing. I understood his concerns. He has my full support and there isn’t a problem between us at all.

In 2001 Def Jux released Cannibal Ox’s The Cold Vein, in 2002, you guys dropped Aesop Rock’s Labor Days, RJD2′s Deadringer, and your own Fantastic Damage. What’s up next for Def Jux?

Well right now, my record!!! I worked real hard on it man. But down the line, Aesop Rock’s new record, None Shall Pass, which I think is his best record to date. Cage is in the studio working on his record. Everyone’s sort of just preparing. Def Jux is about to have a very serious year. We’re just all excited.

You get the final word about Def Jux and I’ll Sleep When You’re Dead. What do you want to tell the readers?

Tell you girlfriend or boyfriend to leave you alone for an hour and sit down with some headphones.

     For the most part, the film scores are dull. Tracks like “Afro Intro”, “Bazooka Fight” “Tears of a Samurai” and “Afro Samurai Theme (second movement)” are slow moving string arrangements, which hardly progress, and simply seem like filler. However, it should be noted that the intent and origin of these scores are for the TV series-which probably work well, but should have remained in that context. But for the purposes of this release, these scores are stale and unmoving. Moreover, instrumental beats such as “Afro’s Father Fight”,  “The Empty 7″ and “Ninja Man” have good moments, but are repetitive bars that loop over and over, and are not active arrangements with musical change-ups. The rap tracks on the album are also wildly inconsistent, making them a reflection of the project as a whole. “Certified Samurai” features Talib Kweli, while “Cameo Samurai” teams Big Daddy Kane and the Gza. Both held massive potential, but are tremendous letdowns. In addition, other emcees that appear on the album [Lil Free, Suga Bang, Berreta 9and True Master] all deliver very predictable verses that are neither colorful or warrant repeated listens. The production for said tracks also fall into the range of mediocre and/or dreary.

    But not all the songs are completely lackluster. “Just Lil Dude” finds Q-Tip delivering apocalyptic lyrics over a dark beat by Rza. Although such a song is atypical for Q-Tip, it works in this setting and the moods mesh well. Rza’s double duties on  “Fury In My Eyes/Revenge”, a melodic beat accompanied by quirky raps, is a great example of his ear for samples and his unique presence as an emcee. Included in this heavy-handed project are also five Bobby Digital bonus tracks from the upcoming album. These tracks are hit or miss, ranging from good verses with terrible hooks, to good beats with cliché raps. The standout is “Glorious Day” where Rza ponders “…A hundred blunts passed, before the god asked us, what’s the square miles of the planet, why is the axis slanted, how much is covered by water, how much is granite…” Hopefully, smart writing and sound production like this will be the fate of the next Bobby Digital project.

 Overall, Afro Samurai: The Soundtrack illustrates Rza’s range as a producer but unfortunately, also displays his recent inconsistencies as well. But on the strength of his past work and with the flashes of potency on this project, Rza will always have the potential of another masterpiece. But for now, Afro Samurai: The Soundtrack sure isn’t it.

    But on the other hand, if you’re one of the many in ’94 whose head still hurts from Boxcar Sessions, Good Game will compound your frustration, leaving you to wonder what happened to the once innovative wordsmith. Its hard listening to anything he’s touch since Boxcar without wondering what happened to the grime and complex rhyme structure of his past work. The production on this project is wildly uneven, sliding back and forth between hard breaks and flashy club anthems-none of which are remarkable or memorable. “Devotion” is a soft track with a cliche R&B hook, while “The Technology” is uptempo and bouncy. Although a contrast in sounds on a single album can mesh well, Saafir sounds out of place on both production styles. And if anything, the inconsistency adds to the lack of cohesiveness in the album’s sound, making it a very jumbled listen. Moreover, “Jihad” and “Hey Baby”, are as shallow and predictable as their titles reflect, with Saafir delivering thoughtless raps. Overall, the album is regrettably dull and unfortunately, lacks any hints of originality.

