iHEARTDilla.com

Interview | DJ Short-E: Keeping Turntablism in the Frame

Richard Evans — Fri, 03 Feb 2012 17:34:17 +0000

DJs and turntables were the founding elements of hip-hop.

Kool Herc and other DJs would tap into the power lines to connect their equipment and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, a historic building “where hip hop was born”.

Later DJs such as Grand Wizard Theodore, Grandmaster Flash and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.

Then in 1983 Herbie Hancock’s, Rockit became the first recognized popular single to featurescratching and other turntablist techniques, performed by GrandMixer D.ST.

Despite largely fading from popular view shortly after, the 1990s saw the emergence of pioneering artists (Mix Master Mike, DJ Q-Bert, DJ Quest, DJ Krush, A-Trak, Ricci Rucker, Mike Boo, Pumpin’ Pete, Prime Cuts) and crews (Invisibl Skratch Piklz, Beat Junkies, The Allies, X-Ecutioners), record labels (Asphodel), DJ Battles (DMC) and the evolution of scratching and other turntablism practices.

So where can you go to learn?

Drummers, guitarists, beatmakers, bass players piano players all have thousands of teachers to choose from either online or in person and so do budding DJs and turntablists.

Studio Scratches www.studioscratches.com is an excellent resource run by Bristol UK, DJ Short-E (Emma Holmes) which is dedicated to assisting people become excellent at the art of scratching.

It features articles and videos including scratch tutorials, how to scratch, free beats for scratch practice on “Free Beat Friday”, interactive scratch training videos, or Q&A videos and many other hints and tips surrounding the art of scratching.

Emma started mixing house and drum and bass at university but when her brother got some decks everything changed.

“He showed me some scratching and I was blown away and decided there and then that was what I was going to do no matter how hard or how long it took. I felt like – this is it!,” says Emma.

Music was very much part of the family. Emma played the flute but always wanted to play the drums and with her parents always buying vinyl, the stage was set.

It didn’t take her long to discover hip-hop.

“Hip hop, soul and funk have a special place in my heart, but i also love soundtracks and pretty much any genre except death metal hardcore stuff. I remember when I found out that hip hop came from old records I was mesmerised and just started researching and digging back through. I’m a bit sad I was out the loop in the 90s! Better late than never though. I love the golden era of hip hop. And of course Dilla!,” says Emma.

Her favorites are too good to argue with and include T.R.O.Y. by Pete Rock and CL Smooth, ATCQ, De La Soul, The Pharcyde, Dilla, The Roots, Gang Starr, Dilated Peoples, People Under the Stairs, Damu, Dilla and 9th Wonder.

She started DJing in 2000, with her her first gig in a south west city in the UK but soon graduated to Europe and says her most memorable was an appearance at the world famous Red Bull Academy in Rome.

Teaching was the next step and Emma says that a love of helping others drove her down this particular path.

“I want to build something that actually matters. I want to be an influencer. I want to build a community. I want to help people make positive change in the world.”

“I have worked hard at scratching and I feel like its my responsibility to share everything I can around it. It’s a legacy project. I want people to be happy! If scratching helps then I am happy,” says Emma.

The website was set up in 2009 and membership is constantly growing with complete beginners and students that have been scratching a while all mixing, sharing and helping others.

As for the future, Emma is positive.

“I actually think that more and more people are becoming interested again. I get daily questions from people on youtube asking how to get started or what gear to get. I’m always surprised as people keep telling me that turntablism is over.”

Back in the day there was a certain snobbishness from musicians about all things hip-hop and DJing but Emma believes that has all changed and now musicians readily accept DJs as part of their world.

“My experience has always been super positive, even playing with world class musicians across the world. Most people are really interested. With people like DJ Radar and Shiftee playing with orchestras, the profile is getting raised all the time,” she says.

Thanks to people like Emma it seems that DJing has a future and a place among musicians who once wouldn’t dream of getting together with a DJ.

Links:

Studio Scratches: http://www.StudioScratches.com

Beats Store: http://StudioScratches.bandcamp.com

Facebook: http://www.facebook.com/StudioScratches

YouTube: http://www.youtube.com/StudioScratches

Gear :

Rane ttm57sl

Technics 1200 mk II

Sennheiser hd-25

Butter rugs

Shure m44-7

Serato scratch live

Genelec 6010a

Canon 600D

Interview | Kooley High: Always Carolina

Ryan Palugod — Fri, 03 Feb 2012 15:43:27 +0000

The North Carolina hip-hop scene has grown over the last several years. Little Brother was one of the first acts to come out of North Carolina and receive national acclaim. Last year, other hip-hop artists from North Carolina such as 9th Wonder, Phonte, and J. Cole released highly anticipated albums that were well-received. North Carolina was an untapped market, but is currently a flourishing area with talented hip-hop acts.

