A History of UTFO and the Roxanne Wars

by Dustin

UTFO

The 1980s were an interesting decade for hip-hop as a genre that had just begun to find its footing. The classic artists of this era are often remembered for one of two things: infectiously bouncy party music, or gritty socially rooted rap. Yet, aside from the big names – N.W.A, Public Enemy, LL Cool J, Run D.M.C., The Beastie Boys, and a few others – rap from this particular point in history seems have found itself overshadowed by the behemoth that is 90s rap. Yet, if one is up to doing a little digging, there are a ton of very interesting artists to be discovered. One such group was Untouchable Force Organization, or as they were more commonly called, UTFO. An east coast rap group that brought a unique flavor to the sounds of the 80s.

UTFO formed in Brooklyn, New York in 1984 when two of Whodini’s regular break-dancers, Doctor Ice and Kangol Kid, made the decision to pursue a music career of their own. The two enlisted the talents of The Educated Rapper and Mixmaster Ice to round out a quartet. Thanks to the group’s pre-existing connections to the music industry it didn’t take them long to find a label to call home. In this case, it was Fred Munao’s Select Records that decided to take a chance with the group. The slightly more experienced R&B outfit Full Force was brought into the fold to assist the newer UTFO, tasked with overseeing the production of their debut studio album. Full Force took this job to heart, and sought the help of sampling and sound design expert Gary Pozner to assist with the instrumental portion of the record. Armed with some of the best in the industry, UTFO was primed to make a splash in hip-hop with their self-titled debut album. Which, is exactly what they did; in fact, the group probably got a bigger response than they bargained for.

Their freshman release is regarded by many hip-hop enthusiasts as a slept on classic, with its unique beats and flows for the era; however, UTFO as an album is still mainly known for setting off a massive string of diss tracks known as the Roxanne Wars. During the promotional run of the album, a track tilted “Hanging Out” was released and performed relatively terribly in terms of pure numbers. The b-side of the single, however, would go on to receive huge amounts of airplay. This song was titled “Roxanne, Roxanne,” a comical track about a hypothetical girl who had ignored the advances of the various UTFO members. Around this same time, UTFO missed a scheduled performance, much to the dismay of venue promoters Marley Marl and Mr. Magic. A 14-year old Lolita Gooden (known by her stage name Roxanne Shante) heard the men discussing the problem, and offered to write a song to fire back at UTFO. Surprisingly they took her up on this offer, and Marley Marl opted to handle the track’s production.

The fruit of their labor would be released not long afterward. It borrowed the original beat from “Roxanne, Roxanne” and was named “Roxanne’s Revenge.” Local radio stations adored the song, thrusting it into instant hit territory with continuous airplay. UTFO and Full Force saw the humor in the situation, and promptly contacted Elease Jack to perform vocals on their own answer track, “The Real Roxanne.” On this song, Elease claimed to be the actual Roxanne originally dissed by UTFO, and took jabs at all four members. This sparked Roxanne fever in the New York hip-hop scene, and artists entirely unrelated to the original incident began releasing Roxanne songs. Topics ranged from claiming to be Roxanne, claiming to know Roxanne, or in one particularly outlandish case, claiming that Roxanne was a man all along. It was such a craze that close to a hundred Roxanne songs were estimated to have seen release in the span of a few years. Though this seems highly likely to be exaggeration, there is no doubt that UTFO made their biggest splash with “Roxanne, Roxanne” and the time period around their debut album.

Perhaps unexpectedly, this was basically where UTFO’s career peaked. The Educated Rapper wasn’t on the group’s sophomore effort, Skeezer Pleezer. And the album itself didn’t garner much attention, apart from the song “Split Personality.” Their next three albums would also fail to meet expectations even though the group experimented with other sounds such as rock, swingbeat and reggae. Ultimately, the hypersexual Bag It & Bone It released in 1991 served as the endpoint for UTFO. The four men parted ways on good terms, and stayed active within the music industry in more subdue roles. They knew when it was time to call it quits, and that never impacted the lifelong respect they had for each other. A true testament to this was in 2017, when all of UTFO were reportedly by Educated Rapper’s bedside as he lost his battle to cancer.

Though they faded out of rap in an unspectacular manner, UTFO’s legacy should probably be spoken about more than it is. As ridiculous as they may have been, the Roxanne Wars were one of the first instances of beef extending beyond a one off diss and response. Their influence on modern artists was also far greater than one would expect, as evidenced by the outpouring of respect and love over the internet following The Educated Rapper’s death. UTFO helped paved the way for individuals that didn’t fit perfectly with the sound of their time. In most respects they were absolute eccentric oddballs compared to their contemporaries, but the group’s genuity left a lasting impression on the hip-hop scene. In retrospect, the present day alternative artist may not have even existed without the lane UTFO began to carve. While they may appear to have been a one hit wonder on the surface, it goes much deeper than that. Doctor Ice, Kangol Kid, The Educated Rapper, and Mixmaster Ice were four of the most important, but least spoken about individuals in the support structure of hip-hop.