   So what’s left for Saafir? He’ll still get by on making mediocre albums due to his charisma alone. But nowadays, Saafir hasn’t just lost focus and progressiveness, but more importantly, he’s lost relevance in hip-hop. Can Saafir make another dope album? With the aid of a strict producer, of course. Will Boxcar Sessions prove to be the only project he’s remembered by? Most likely….at least for this writer. 

      His latest endeavor, 2K7: The Tracks is not only a collaboration album filled with independent and commercial emcees, but will also serve as the soundtrack for a [basketball] videogame of the same name. With this in mind, the vocals on the album are all loosely tied together with basketball metaphors, bouncy-uptempo production and primarily battle raps.

      On the independent side of the spectrum, Automator teams up with Aceyalone and Rakaa(of Dilated Peoples), Hieroglyphics, Zion I and Rhymefest. Although the talent here is abundant, the tracks are easily forgettable. “Don’t hate the player, hate the game” repeatedly yells Casual, on the Hiero track “Don’t Hate The Player.” With cliche’s like this abound and uninspired rhymes about dunking and passing a basketball, many of these tracks are snoozers that wouldn’t even merit b-side status.

     Other tracks that feature celebrated emcees, unfortunately,  are also unmoving. Names like Mos Def, E-40 and San Quinn, Slim Thug, Lupe Fiasco and Ghostface are all collaborations worthy of interest, but the end result are bland songs that contain no cohesiveness, creativity or chemistry between the talent involved. Like the collaborations with independent emcees, these tracks are also filled with lyrics like “off the glass” and “no look pass” or “lyrical fadeaway”- all of which is hollow writing, which seemingly serve to kill track time.

    Amongst the lackluster offerings, however, are two standout tracks; Jurassic 5′s Chali 2Na and Tribe Called Quest both deliver strong raps over typically solid Automator beats. Chali 2Na comes with his usual crisp delivery(“Anchor Man”) and the Tribe Called Quest track (“Lyrics To Go”) is actually a remix of the original classic, meshing well over a tension-and-release beat by Automator. In comparison to the rest of the project, these songs live up to the promise that this project reflected before its actual listen.
 
    Again, it must be noted that this project is for a videogame soundtrack, which usually translates into artists submitting throwaway tracks for a nice chunk of change. The weak basketball-related lyrics are purposeful, given the videogame it was written for, and the production probably couldn’t have been as wide-ranging as Automator usually aims for. Moreover, 2K7 is still a letdown, given Automator’s reign of consistency with projects like Gorillaz, Deltron 3030, and the Handsome Boy projects. With all the noteworthy emcees involved, one would also expect more than what they delivered, while the bland beats progressed little in comparison to Automator’s past epic production. So in summation, this release does work well as a videogame soundtrack- but as an album, it comes off tremendously trite. Thus, the pitfalls of this project is a reflection that it’s a videogame soundtrack, rather than a reflection of the aptitude and direction of the artists involved. Hopefully.

    The CD’s opener, “Moving At The Speed Of Life” by Asop, features fellow underground icon, Slug of Atmosphere. The production is a bit repetitive, but it allows room for Slug and Asop to deliver raps in atypical cadence. Although not a great song, it does have its merits, which is mostly grounded in smart lyrics and technically sound rapping. Luckyiam PSC, who has been the most consistent member of Living Legends in recent years- besides Murs – has two songs on this project that are very enjoyable. “Another Day” and “Rap, Rap, Rap” are cliche song titles, but the melodic production compounded with PSC’s laidback, unpretentious raps make these tracks very enjoyable. 

    On the subject of unpretentiousness, Grouch’s lament on the project “Artsy” is anything but. Grouch states, ” You ain’t artsier than me, because you a sixteenth Mexican, you ain’t ethnican.” What? The silly lyrics attack pretentious people by using stereotypes, but ironically, it’s Grouch that comes off smug, making the track off-putting. Besides the shallow lyrics, the song fails aesthetically as well. Other tracks which are also unmoving are 3MGs “2010″, which overly uses a very recognizable sample, and both Bicasso tracks which are dull and uninspired. Add to this Scarub’s “Close To You”, which is not only all over the place, but filled with cliched raps from the usually original emcee. Luckily, Murs’ “Love You Like This” is mellow and witty, much like his recent work on Murray’s Revenge, and G & E comes correct with stellar production and lyrics on  “Remember Who You Are.” Moreover, Sunspot Jonz “Purple Kush” is the surprise of the album, finding Jonz delivering smooth raps over a catchy beat. Although considered the crew’s weakest link, Sunspot’s time on this release is perhaps the best.