One group from Raleigh, North Carolina that has been receiving national attention for their smooth sound and their effortless ability to rock a mic as well as a track is Kooley High. Kooley High consists of three emcees, Charlie Smarts, Rapsody, and Tab-One; two producers, Foolery and The Sinopsis; and one deejay, DJ ill Digitz.

With their release of their latest project, David Thompson, iHEARTDilla caught up with three members, Charlie Smarts, DJ ill Digitz, and Foolery, of the acclaimed group Kooley High. They shared their thoughts on working together as a group, their relocation to New York, and the state of North Carolina hip-hop.

iHD: Having chemistry and the ability to mesh well is important for any group. At one point did you know that there was chemistry among the members to form a special group?

DJ ill Digitz: I think the first time I realized we had chemistry was when we were making the H2O Compilation. The H2O Compilation was put together while we were still at NC State and throwing events under the campus organization name H2O. I was really psyched on how it came out and, at that point, I felt like we could continue to make good music.

iHD: With six members of your group, each member may have a different idea or concept when approaching a track compared to another member? As a group, how do you overcome this challenge?

Charlie: Try and fail, followed by try and succeed. Everyone can tell when something is hot. We just communicate as much as possible.

Digitz: It’s truly is a democratic process. Everybody has a voice, and we try our best to come to a decision that takes everyone’s viewpoints into account.

iHD: Since relocating from Raleigh to Brooklyn, what type of influence, musically, has Brooklyn had and how has it affected your growth as a group?

Foolery: The type of music we make has always been rooted in the hip-hop of New York City. I think more than anything, living in Brooklyn helped to get a global perspective on what is happening with music. New Yorkers catch on to trends more quickly than the average North Carolinian. Being able to see what the “hip” kids were just getting onto helped to see where the trends were going. Also, I’ve started paying more attention to aesthetics that make people dance. I don’t know if that comes from Brooklyn or not. Regardless, Brooklyn has such an extraordinary and unique energy about it that its vibe will find its way into your art and thought process whether you are aware of it or not.

iHD: Your latest project, David Thompson, came out late last year. Like your other albums, there are many references to Raleigh in addition to North Carolina State sports legends. Is it easier to write lyrics and reflect on North Carolina when you’re living in North Carolina compared to writing lyrics and reflecting on North Carolina while living in New York? Also, does it affect your writing process?

Foolery: Honestly, it may be easier because when you are away from home you can really see it for what it is. You can sit back and see the whole of it. Whereas when you are in the thick of it, there may be subtleties that you’re so used to they don’t even get a mention. Leaving North Carolina made me love it even more.

iHD: Compared to Summer Sessions and Eastern Standard Time, David Thompson, in my opinion, has a different sound. What would you attribute the change in sound to?

Charlie: The album is cohesive partially due to the fact that four of us lived together in a small New York apartment. I feel like you could hear our new found hunger in the lyrics.

On the beats, we called upon the homie DJ Pr!nce for the bulk of the work. He lived in Brooklyn at the time so we would stop by each other’s places and music would happen. Dude got FIYAH. Napoleon Wright II (Foolery’s Brother in Law) gave us a stack of beats before we left North Carolina…it really came in handy. We met Tecknowledgy at A3C in Atlanta and have been friends ever since. This album was basically made by a big group of friends.

Foolery: I think we have grown a lot since we finished recording Eastern Standard Time and the group writes songs more masterfully. The natural growth accounts for some of the change in sound, but most notably it’s the production on David Thompson that makes it different. And though Rapsody appears a few times on this project, her lack of presence throughout also altered the sound.

iHD: In many ways, DC and North Carolina are alike in that these are two overlooked areas with untapped talent in the hip-hop community. I find that many emcees and producers in the DC area are supportive of one another. Do you find the same support with your fellow home state hip-hop musicians? How much have you connected with J. Cole, Little Brother, and the Justus League with not only supporting each other, but elevating the growth North Carolina hip-hop?