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Album Review: CURTA – End of Future Park

by Dustin

endoffuture

8/10

Life as an independent artist is one heavy with fraught uncertainty. Finding footing amongst industry giants and a never-ending feed of new music is challenging enough without frequent shutdowns of the few venues which cater to the scene. Many feel nomadic, resulting in a strong urge to return to a fleeting musical home. It was no different emotionally for two CUTRA and 4Digit, so they took these feelings and concentrated them into a project of musical venting. The result, End of Future Park, ended up equal parts mournful and celebratory. It served as a sort of “homage to [a] place which doesn’t exist anymore; never existed; or will maybe exist at some point in the future.” Quite honestly, it was done extremely tastefully.

As with Click-Bait, 4Digit handled the production in its entirety on this release; however, End of Future Park was gloomier and significantly more experimental in nature. The project had an unsettling dystopian vibe, cultivated within the instrumentation by selective use of glitch and electronic elements. In some ways, the production followed a similar formula to some of clipping.’s earlier material by taking the foundations of hip-hop and twisting them with blowed out noise and synthetic heaviness. That’s not to say that it was derivative though, as the production was still noticeably his own flavor. The final track was also created using a curated mix of his left-over production prior to relocating. It may not have been the headliner on the album, but it was a lovely bonus to the total package.

On the vocal end of things CURTA wasted no time in proving he and 4Digit’s chemistry as a team. His exasperated, hyper-observant style complimented the glitchy and dark production wonderfully. He displayed the ability to inspire a painful hopelessness with his lyrics and delivery, similar to an artist such as Joe Horton of No Bird Sing. He isn’t the flashiest or most technically advanced of emcees, yet he always seemed to bring exactly what a track was calling for. His vocals also had an almost live-show quality to them, which was the perfect organic contrast to the heavily computerized instrumentation.

To keep it short and sweet, End of Future Park sounded like a rap concert happening atop a busted motherboard…that’s being said in the most positive way possible, because it truly was a fun experience.

Featured artists were kept to a minimum on this release. There was however a single guest, and he was a rather interesting one. This was of course Milwaukee-based WC Tank, perhaps most notable for his involvement in the production of music videos for Busdriver. He appeared on the track “I’m So Cool” – one of the weirder cuts on the album – and was a fantastically placed feature. While guest artists can feel pointless sometimes, WC Tank was absolutely not one of those cases. He added a pleasant sense of variation that made the full listen all that much better.

End of Future Park was an album that might not be a perfect fit for everyone’s tastes. It felt more niche than the majority of indie hip-hop releases; however, through that process CURTA put together something fully realized and true to itself. Ultimately the narrowed focus allowed for a concise, very enjoyable project. There were a lot of things here that haven’t been explored sonically by many, if any, artists in the past and that alone was quite admirable. The fact that CURTA and 4Digit managed to adventure into uncharted territory and leave with music that very genuinely sounded great was the cherry on top. For someone actively engaged in the experimental and alternative rap scene, this was certainly an album worth giving some extended attention. For those less familiar, it remained accessible enough to not be an intimidating first step into the world of weird. It also certainly posed the question of where exactly CURTA will take his sound in the future. A question that should be met with excitement and anticipation, taking everything into consideration.

Rajin Rambles: CDs Leaving Shelves

by Rajin

emptycdshelf

Recently, Best Buy announced their plans to cease the sale of CDs in their stores by this summer. While I had a couple of CDs from family before I started collecting, the first time I bought a CD for myself was in 2009, at the Best Buy closest to my house. I would say that the bulk of the CDs that I have bought were bought at that exact Best Buy, actually. I can’t say I like the chain (at all), but I would be lying if I said it didn’t play a substantial role in the painstakingly slow growth of my collection.

I understand that Best Buy needs more room for TVs and phone kiosks, so keeping floor space for CDs when sales are continuing to drop doesn’t make business sense. However, as someone who is passionate about purchasing physical media, I am saddened by this news. While lately I’ve generally shifted away from CDs towards vinyl and cassettes, the easy access to CDs at a store 5 minutes away from home is without a doubt what helped foster my interest in collecting physical media. I can’t help but feel that the removal of CDs from a store like Best Buy will stop that from happening for other people. I’ve read that Target may be planning on only selling CDs by artists and labels with whom they have special deals with, which makes it even more unfortunate.

It’s clear that album sales are no longer going to be what they were. While I absolutely do not care about album sales, I’m very concerned about lesser-known artists and how they will probably get the short end of the stick. It’s been like that since streaming became a widespread thing. However, if CDs really are going to be pulled from stores, and with streams counting for so little as far as sales, either a new algorithm needs to be set up or else artists are just going to be screwed out of money even more severely. Those that were able to manage to even get their CDs in a store in the first place likely benefited quite a bit from doing so. Taking this option to get their music out there away hurts them.

I’m also concerned with what will happen to mainstream albums. The art of making an album subjectively seems as though it’s taken a hit in recent years with the continued growth of streaming. We all remember when Drake pretended a bunch of songs he threw together and sold was a “playlist” and not a bloated and overlong album. It was pretty clear that it was meant to be background noise 22 tracks longs for the extra streaming revenue. This doesn’t seem like it’s only limited to him, either. Jhene Aiko also released a 22 track album last year, Chris Brown released a 40-track monstrosity, and the new Migos album had 24 tracks. To me, all of this points to a trend in mainstream music where acts who know that they’re going to get a lot of streams are just going to milk that out for all it’s worth, and release massive albums that maximize their numbers, and ultimately, their revenue, at the cost of the actual quality of music they’re releasing. The effort and creativity it takes to structure and sequence an album could very well get thrown out, with artists opting to release projects that could end up as a pile of songs with no direction or purpose.