    Overall, this release is a testament of Living Legends’ talent and possible direction. Although some of the members can still rock the mic, combining smart content with clean delivery, others have taken sharp turns in their music, lacking the appeal of their previous work. But as a packaged product, Legendary Music Vol.1 is definitely worth your time, and at the very least, a few listens.

    The album features an array of emcees, spanning the spectrum from lesser-known wordsmiths, to the industry’s most beloved rap veterans. Regrettably, this formula makes the album not cohesive, swinging back and forth between solid beats that compliment emcees and others that sound awkwardly forced.

   Tracks like “Air” which features fan favorite MF Doom, “That’s What’s Up” with Vast Aire and “Nite Eats Day” featuring Beans all are stellar standouts, weaving entertaining verses with Dabrye’s signature electro-hop production. “They need to get their thumb out their rears/ show some skill the one time they come out in years,” laments Doom, which unfortunately, describes some of the other tracks on this CD.

   “Special” featuring Guilty Simpson and Paradime, “My Life,” featuring AG and “Get Live” with Big Tone all contain dynamic production by Dabrye, but the verses are lackluster containing predictable punchlines, making the listener wish that Dabrye would have left the tracks as pure instrumentals.

   On the subject of vocal-less songs, Two/Three’s high points are when Dabrye’s production breathes without the aid of an emcee. “Machine’s pt.1″ uses a beautiful melody that is reminiscent of a video game soundtrack, wrapped around vibrant claps and thundering bass. Likewise, “Joop” also uses a nice melody, but instead Dabrye melds everything together using a secondary melody that weaves in and out of a traditional break beat rhythm. Other instrumental tracks-most notably “Water”- are mellow, musically sound and make for great driving music, or enjoyable background noise.

    Overall, Dabrye’s latest offering is often weighed down by uninspired emcee guestspots and an occasional lack of change-ups in the production. Yet Dabrye’s endeavor leaves no doubt that he’s a gifted producer who can manipulate his equipment to create moods that are both dizzying and serene. Ending the project with “Game Over”, which features the great Jay Dee and Phat Kat, Dabrye’s final piece to his dark sound collage features a haunting melody that keeps the listener involved, and reflects his uncompromising delivery. Although filled with setbacks, Two/Three’s strong suite is ultimately Dabrye’s production, which only leaves the listener wanting more instrumentals from Mr. Mullinix.

    The first 1/3 album opens with “Rhyming Over Breakbeats”, “Summertime in the Town”, “Hungry” and “Something in the Air”. As you can probably tell from the song titles, Prozack isn’t concerned with blowing your mind or appearing deep- he’s just having fun. “Summertime in the Town”, much like the first 1/3 of the album, is uptempo and melodic, perfect for sunny days and barbeques. With Prozack proclaiming, “I’m all about fast things and brown girls with accents/ rocking my Buddy Holly glasses with the black rims…” His lyrics are light hearted, honest and funny, as is most of the album.

    The next section of Bangathon is a bit of a dull compared to the beginning of the album. Whether rapping about love (“The Ballad of Adriana Sage”) or the irony of dating hard-to-understand-women (“Club Girls”), Prozack is still pretty consistent, never going off on far tangents or lacking enthusiasm. Yet the production on the mid section of the album is monotonous and a bit lackluster-specifically “Stand Up” which is a choppy beat that utilizes a very bland drum programming. Thus, the mid-section of the album creates a lull that kills the momentum of the listen.