Digitz: North Carolina is also very supportive in that way. For me personally, I came up and really fell in love with hip-hop during the time The Justus League was flourishing. Little Brother and other artists from the League are the foundations of my style.

Foolery: DC and NC are both included in what some refer to as “The Middle East Coast”. As far as North Carolina specifically, Little Brother and the Justus League opened the door for us. They paved the way. They created that “NC Sound” that got international recognition and the music that we make is an extension, a continuation of that. We’ve gotten a chance to speak with J. Cole a handful of times. He’s always offered words of support and he’s worn our t-shirt in pictures with other famous people, rappers, and shit so that’s cool too.

iHD: North Carolina hip-hop has grown in the last several years. Where do you see it in the next five to ten years? How does the Kooley High and Inflowential fit into that growth?

Charlie: More acts breaking through in the future. Bigger moves by the acts that are on the come up.

Inflowential’s genre bending style is hard to categorize even though it has hip-hop roots. I look forward to seeing them finally release a proper full length album with the right backing.

Kooley High will be known as one of the best hip-hop groups around…not just from NC. There are few groups in hip-hop that continue to show growth musically and professionally the way that we have.

Foolery: Hopefully more young artists will emerge, and the ones that are already around will continue to gain fans and recognition. At this point, I feel that Kooley [High] is one of the pillars of NC hip-hop when you look at North Carolina’s reach in the national arena. I think we helped bridge the gap between the early Justus League momentum and some of these younger artists who are now emerging on the scene. I think we helped inspire some of the younger artists to go hard because they could come and see us perform locally, when the Justus League might not have been as easily accessible. Hopefully we will continue to do that for people.

iHD: What do you want people to know about the North Carolina hip-hop scene?

Charlie: The revolution will not be televised… but it will probably show up on the internet somewhere. Seek and ye shall find the dope local shows. People support when they know about events…but getting them to know can be difficult at times.

iHD: What can your fans expect next from Kooley High, musically?

Digitz: We really want to get back to our roots with our next album and make something that all six members are heavily involved with and create together.

Charlie: A surplus of head noddery. Another couple projects in 2012 from Kooley High, the group, as well as the individuals in it. Stay Tuned at http://www.kooleyhigh.com.

iHD: Thanks Kooley High for taking the time out to interview with iHEARTDilla! I really appreciate your time and much more continued success on David Thompson. I look forward to hearing more of you this year.

Contact info:

Website: www.kooleyhigh.com

Twitter: @KooleyHigh

Interview | Sa-Roc: Queenly Hip-Hop Griot

Lashay Basnight — Thu, 02 Feb 2012 20:00:56 +0000

“You and I know the difference tween a rapper and a rhyme spitter grabbed a microphone so I could falsify your lies quicker. You ain’t never heard the goddess heavy hitter but I guarantee that everything you do I do it bigger. Did you hear me?” Quoted lyrics from one of her tracks entitled, Star of Siam. You won’t find her gracing the pages of too many internet scenes; she has a way of grabbing your attention without even trying. But once you discover her, you’ll want to hear more. Sa-Roc hails from Washington, DC by way of Atlanta, Georgia. This sista’s lyrical prowess isn’t like some female emcees. She doesn’t seek to be different or not of the norm. She only seeks to spread wisdom, love, and shed light on music with substance. She and Atlanta producer, Sol Messiah created various musical jewels since 2002. Beginning with the album Astral Chronicles, she gives you a taste of the metaphysical dope-tivity of what’s in store. Then she dropped Journey of the Starseed, she takes you on a trip through her mind’s eye of the hip hop industry. She released Stardust: Rare Joints, B-sides, & Remixes, she spits her gift on a couple distinctive and memorable hip hop instrumentals. Especially on the soulfully rich Jay Electronica instrumental of the track Exhibit C and puts her own spin to it by entitling it Exhibit She Remix. On her next album Supernova, she gives you the roots of her real lyrical inspiration through Africa. Finally her latest album entitled, Ether Warz, which is indeed an amalgamation of the dopest other worldly lyrics. I, of course wanted to dig into the realms of this queen’s background and daily inspiration:

iHD: Before kicking rhymes of a metaphysical nature and inspiring women of all ages to develop knowledge of self. What was young Sa-Roc’s inspiration? Who was she listening to as a seed?