I don’t want to seem like the disappearance of CD is going to spell out doom for the music industry. However, I do think it’s irresponsible to essentially gut one of the easiest and most convenient ways of buying physical music. Of course, Best Buy and whatever other chains decide to follow suit don’t care, and they have no reason to. I do want to say, though, that I’m hoping this inspires people, ranging from avid collectors to those who might just want to pick an album up here or there, to visit their local record stores. While I’ve been picking up music when I can for close to 9 years now, it took until last month for me to step foot in a record store. That isn’t a good thing. Record stores are generally small businesses that survive solely on selling music, unlike chains like Best Buy and Target. I decided, even before this news broke, that I was taking my business away from said chains and putting my money into record stores, sites like UGHH, and other independent sellers.

Which reminds me, actually. When thinking about this, I can’t help but keep in mind that vinyl and cassette purchases have been on the rise over the last few years. Cassettes are still VERY niche, though, so that may not hold as much significance, but the fact that vinyl sales continue to grow does inspire a little confidence in me that physical media is still a factor in the music industry. What’s more is that there are some independent labels and artists who have not only sold vinyl and cassettes, but have used them to thrive; a label like Daupe Media comes to mind. I have no real understanding as to why this might be the case, but perhaps as ways of buying physical media continue to disappear, people become more interested in it as a novelty, and end up becoming collectors themselves. Who knows.

I know with me, my end goal is to essentially create a library of hip hop albums in various forms of physical media, as a way to preserve the music that has helped shape me. I feel like as avenues of purchasing physical albums go away, this sort of thing only becomes more and more important. I think any self-proclaimed lover of music owes it to themselves, and the artists they say they love, to pick up an album and dedicate space to it, to immortalize it. I’ve probably made a big deal out of nothing, because people can always go to Amazon to get the music they want, but I do feel a kind of way about this. Like with everything else (and possibly more so, given the cheaper options), physical media in music seems very much to be an “out of sight, out of mind” kind of product to most people. I believe that the further we go to remove it from stores where you can see and browse through it, the less people will consider buying it to begin with. That’s not something I’m very happy about.

Album Review: Walter Gross – The Fra Mauro Highlands

by Dustin

FMH

8.5/10

On January 31st, 1971 NASA would launch the eighth manned mission to the moon, Apollo 14. The three person crew kicked off the 9 day mission from Kennedy Space Center’s Launch Complex 39, before travelling to the Fra Mauro Highlands on the near side of the lunar surface. This would serve as the last of NASA’s simplistic (relatively speaking) H-Type missions to the moon, as they upgraded to the longer J-Type with Apollo 15. While this particular Apollo mission was relatively understated, its legacy lives on as a success during the booming age of space exploration. An era that had a particular vibe of wonder, and captured the imagination of individuals even outside the realm of science.

One may now be asking how this is relevant to music, and Walter Gross is the answer to that question. Though he may not have been an astronaut on the Apollo 14 mission (or even much of a space enthusiast, for that matter), his love of ambient concentrative music lead him to an interesting place of inspiration: the Voyager recordings. Finding himself endeared to the organic beauty of these pieces, he began work on his own out of this world experimentation. Quickly reaching full realization with a 23 minute (50 counting the Stray Signals Cassette Mix) long tape of atmospheric allure, The Fra Mauro Highlands. An album which would suitably see release on the 47th anniversary of Apollo 14.

Though it bares his name, The Fra Mauro Highlands was not the type of project one has come to expect from Walter Gross. It abandoned a lot of the crunchier, abrasive noise elements he’s become known for in the past, opting to try something a little more ambient instead. Once expectations were subverted however, this was a wonderful listening experience. It hit the flavor of desolate space music perfectly, and managed to feel cold while also inspiring a sense of adventure. There was a particular hint of retro-futurism to the tape, to the same vein as a movie like 2001: A Space Odyssey. This was due primarily to brilliant sound contrast constructed by Walter Gross. The entirety of The Fra Mauro Highlands had an underlying subtle ambiance of whooshing and swirling sounds that were distinctly galactic and harrowing. Atop of this there were moments of gorgeously vintage sounding synthetic instrumentation, used sparsely enough to maintain a sense of mechanical exploration through an all encompassing emptiness. It didn’t mess around with precisely divide tracks. Rather, this album was one continuous piece of music that built upon itself, evolving in a natural and off-the-cuff manner.

With all that in mind, there were aspects of The Fra Mauro Highlands carrying Walter’s signature touch. It was an immensely unsettling selection of work, with the emptiness and overall tone having created a strong sense of urgency and apprehensiveness of the unknown. With artistic anxiety being such a mainstay in his music, this familiarity was oddly comforting. It provided reassurance that this is exactly how the project was supposed to make one feel, and not an emotion to be avoided. The “Stray Signals Cassette Mix” which followed the conclusion of The Fra Mauro Highlands rewound things back a little further stylistically, while having maintained the same overall vibe. It wasn’t the star of the show by any means, but it was very good and really provided a feeling of returning home to the established fan of Walter Gross. A return after a fantastic journey.