    However, the album’s title track “Bangathon” is produced by Prozack himself and reclaims the energy of the beginning tracks. Accompanied by Foreign Legion associate Marc Stretch, the track fuses guitar riffs with hard drums and an energetic hook: “If the beats too loud, maybe you’re too old!” Following that live energy, is the thoroughly enjoyable Brother Ali, who joins Prozack on “World’s an Uproar”. Produced by Quincy Tones, the production is mellow, soulful and perfectly compliments the subject matter. This track finds Prozack at his most introspective- “A new wave era/ paranoia and terror/ the age of Aquarius, I’m the water bearer…”- proving that he’s more than a party rocking emcee, and holding his own alongside the Minnesotan stunner, Brother Ali.

    Overall, Bangathon is a solid effort filled with quirky raps and good beats. Surely it’s filled with low points-most notably the sluggish production on the middle portion, a few songs that run a bit long and some repetitive subject matter- but it does let Prozack’s persona shine on its own aside from his Foreign Legion efforts. Also, it should be noted that Bangathon is a completely independent effort by Prozack, after Dreamworks shelved his original solo effort. Needless to say, Prozack proves he doesn’t need major label support or a marketing machine to make a charmingly dope album.

    Their fifth release, Pick a Bigger Weapon, is laced with keyboard synths, handclaps, basslines and pure soul. While Boots’ lyrics still reflect a genuine distrust of the government, calling for rebellion and action with almost every line, Pam the Funkstress interjects with cuts and scratches whenever the music allows. Add to the mix verses by Black Thought and Talib Kweli, along with production help from Tommy Morello, Parliament-Funkadelic, Dwayne Wiggins, and the Gap Band, and you have an uncompromising modern rap album. With this dense lineup, it’s indeed no letdown, as Pick a Bigger Weapon is perhaps the duo’s best work to date.

    Songs like “Shake Yo Ass” and “My Favorite Mutiny” find the same old Boots, delivering real life raps, not just rhetoric. The production on these songs are up tempo, funk-filled and perfectly compliment Boots’ energetic delivery. On “Laugh/Love/Fuck”, Boots proclaims: “I’m here to laugh, love fuck and drink liquor/and help the damn revolution come quicker” - which, in a sense, sums up Boots’ disposition. Other tracks like “Head (of state)”, “I Love Boosters”, “Tiffany Hall” and “The Stand” are revolutionary anthems, delivered funky party music. From geo-politics to everyday street imagery, Boots doesn’t sermonize or lecture; instead he remains committed to storytelling, with a passion that is very reminiscent of Chuck D on Public Enemy’s Fear of a Black Planet. Whether the songs use intelligent dark humor (BabyLet’sHaveABaby BeforeBushDoesSomethingCrazy), or are blatantly bizarre (Ass-Breath Killers), The Coup perfectly meshes great songwriting with rhythmic production.

    Pick A Bigger Weapon does have moments where the songs run a bit long (“Captain Sterling’s Little Problem”) and some verses seem redundant, but overall, the project is lyrically and musically solid. Boots tirelessly calls for action and distrust, in a way that sounds very organic and uncontrived. With the release of Pick a Bigger Weapon, The Coup maintains its position as ready-to-go-revolutionaries, who happen to make intelligent funky ass music.

With a discography that rapidly builds, and a mouthful of words to deliver, I caught up with Dose on a random weekday to pick the prolific artist’s brain. Much like his neurotic musical tendencies, his responses were quirky- but were also thoughtful and humble. For such a ballyhooed artist, Adam Drucker was refreshingly unassuming. Here’s what he had to say:

Music for The Advancement of Hip Hop seemed to have been released a lifetime ago. Can you tell us how or if Anticon-as a music collective- is different now than when that CD was released?

Extremely and not at all… Everyone’s still brimming with direction and this kindred, yet disparate, way of seeing the world. When Advancement was released we were all living in a three bedroom in Oakland; 9 people sharing a floor and shower, A-dat and dinners. Just before that we were in our respective Antarcticas recording and dreaming of bigger and more honest things. And now here we are doing the same thing. Each of us turned into a home and close core of collaborators. All of us still in a whole and releasing music toward the void or bounty around us…

So you’re saying your approach to making music has changed a bit?