Sa-Roc: I listened to everything from Gil Scott-Heron to Pharoah Sanders. I really fell in love with Billie Holiday, Jimi Hendrix and of course Stevie Wonder. Donny Hathaway was my favorite too. As a pre teen I developed a taste for alternative rock from Nirvana to Green Day to The Cranberries to Bjork. I also developed a love for the electric guitar. I used to listen to all of that, it was just that type of eclectic mix that drew me in. I was still listening to Billie Holiday but I didn’t develop my of love hip hop until I was about 14. I actually started listening to it via the radio. I was like, “wow this is dope”. I was really into Outkast but it was never like the predominant thing I would listen too.

iHD: How did the term God Hop come about? Did you and Sol Messiah come together and create it or did you come up with it on your own?

Sa-Roc: Yes, we both created it ‘cause we’re together all the time. We started saying it at shows at first but we were saying, shit hop *laughs which was a representative of how poisonous the music on the radio can be. Not trying to denounce it all but SOME of the trashy music out there was just terrible. It kind of stemmed from that…eventually it just clicked with our audience.

iHD: Oh believe me I understand *laughs.* You make reference to outer space and not being of this earth. A lot of artists claim they’re aliens to symbolize difference or to stand out from their peers. But you use these terms in a much more spiritual context, correct?

Sa-Roc: I do, some of my lyrics are referenced in a Kemetic text. And one of the things that resonated with me was the fact that I think in the Book of Coming Forth by Day there were references made discussing dimensions. What is a dimension? It’s described as a surface or plane derived as planet…plane…planet. I feel like none of us just originated here on this planet or how we came here. Even at an early age I always felt that way. Not just symbolizing it as trying to be different or being on a doper level. Or saying that “I’m just so dope,” I mean I am dope! *laughs.* But no, I do truly believe we come from a different star system and we travel through star gates. When we let go of these bodies we do travel to other planes or planets or other star systems.

iHD: Exactly, a lot of folks would call me crazy for believing in that same logic because some believe that when you die that’s the end of everything but I do believe in other lives and heavenly bodies. But I won’t get into that because that’s a whole other topic of discussion…so yea moving on *laughs.*

iHD: I can’t lie when I found out you were from the Washington, DC area I was super amped (shout out to my sister, Aisha Betancourt for introducing me to your music). Not only because you’re from here but also because you’re a female emcee of substance and individuality. Don’t get me wrong I have mad love for all the female emcees here but there aren’t too many female emcees that kick the same lyrical content that you do. I do know of some that are similar but they don’t spit it quite like you. At the pinnacle of your hip hop journey, in this area do you feel like your fan base was larger thanAtlantaor was it about the same? And is it hard to market intelligent music?

Sa-Roc: Well actually, I didn’t intentionally start rhyming until about 3 ½ years ago so I didn’t have any experience really performing in the DC area. I think the world is ready for some other stuff. There is a point of degradation going on right now but there are so many other people that want to hear more than what they are getting. I don’t believe in the limitations that they put on intelligent music or conscious music, you know telling artists that you can’t sell this or you can’t sell that.
iHD: I couldn’t agree more! I hate to admit it but yes, the radio does not suit me these days regardless of what some folks think. That’s why I’m so glad I found your music. You’ve come in contact with some heavy hitters in the industry including Stic.Man of Dead Prez. But on your latest album entitled Ether Warz, the first track features Afrika Bambaataa doing the intro. It’s called, War of the Gods. When I saw the name on the track I was like wowww! The queen is amongst hip hop royalty *laughs.* By the way the album is fiyah.

Sa-Roc: Thank you!

iHD: No prob. So what was it like to work with Afrika Bambaataa?

Sa-Roc: It was amazing. He is the creator of the Zulu Nation Chapter. And I always expressed interest in wanting to work with him and I kept missing the opportunity then eventually I finally got a chance to meet him inAtlanta. I let him hear my music and he really loved it which was an honor within itself. Not only is he the “Grandfather” of hip hop but he’s also a lover of music. I went to one of his parties in DC which he deejayed for. This was like 10 or 11 years ago. He was playing everything from hip hop to go-go to samba. He has an ear for true music; he’s also played my music on his radio show. He wanted to get involved with the movement. We didn’t do the track in person; he called and was like I’m ready to do my thing. He has a beautiful spirit and it was just an honor because the connection was amazing.

iHD: Wow, I’m sure it was. That’s what’s up! Now when folks think of the term ‘ether’ in the hip hop sense, they think of NaS and Jay-Z’s rap battle. But in creating your album how did the title come about and is there significance to the album art?