Much like the Apollo 14 mission itself, The Fra Mauro Highlands will likely go down as one of Walter Gross’ most under-the-radar releases. While it was absolutely excellent, it appealed to a listener base even more niche than his signature barrage of noise. Which is unfortunate, because it was a stunningly beautiful, and somewhat anxious, ambient album. It wore its inspirations on its sleeve, and the ambition was undeniable. Do-it-Yourself music is about pushing limits, catching waves of inspiration, and trying things outside of the box just to see what will happen. Walter Gross did all of these things with The Fra Mauro Highlands. It embodied the spirit of the scene entirely, and should find itself respected as such.

Album Review: LARS – Last American Rock Stars

by Dustin

LARS

LARS/10

That score is not a mistake, nor is it a bad thing (it’s actually incredibly good); all will become clear in due time. Sit back in your easy chair, smoke something, and read on about a super clever project from two mainstays in the Detroit underground.

Veteran emcees King Gordy and Bizarre had been teasing a duo project for a long time, perhaps nearly a decade. Originally under the group name Davidians, the pair released multiple “street single” one-off songs in addition to regularly collaborating on each other’s solo material. In spite of this, it seemed as if the idea of a full length Davidians project had been permanently relegated to the back-burner for both emcees. This changed in 2017, when the enigmatic pair found a home for their collaboration on Magik Ninja Entertainment. The name Davidians was dropped in favor of LARS (standing for Last American Rock Stars), taking on a rocker theme that King Gordy had been toying with for years. Later the same year they released a teaser mixtape called Foul World, and announced Last American Rock Stars as their debut album. The release was slated for early 2018.

Flash forward to 2018, and they followed through on that promise. The record was finally here.

Last American Rock Stars played out like a concept album of sorts. It felt as if one was being brought along for a drug fueled bender lead by two of the wildest scumbags on Earth. Perhaps unsurprisingly the album had an incredibly macabre tone. There was this looming grimness to everything, regardless of how celebratory a song may have been. King Gordy and Bizarre played the role of degenerate rock stars perfectly, as if they were addicted to the party lifestyle to the point that consequences no longer retained their meaning; however, an awareness of the damage being done was always present. King Gordy’s fascination with individuals such as GG Allin showed significantly the the direction of LARS on this project. Ultimately the album captured the qualities that most would attribute to a outlandish-yet-grimey rockstar life: violence, sex, drugs, and criminal debauchery. These themes were presented with a lovely degree of nuance, making them seem fun as hell, but a surefire way to burn out quickly.

The concept may have been slightly loose, but it was incredibly ambitious. The chaotic nature of the events depicted on Last American Rock Stars did lead to a confusingly scattered first listen, but once everything settled it was executed quite well. It took two or three listens for everything to come together, but it was well worth the time.

Beyond that, the album just had a lot of things working in its favor. King Gordy is in his prime as a rapper right now, and it felt like he could do no wrong here. If he wasn’t bringing a spastic energy to a track, he was probably using a mesmerizingly smooth flow to dazzle the listener. He was the true highlight of the release, and songs such as “Just Got Out The County,” “California,” and “Rock N Roll” feature some of his best work on the mic in years. Bizarre was more hit-and-miss, but even his weaker verses had merit in their personality and construction of the “last true rock stars alive” theme; moreover, his stronger verses were perhaps his most entertaining since the heyday of D12. The duo had some hilarious lines scatter throughout the totally depraved lyrical content as well, which gave the album a nice sense of range. One of the most memorable moments in this regard is on “Rock N Roll”, where King Gordy boasts about being a mosh-pit starter immediately before attempt to persuade the listener to attend a LARS show because “it only costs six dollars.” Humor like that brought a lot of character to Last American Rock Stars, and it was used sparingly enough to keep everything fresh.

It should also be noted that “can we borrow y’all lawnmower?” is one of the funniest adlibs to ever appear on a rap album. Thank you, Bizarre, you are a treasure.

The featured artists were also cool, and that’s not always easy to find in underground projects. Fury, Monoxide Child (of Twiztid) and Twista had the most interesting verses, but everybody else held their own. It truly felt as if LARS were taking you to meet some of their equally (if not more) trashy friends, and it bolstered the concept wonderfully. The production was also selected and handled in an impressive manner. The blend of trap, rock, and underground throwback beats intermingled more smoothly than one may have expected. The variety did a superb job at giving each song a distinct backdrop and emotional feel. For example, tracks like “Stomp” and “I Believe I Can Fly” could not have been further removed from each other sonically, yet they both sounded perfectly at home on Last American Rock Stars. With all that in mind, King Gordy and Bizarre made excellent selections for a supporting cast and the album benefited from it hugely.