Quite a bit. And after our van accident last February, Dax’s injuries…even more so. Just before the accident I felt as though I was amongst those who it was ideal for me to be making music with. Meaning everyone in Subtle and 13&God and so on. Yet I was growing somewhat embittered to the taste of releasing records, press pushes, touring tuff- all the things that remain half difficult yet ever so detrimental. And then after the accident, literally seconds after it, I realized that there was little else to life aside from meaning and those you are akin to. This left me understanding the reasons and pangs from which I make music…with renewed and certain clarity.

Does is bother you that Anticon’s music is constantly being labeled as one form of hip-hop or another? Is it bothersome, or are you indifferent about labels at this stage? Especially after your experience with the accident and all, is it annoying?

Yes it is. Well you know, to quote a Why? article… “Genre’s are for critics”. It has never helped me during the song making process to sit back and listen to my half made song and decide what genre I will paint it. However as a small business owner and a rather genreless music maker in general, there is a functional good to the genre’s concept- especially when it comes to those who seek out music from wherever they are in life, in whatever isle, on whatever web site, etc….

As a small business, like you said, what are your most basic intentions?

To live through our music and make a living through our music in turn. And as a label at large, we are sensitive to artists who have the similar fervor and intent. If all things business and creative click, we welcome them to the wild world of release schedules.

What current music have you been listening to lately? Who are some of your favorite current musicians?

As corny as it may come off, Why? is my favorite. Lately I have been glued to certain records, since I’ve been recording the new subtle record, I get very obsessive about listening to no music, or the perfect thing only. That being said…Fog, “Loss Leader”, Kate Bush, “Dreaming”, Public Enemy “Fear of a Black Planet”, Jel’s stuff, Saafir “Boxcar Sessions”, Broadcast “Tender Buttons”,  and some 200 versions of half finished Subtle songs.

Enough about other people’s music. Tell us about your latest record. What were you trying to achieve with this record?

There is a great deal of things; poems, field recordings, mistakes, bright moments that have never made it to the light of a previously released record. So Ha! was born. It’s a collection of footnotes, behind the scenes samples and motif origins that flesh out the spaces between Themselves, Clouddead, Subtle, 13&God and myself.

Ever think about producing an instrumental album?

Yes, it is in fact my next solo endeavor. But it will be done at the speed of find and alone time; which always escapes me and then finds me, in large spurts.

What are some of the things that strike you-positive or negative-about the crowds, the people you’ve encountered due to your music? Any places stand out? Why?

Hmmmm…well the more I meet them, the more they listen. The more I can concentrate, the farther things get. A lot of hip hop leaning people, want another Deep Puddle, Rock folks ask for another Clouddead and Subtle. Europeans ask for 13&God, and more music with Boom Bip. Musicians…say the show was good but the sound was kind of shitty. Midgets say…can’t you have a row of boxes or equipment cases up front, so we have a place to sit and see the whole show? So on and so forth…and sometimes when all the stars are crossed, people, fans, steal my props. Everywhere stands out that day, and then it’s a month later…catching up on emails and nursing a fresh lozenge.

Besides that instrumental album, what projects you have in store in the future?

On the far horizon…the next 13&God, to be recorded somewhere in the coming year or 2. A new Themselves to be done when Jelf. Magic Mike Patton and I have also kicked around some good clean killer’s interest in doing a record together as well. We just finished “For Hero: For Fool”, the new Subtle record, which will be out this summer.

What do you want people to say about Anticon-and you-when all is said and done?

Nothing too long winded. I’d prefer they listen with everything they’ve got and show it honestly to the ones they feel the most.

I think that’s enough of my silly questions. Thanks for your time man.

Thanks Dave, for your time and simply giving a hoot.

Perhaps one of the most underrated current producers, Rhode Island’s Joey Beats isn’t only humble and approachable, but is also extremely skillful at what he does. The production half of the Non-Prophets’ Sage Francis being the rapping half…Joe is constantly focused on his growth as a beatsmith. “I pretty much loathe all of my past work,” said the Rhode Island native, “Why?  Because I’m an amateur and I need to get better.  Point blank period.”