Sa-Roc: Yes, actually there is a representation of the spiritual realms; a place where our ancestors and the deities dwell. I named it Ether Warz to call attention to the fact that we’re at war on a deeper level than we can actually perceive with the naked eye. It’s deeper than the war on terrorism or the war inIraq.

iHD: Yes! Thank you for breaking that down because I don’t believe anyone would have figured that out. *laughs* Well I certainly appreciate you taking time to rap with me queen. I know I’ll be hearing more about you soon.

Sa-Roc’s latest album is Ether Warz amongst her other albums can be found here:

http://solmessiah.bandcamp.com/album/sa-roc-ether-warz-2

Official Site: http://www.sarocthemc.com/

Twitter: http://twitter.com/sarocthemc

Youtube: http://www.youtube.com/user/SAROCTHEMC/feed

Event | For Lovers 2.11.12

Jessica Estevez — Thu, 02 Feb 2012 19:24:05 +0000

Saturday, 2/11

For Lovers:

Raye 6

Cocoa Sarai

Scienze

G Martin

Hosted By: Fresh Daily

21+ w/ ID

admission: $15

door time: 8pm Doors

Video | Ray J – Let It Go (J Dilla Remix)

Jessica Estevez — Wed, 01 Feb 2012 21:23:54 +0000

Bling47.com is now up and running and Jeedo has posted a rare video/audio from one of his old cassettes of J Dilla’s work featuring Ray J.

There are plenty of music collectors that claim to have “All Things Dilla.” Maybe that’s true, if there is such a thing. With that said, I can honestly say that I’m fortunate enough to be amongst this breed. And it’s not because I am the most internet savvy or because I belong to some special group of music nerds that have the rarest shit. In fact, I only have possession of this rareness because I happened to be there when it all happened! And for whatever reason, call it divine intuition, I kept every cassette tape I was able to get my hands on. I tried to collect every beattape, remix or freestyle possible. Even when we were just hanging out in Dilla’s basement in Conant Gardens, I’d often bring my hand held recorder and just tape us talking shit about any & everything.

Dilla was never the type to hoard music. Very often he’d make mixtapes for us to listen to while we drove around in his sparkling green Beamer. Those leather terracotta seats were the place to hear tracks that would never see the light of day to anyone outside of our small circle! I remember it was a fall afternoon in 1996 and he and I were driving to a record store when he first played me the Ray J “Let It Go Remix” Version 1. I loved it then just as much as I do now. Excuse how quiet the recording is, I beat this tape up playing it over and over. The track was never released and only a very, very small hand full of people on this planet have even heard it. And now you will be among them…

Enjoy

Jeedo

Check out Let It Go ( J Dilla Remix)

Audio | J57- The J57 Collection

Jessica Estevez — Wed, 01 Feb 2012 19:21:05 +0000

Brown Bag AllStar, J57, teams up with Bash Brothers own, DJ Concept to bring you: The J57 Collection.

Click here to download the entire project for free.

Audio | illiad Presents – The Ill Beat Tape

Jessica Estevez — Wed, 01 Feb 2012 18:47:02 +0000

Check out Chicago Hip Hop producer illiad’s instrumental project entitled, The Ill Beat Tape.

Click here for free download.

Contact info:

www.twitter.com/artofilliad
www.facebook.com/shaunhumes

Audio | Copywrite – Rest In Power

Jessica Estevez — Wed, 01 Feb 2012 18:29:52 +0000

Newly released single from Copywrite, Rest In Power which will not be included on God Save The King.

Like this track? Click here for free download.

God Save the King will be released later this month.

Audio | The Cranberry Show – Sail

Jessica Estevez — Wed, 01 Feb 2012 18:16:03 +0000

The Milwaukee duo The Cranberry Show released a single entitled, Sail.

Production by The Smash Boiz.

The track is a remake of the original record from Awolnation. This is the second and final leak from their up coming free album Paranormal Karaoke which is set to be released via djbooth.net and donutsandmilk.com on 2-1-12.

Like it? Click here for free download.

Audio | Substance – Everyday Struggle

Brandy Varnado — Wed, 01 Feb 2012 18:01:28 +0000

Listen to Substance’s brand new single entitled, Everyday Struggle from the Substance Abuse mixtape.

Produced by All Purpose Beatz.

Click here to download the entire mixtape.