The only real issue with Last American Rock Stars was the mastering. The album got significantly quieter during and after “Lit.” At least, this is true on the Spotify release (the physical or iTunes versions may not suffer from this issue). It wasn’t a huge deal at all, though. The mixing overall is fantastic, and it’s fairly easy to slide the volume up on the later songs using one’s audio player of choice. [Update 25/02/18: mastering was not an issue on the physical copy or iTunes version, this appeared to have been exclusive to Spotify]

The reason Last American Rock Stars was so difficult to assign a score to is the fact there is no frame of reference to compare the album. It sounded like a beast entirely of its own, and the uniqueness was refreshing. They managed to turn a scattered tracklist into a musical cross between The Hangover and Hated: GG Allin and the Murder Junkies. It played through like a journey into a life that most will never live, with King Gordy and Bizarre enthusiastically inviting the listener along for the experience. The album felt dirty and taboo, but also thrilling and adventurous. It forced inhibitions out the window, and aimed to take the listener wherever it pleased. The Detroit duo may have taken a lot of years to finally come together on a project like this, but the wait meant that their potential got to be fully realized. Last American Rock Stars is absolutely a recommended listen, particularly for those wishing to dive into an album that is distinctly true to itself.

Bambi of FilthyBroke Recordings Gives Her Perspective on Being a Woman Behind the Scenes in the Music Industry

by Dustin

fbr

The music industry is a interesting world, and not always a friendly one. This is true from the top all the way down to the grass root level. Many on the outside are completely unaware of everything that goes on outside of the spotlight, leaving it to those who work in the shadows. Fortunately, sometimes these people share their experience. Today’s interviewee is one of those people. Bambi, the designer-slash-promoter-slash-wonder-woman at FilthyBroke Recordings, was gracious enough to lend us an interview discussing all the wonders of working at a do-it-yourself record label; moreover, she speaks on being a woman in a male-dominant scene, and how it’s shaped her perspective on all things music.

Read the interview below, it’s worth it.


EN: As usual, I’ll ask you to give a brief introduction to yourself. Whenever you’re ready. And we’ll just jump off from there.

Bambi: I’m Bambi, I’m originally from the Bay Area; currently living in Seattle, Washington. I work with FilthyBroke Recordings.

EN: Did you have any experience working in music before, or has FilthyBroke been your first adventure down that avenue?

Bambi: I started working with FilthyBroke in fall of 2016. Prior to that I worked for a few years in music in various capacities, put out a release with a former friend, some light managerial stuff (basically answering emails), building & running the website, shipping, that kind of stuff. Concurrently I worked part time at an entertainment V.C. in Oakland, which invested in local venues, recording studios and the like.

EN: What capacity do you work in with FilthyBroke? I know you’ve done a bit of design, but I suppose I’m curious of what your day-to-day is like when working with the label.

Bambi: Yup, I do art/design work for releases and video bumps. My day to day label responsibilities vary. I’m responsible for updating and maintaining the website along with my homie who built the site, instagram, art for promos, and so on. Michael and I spend a lot of time on FaceTime listening to music and brainstorming for upcoming releases, merch, and other projects and figuring out how to make it happen. Currently we’re preparing for his upcoming OMLT release in February and I’m handling the merch end. We will be releasing some T’s & hoodies along with his new EP.

EN: I imagine the creative freedom is nice when working in that sort of environment, but does it ever feel like there’s very little room for mess-ups with it being a DIY style label?

Bambi: FBR has been around almost 4 years now, but we are still a very small label. We are still trying to carve out our own niche and grow. The smaller you are, the more detrimental mistakes, even small ones and especially financial ones are. Not only that but we don’t sign artists, we work with them on a project by project basis. As Michael noted online the other day ”labels need artists way more than the other way around” and we often build friendships with the artists we work with and we want to do right by them because we respect them and appreciate we couldn’t continue without them.

EN: So you guys feel like establishing the friendships helps to make sure everyone stays happy? Because that’s a very unique and personable approach.

Bambi: I’m not saying we have to be friends with every artist we put out. A mutual respect and belief in the music is more than enough. Just noting that often we get to know people while working on releases and it sometimes develops into friendships that extend past the project. But I do think working with people you vibe with and relate to on a personal level makes for a better experience all around.

EN: Does the vibe that Michael has with FilthyBroke Recordings suit you as a person better than your previous experiences in music? Having worked with both of you myself, I know the label cares a lot. It seems like it would be fun to be involved in (and it has been for me).

Bambi: For sure. Working with someone that listens to your input and respects your opinions and ideas is always the ideal, which I feel like Michael does. I know people say you shouldn’t get into business with friends or family and while it definitely can and has gone badly for me previous I still think getting money with friends is the best kind of money to get.

EN: Something I’ve noticed when networking is that women are fairly absent behind the scenes in music. Aside from artists, often when I’m contacting a label or manager they’re men. You’re actually one of the few I know with active involvement behind the scenes. Do you feel that women are underrepresented in that facet of the industry?

I know that’s sort of a blunt question, but it’s something I’ve noticed. It’s quite odd.

Bambi: Underrepresented, yes absolutely, but not necessarily for lack of involvement. Particularly at the indie level there’s a shit-ton of wives, girlfriends, sisters, and female friends behind the scenes answering emails, shipping merch, planning shows, hitting up record shops and listening to the same unfinished song 6,789 times because a high-hat was added. You know, just trying to help make it happen. Shit, some of these dudes likely going on tour with mom’s Amex (I stole that mom’s Amex bit from Michael).