With a small but respectable body of work, Joey Beats’ latest endeavor is a remix project of sorts, which offers his rendition of Indie Rock tunes. Why would a Hip Hop producer whose idol is Pete Rock branch out and rework songs from bands like Deerhoof, Neutral Milk Hotel and Pinback? “I got sick of sampling the same shit.  When everyone went Library, I went Latin [and made the Non-Prophets record],” says the ever emergent producer. “Then everyone went Latin, so I went Brazilian.  Then everyone went Brazilian.  I got fed up and decided to take a dramatic turn.  In the end, I ended up sticking with Indie and made Indie Rock Blues.  Now everyone is post punk and, luckily for me, I got some other shit.  It never ends though.”

Whatever his future ambitions are, one can already see the obvious growth with each subsequent release.  With a new remix collaboration with Cunninlinguists just finished, a release with Bully Records in the coming year and a growing fanbase that anxiously awaits an instrumental full length, Joey Beats answered random questions I threw at him.

With genuine insight, humor and humility, here’s are his responses:

Q: Can you start of by identifying yourself for people who are unfamiliar with you and your music?

“I got by the unfortunate moniker Joey Beats.  I am a producer.  Some may know me through the work I’ve done with Sage Francis to form the duo Non-Prophets.  We’re exploring careers as soloists.  My latest solo project is called “Indie Rock Blues”.   In short, it’s a bunch of Indie Rock remixes I did and compiled in an unpaused mix.  Danceable melancholy for the depressed.”

Q: Let’s get into your past a bit. What made you get into music production? How did you get started?

“The first time I heard Pete Rock back in 1991 I wondered how he did it.  I didn’t get the chance to start making stuff until about 7 years later in college.  I worked at the radio station where they had production equipment and 30,000 promo records.”

Q: Obviously the approach to making an instrumental track differs from making one for rhyming. But which process do you prefer as a beatmaker? Which is more fun/fulfilling?

“Now?  Making instrumental music.  On the real, forget emcees.  Divas, all of them…haha.”

Q: How many hours a day do you devote to making beats? Is it a daily thing or a spur- of- the-moment thing?

“I work in chunks.  When I have a specific direction or project in mind I focus intensely, dive in head first, and can work pretty fast.  For example, half of the beats for the Non-Prophets record were made in a two- month span.  Of recent I haven’t been working on stuff as much as usual because of the release of Indie Rock Blues.  I do everything on my own -right down to assembling each and every cd.  My workdays have been consumed with doing individual orders of Indie Rock Blues.  As long as I stay distracted with that, I’ll be happy.”

Q:  What was the last song you heard that absolutely blew you away? Why?

” Deerhoof – Gold on Black.  It’s an older song of theirs but I just caught them live last night and they played it.  I always liked the track but couldn’t appreciate it in full until I saw it live.  They did a variation on it and it floored me.  The drummer is a friggin’ maniac.  I need to do what he does, but do so on the 404.”

Q: Who are some rappers/singers/producers that it’d be an honor for you to work with?

” I stopped asking myself this question a long time ago.  Whomever I mention Dangermouse will probably make end up making a record with.  So…whomever Dangermouse is working with, hahaha. ”

Q: What’s it like being in the studio with Sage?

” I don’t know what it’s like being in the studio with Sage.  Normally, I mix down the beat with the engineer (Chris Warren) and then Sage comes in for the next session to lay down the vocals.  It’s a formula that works best for us.  As for the times before that, I can’t call it.  I wasn’t experienced enough back then to have an opinion on it now.”

Q:  How was the touring experience? Any thoughts about a Joey Beats tour?

” I loved it. I had a great time.  At the same time, I was under a lot of illusions.  However, I hope to be on the road soon again promoting solo work.  Although next time it won’t be all fun and games.  I look forward to that.  I will probably have to incur a lot more responsibility than I had to before.  In that sense it will be more rewarding.”