I want to make it clear I’m not saying all artists do this by any means, but I do think is fairly common place, especially at the beginning and end of careers. I have no issue with it, supporting the people around you is important. What I do take issue with is the lack of credit. I don’t give a shit if all they’re doing is packing and shipping merch, if your homie did you a favor you’d shout him out; but, I see some of these motherfuckers out there acting like they do all this shit on their own or down-playing (either during or after the fact) the contributions of other, especially woman, which is a foul. And yes, I’m speaking from experience.

It’s one of the reasons I was very hesitant when Michael asked me to work with FBR. It took me a few months of me ‘helping out’ and him continually demanding I be credited for my work to really be like, ok I guess we’re in it to win it now. Oh, and you know what? He actually pays me. Even if it’s just a few bucks, I get my cut and I get it in a timely fashion. Amazing.

EN: Do you feel like this has created sort of an environment of complacency among those not being credited? As if they feel they’re just supposed to help however they can and ask for nothing back, particularly among the supporting women in a label or artists life?

Bambi: I don’t think it’s complacency. I’ve had to learn to take credit for my work (I didn’t even realize people received art layout credits until last year) and that expecting/taking credit isn’t asking for accommodation it’s just getting what’s due and what I’d give anyone else I work with.

I don’t think everyone does it intentionally, but I do think that it’s speaks to a larger mentality. As more artists move away from labels and sell independently I think most have realized how important their fans are. But, that also means a lot more reliance on fans for help beyond just buying music and going to shows. I’ve seen supporters help get people booked, do cover art, and web design work, etc and barely get a thanks much less paid. End of the day, gender issues aside and regardless if you work in music or not, I think it’s important to appreciate and acknowledge the people supporting you and if you can’t do that at least give them credit on their work, especially if you aren’t paying them. You meet the same people going up as you do going down.

I suppose to change shit the burdens gotta be on both parties. Basically, don’t be an asshole and regardless if you’re getting paid demand credit on your art, web designs, beats, etc.

EN: Do you have any advice for individuals who, likes yourself at one point, might be struggling to work up the courage to actually ask for their due credit? I realize that’s sort of open ended, but I imagine there are hundreds if not thousands in situations where they aren’t receiving their just dues.

Bambi: For me it wasn’t that I was scared to speak up and more just being naive. I kinda fell into the music business, I never intended to be here, so for a long time I just assumed if I’m not getting credited then it’s not work people typically get credit for. And that’s on me for being a dumbass expecting most people wanna do right by others and not properly educating myself. Once I realized that wasn’t the case shit changed. So do I guess my advice would be pay attention and get informed.

EN: Something semi-related I wanted to speak with you about is bullying in the industry. Particularly from a gender issues perspective but also just in general. I was speaking to an artist recently who expressed sadness over how many of her male peers seem to be quick to try and push her around. Would you say this is something prevalent in the industry even at the Do-it-Yourself/Underground level?

I ask because I know bullying is an issue of great importance to FilthyBroke as a label. Such as the anti-bullying fundraising compilation record you guys curated (which I will link to here).

Bambi: Full disclosure here, I am a bully. I’ve dealt with bullies my whole life and I learned very young if someone keeps fucking with you, you fight back. Fight fire with fire so to speak. I know that a lot of people don’t agree with that way of thinking and think you should always try to be the bigger person. I admire those kinda people but I’m not one of them and I don’t want to misrepresent myself.
I think it happens a lot at all levels. I can’t speak from a female artists perspective, but I’ve seen it happen from a third party view. As well as there’s definitely been a number of instances for me personally where I’ve felt like I was being talked down to, dismissed or pushed around from either male artists or males working in other aspects of music. But it can be a difficult thing to stand up for yourself, especially to people who may be more successful in music or who’s work you admire. Not only that but the music world is truly very small, with a lot of business and friendships mixing. I think (hope) things are changing but it’s still very much a “boys club” type mentality in a lot of ways. As a woman I think when you confront someone in any work environment you run the risk of getting labeled ‘difficult’ or ‘crazy’ or ‘emotional’ or (insert any code word for bitch).

I don’t blame anyone for being hesitant or feeling too intimidated to speak up as it could have the potential to damage working and/or personal relationships, as well as, current or future opportunities beyond the person you’re calling out.

EN: I don’t really want to condone or condemn what you opened with, but I almost feel like there are certain situations where bullying the bullies is a necessary evil. I’m sure there are plenty of people who just won’t stop, even if the victim tries to be the better person. Right? I know that was the case when I was a kid. It doesn’t seem to change much as adults. Though I can’t speak on the music industry specifically.

Bambi: Apologies, I think something got lost in translation or I misspoke. I don’t condone unprovoked bullying. What I meant was some people have the capacity to rise above negativity, but I find that very challenging and in opposition to my natural tendencies. I don’t start shit but I’ll end it.

EN: Oh yeah, I got that part of it. I didn’t think you were condoning it by any means. I suppose I was just thinking aloud that sometimes rising above the negativity isn’t enough to make the situation cease. I know a lot of people who try to and then slowly get sucked back into being picked on. And it’s really a shame.

Bambi: Agreed. When you encounter people that do fucked up shit I think most decent people struggle between rising above (which is often in their own best interest) and fighting against in hopes that no one else has to suffer the same bullshit.

EN: Do you think the general public would be surprised at how nasty individuals in the music scene can be to each other behind closed doors? I imagine some people’s heroes are absolutely despicable people when in private. It’s scary.

Bambi: I don’t think anyone is surprised about how low and despicable people in the music industry can be. I do think they’d be surprised by some of the people perpetrating though. I think it’s pretty common that when some is really into an artist’s music that they get a feeling that they know or understand them on a more personal level. Often they feel they have faced similar challenges or feelings as themselves. So it can be a hard pill to swallow that someone you look up to, someone who has the emotional empathy to convey musically what you feel could possibly be a shitty person.

I mean how could a dude who has the ability and courage to see corrupt shit in the world and call it out possibly steal money from someone they work with? How could someone who’s written songs about love and heartache possibly mistreat a woman? How can a dude who raps about street shit possibly be a coward or snitch in actual life?

EN: Has experiencing some of the industries underbelly made you appreciate those that actively try to be transparent in themselves more?

Bambi: Yes, for sure. Like I said I was very hesitant to get involved with FilthyBroke after my past experiences. But Michael was persistent and proved himself trustworthy and I’m glad I took the gamble because it’s allowed me to work with some awesome folks and restored my faith in people quite a bit. Big shoutouts to Balam Acab, Molly Drag, HotScience, and of course yourself who have all been great to work with.

EN: Do you feel like your taste in music has expanded or evolved since you started working alongside Michael at the label? Because I imagine you hear a ton of things you may not have been exposed to otherwise.

Bambi: Absolutely. Left to my own devices I just listen to rap. So working with FBR I’ve grown to appreciate and enjoy a much larger variety of genres and musicians that I would not have discovered otherwise. So it’s been good! Although, sometimes Michael plays real weird shit I just can’t vibe with…like Ween.

EN: I support all good hearted potshots at Michael and especially at Ween in this interview.

Have you found that listening to different genres has made you appreciate things about rap even more too? I spoke about this with my other writer before. We both feel like branching out into other things has helped us appreciate and understand what we like about hip-hop even more as well. It’s weird that way.

Bambi: I get what you’re saying. I mean, honestly? Sometimes after listening to other stuff for a couple hours it all starts to blend and sound the same to me. Where as I can listen to hip hop exclusively for weeks on end and never get tired of it because there’s such a broad spectrum. It’s just personal taste, what speaks to me, I personally have yet to figure out the specifics of why though.

EN: On another note, I was looking at the cover for the new Hot Science project FilthyBroke was involved in releasing. That cover is phenomenal. And I know that you were the one behind that, And a bunch of other really cool visuals the label has put out. When did you start getting involved in the design aspect of things?

Bambi: I loved drawing when I was a kid, my grandma was big into music and art and I grew up around a lot of graf dudes so I’ve always been around creative types. But it wasn’t until getting involved with FBR when I started doing CD and j-card layouts. As I learned and got better at using adobe, I moved into promo flyers and videos, etc. And finally this latest Hot Science cover art, I’m hella hyped how it turned out and he was awesome to work with.

EN: That’s awesome, I think you definitely have a knack for it. How did the concept for the Hot Science cover even come together? It looks like layers of paper cutouts. I’ve never quite seen anything like it before.

Bambi: Thank you Dustin. Michael came up with the general concept, to be honest I wasn’t sure if I’d be able to pull it off, it’s definitely the most involved out of all the projects I’ve done so far. I hand drew the illustrations separately and then scanned them into adobe to layer them. I also did the animation in photoshop because I wanted it to look kind of like stop motion.

EN: Fuck, that’s definitely what it was reminding me of! It’s like one of those stop motion paper-figure films, but like, the Tim Burton version of one. In album cover form. Did you enjoy tackling something more ambitious like that?

Bambi: Nice, that’s the feel I was going for. It’s a dope album and I wanted to do Sam’s (Hot Science) music/work justice and make sure it was reflective of the vibe he was going for. Again, he was great to work with and really down for whatever so I absolutely enjoyed the project. Whenever I take on something new it’s always nerve racking, this is was no exception. But I am really happy with how it turned out.

EN: Is design something you hope to keep being a part of going forward with the label? Has it become something you’re excited to keep working at and improving in?

Bambi: Definitely. It can be somewhat stressful to do creative work under a deadline but it’s fulfilling to do art for a purpose and not just fun. Also I get paid for it which is nice. Every project we do I learn new skills, I’m hoping to get to the point where I can do proper videos as well.

EN: Have you done much video work in the past or would that be a much newer avenue of expression for you? You mentioned doing a bit of video bump work, but not to what degree.

Bambi: Nah. I’ve done little 30/60 second promo bumps. Just saying, I’d like to eventually get to a point where I have developed the skills to do some full on video work. I don’t know if I’ll ever get there, was just speculating on long shot goals.

EN: Have you further investigated the use of Craigslist Missed Connections as the modern preferred artistic medium?

Bambi: [Laughs]! (I should’ve seen that one coming). I still check it out from time to time. And, yes, it’s still entertaining and heart breaking as ever. Some people really bare their souls in the MCs, and some of their soles are creepy as fuck.