Q: Will we see more projects of this nature from you from now on?

” Yes. I will continue to make uncompromising music that people cannot categorize and, as a result, will not sell.”

Q: Can we expect a purely instrumental album from you anytime soon?

” Yes.  I don’t know when it will be ready.  Once it rivals the big two, I guess. In the meantime, you can check for some true instrumentals of mine to be released on Bully records in the coming year.”

Q: How did the collaboration with Cunninlinguists come about? Are you pleased with the end result?

“YES!!! I’m very pleased.  A Piece Of Strange is a fantastic record and I’m very honored to be considered a small part of it with the remix I did.  Kno emailed me and asked if I would like to do a remix.  I was flattered at first.  But then when I heard the album, I was sold. Buy it.”

Q: You’ve been pressing on for a minute now. Any last comments for followers of your music who’ve paid attention to your production since The Non-Prophets record “Bounce” was released in ’99?

” You will hear and see more from me in 2006.  I have a split 7″ coming out on Shake It Records with the one and only Maker.  There will be a 7″ for “Indie Rock Blues” very soon.  The B-side will feature a new remix not on the original release.  I have another 12″ dropping this year; one of the tracks is a song I did with an emcee named Blak (from One Drop).  Last but not least, I plan on finishing an EP for Bully Records which will also be available online as an E-label release.  I have some other tentative things in the works but I won’t go into all that now.  In the meantime, everyone should download my new cd Indie Rock Blues on any of the file sharing programs.  If you like it and would like to own a copy with the actual booklet, you can purchase a copy directly from me off my webpage, www.joeybeats.com.”

   Dose One’s Ha is as disjointed and weird as you would expect from Anticon’s oddball emcee. With songs that encompass a wide array of production techniques and rapping styles, one can surely find something they like-or hate-from this album.

   The title track finds Dose singing over strange, slow moving melodic bleeps and clicks. As the song seemingly settles into some sort of rhythm, it switches into Dose rapping – somewhat – with distorted mic effects. With the production as random as his lyrics, this introductory track sets the mood and pace of the entire album; hit and miss.

   Tracks 2 and 3 are similar to one another in tone and pace. With production that slowly builds, Dose sings, whispers and talks his way in and out of the beat. Yet at the song’s climax, we are left wondering why we invested time in the build up. The production on both these tracks have some very enjoyable moments – notably the melody 3/4′s of the way into track 3 – but these tracks do require a lot of patience with its dreadfully slow pace.

   The next song can be considered the most conventional track on the album. With electronic production that is both rhythmic and catchy, Dose displays his versatility as an emcee by spitting rapidly and coherently over the beat. The track ends with Dose proclaiming, “The older I get the more life starts to make sense?”. This track, “My Horoscope I & II” indeed makes sense and is in many ways, the album’s highpoint.

    After the highpoint that is “My Horoscope I & II”, the album’s next 3 consecutive songs are arbitrary and unmemorable. With production that builds and never quite release, the random beat switch ups, strange noises and voice effects sound like Clouddead b-sides-but without the charm or focus.

   The last song on Ha is a good reflection of the entire listen as a whole. Encompassing many different musical elements, the production is all over the place. With hit and miss results, Dose uses the album’s closer to display some tongue twisting and abstract lyrics that work as entertaining visual rhymes. Although the song lacks any sort of structure, it is able to capture the your attention and entertain. Yet when the song finds its momentum it lapses into an unnecessary 2 minute silence before we find Dose sarcastically rapping about himself. “You sound like you tried too hard?” says the peculiar emcee.  

   Whether this album is for you or not is dependant on your patience, open mindedness and prior like or dislike of Dose One. Full of unnecessary elements-laps of silence, abrupt changeups and incoherent speech-this album is consistent in its inconsistency. Love or hate Dose One, the album does reflect his genuine effort as a musician, and listening, you can be assured that this is the exact album he wanted to make. What might seem unnecessary, surely, was intentional. Versatile, risk taking and anomalous, Dose One’s Ha is a bit contrived and lacks cohesion, but does have some very likeable components.