EN: [Laughs]. Okay, but in all seriousness: if you could design album art for any artist in the world, who would it be and what sort of concept would you approach them with?

Bambi: Damn, that’s kinda tough one. Kool Keith would be ill, could do some weird illustrative shit, like Animalia, Graeme Base style but with more adult content (obviously). AC/DC would be cool as fuck also, but I’ve got no idea what I’d do on that one

EN: I think we’re at the point of rapping this up now, if there’s anything else you’d like to throw in then now would be the time to do it!

Bambi: I just want to give a huge shout out and thank you to all the people over the past year and a half that have been supportive of me both personally, and with the label…you guys are fucking awesome. To you, Dustin, thank you for offering me this opportunity and for being a gracious and patient interviewer. Finally, to anyone that thinks I was speaking on them in this interview, I probably was. And if that’s an issue for you, I don’t have anyone blocked online, my phone number hasn’t changed and you know where I live..any time motherfucker.

EN: Thank you as well.

Album Review: ANKHLEJOHN – The Red Room

by Rajin

ajtrr

8.5/10

Perhaps as a response to the oversaturation of syrupy pop-trap that has had hip hop in a chokehold for a bit too long, it seems like over the past year underground rap has been making something of a return to what made hip hop so appealing in the early-to-mid-’90s. We aren’t seeing artists trying to recreate boom bap; rather, artists have been capturing the essence of ‘90s rap and adapting it for modern times, effectively resuscitating an approach to the music that appeared to be extinct for two decades. For the most part, artists have been looking to early material by artists such as the Wu-Tang Clan and Nas for inspiration. What we haven’t seen very often, though, is a young artist looking to Brotha Lynch Hung and Esham.

That is, until now.

Hailing from Washington, D.C., up-and-comer ANKHLEJOHN is an aggressive, menacing, raspy-voiced emcee set on creating the most intimidating music you’ve ever heard. In the third quarter of last year, he dropped his debut album, The Red Room. This album is a nice and tight 11 tracks long, and barring the last track “Wetter” (which is a fairly self-explanatory title), it is an unrelenting barrage of threats, violence, and vividly dark stories. While many young artists are making music that could fall under the same descriptions, none do so as believably as ANKHLEJOHN does here. There are times on this record where the listener could genuinely become concerned for his mental well-being, and I mean that in the most respectful and best possible way. Throughout the entire run, the listener is given no time to relax. It keeps you on edge, holding your breath the whole time.

The record features haunting, hellish production that even some of the most unforgivingly brutal rappers would have difficulty approaching. It’s got the same sort of blistering cold atmosphere that you could find on a Mobb Deep album in the mid-’90s. For the most part, the production is very boom bap-influenced, with producers HNIC, Camouflage Monk, Viles, and more utilizing the ever-trustworthy technique of chopping soul samples for a large percentage of the songs here. However, that’s not to say that this record stays in that single lane. “Leonadis” sees Ankh rapping over a fiery trap banger, produced by Montana Eclipz, composed of bells and epic orchestral samples. “Original Man” features ANKHLEJOHN and Hus Kingpin trading bars over some of the most genuinely stomach-churning, anxiety-inducing production I’ve heard in years, courtesy of Big Ghost, Ltd. Overall, the album keeps a very dark, moody, and heavy tone to it, which perfectly compliments Ankh’s style.

Lyrically, ANKHLEJOHN’s strengths mainly lie in his ability to paint vivid pictures, and to come up with face-screwing one-liners. To pair with that, his vocals are, quite simply, absolutely gnarly. Ankh’s got a voice that would not have been out of place in a group like Onyx. However, while Onyx spent most of their time screaming in everybody’s faces waving guns, Ankh chooses to speak clearly and threateningly with a rope in his hands. His vocal delivery is still quite brash and abrasive, but he never raises his voice too loudly. By opting for this sort of delivery, he ends up sounding even more imposing. He seems like he draws from his Brotha Lynch Hung influence to casually rap verses depicting ultraviolent scenarios.

Upon listening to this album, one of the most distinctive features are the ad-libs. We live in an era of hip hop where rappers overuse ad-libs to the point where their music is almost unlistenable in many cases. There’s an overwhelming surplus of rappers imitating tires screeching, gunshots, and voicing otherwise random words and sounds. It could be argued that ANKHLEJOHN doesn’t use any fewer ad-libs than these rappers, however, the way he uses them is infinitely more productive. Throughout the album, you’ll hear him growl “sick, sick, sick” as though reacting to his own lyrics. On a track like “Leonadis” the assorted shouts, screeches, laughter, and other ad-libs make him sound almost like he’s having a schizophrenic meltdown and he captured it on record. I can’t say I’ve heard anyone else use ad-libs in this way, and I absolutely love it.

Unfortunately, I didn’t find this record until a couple of weeks ago, so I’m a bit late, but boy am I glad I found it at all. The Red Room is a definitely highlight of 2017. In this day and age, hip hop needs a little more grit, and even though I’m loving what’s going on in underground rap, I feel the grit is still lacking in a lot of ways. ANKHLEJOHN seems to feel the same way, because he delivered an incredibly raw, gritty, and visceral project with The Red Room. The album is dizzying and beautifully dark, and it’s one that I strongly recommend.