Album Review: Prof – Pookie Baby

by Dustin

pookiebaby

3.75/10

A few years ago, Rhymesayers associated themselves with an artist well outside of their usual dynamic. As an addition to their roster he stuck out like a sore thumb, yet his chaotic energy charmed the fanbase quickly. This artist was Prof. The other side of the coin to Rhymesayers Entertainment’s introspective conscious rap signature. He came in boasting an arrogantly brazen offering of hyperactive shenanigans within his music. He was a debauchery driven scumbag but possessed a degree of self-awareness that broke through on moments of emotional reflection. His label debut, Liability, came in 2015 and offered an excellent helping of his range. It was a mess, but so genuinely fun that it was impossible not to love. It felt like a jumping off point into something bigger for Prof. He took time away from the studio to tour but recently returned with his new album. Pookie Baby, the record which would push the sound and success of Liability forward and prove that Prof was a true powerhouse on the label.

Except, it didn’t happen that way. Not even close.

Pookie Baby missed the mark in most ways, but the biggest element of failure was Prof’s writing. His wild, party addict, white boy shtick, which normally seems natural, came across as eye-rollingly forced. The lyrics began to be more of a nuisance than a pleasure to sit through by the thirtieth time he reminded anyone listening of how often he has sex. It was funny at first, particularly on “Send Nudes,” but at a point, Prof started to sound like a meme of himself. A broken record with no range. It was hard to listen without feeling like he had phoned the writing portion for the vast majority of the release. The wit and tongue in cheek braggadocio of past releases were hard to see. Instead, there was an appeal to the lowest common denominator with empty, repetitive lyrics. It was a letdown. Prof is capable of a lot more than he showed on Pookie Baby, but the steps backwards were too blatant to be pushed aside. Given the length of time between Liability and now, it’s reasonable to say that more could have been expected.

There’s also the aspect of vocal delivery. Prof has never been a technically talented singer, but in small doses, his voice can be a lot of fun and add a unique flair of versatility that many lack. Small doses being the key. In the case of Pookie Baby, though, the singing was far too frequent and hit a point of being completely abrasive. One or two songs featuring his trademark warbling would have been welcomed with open arms; however, when it feels like half the album is an artist overusing an already spotty singing voice to avoid having to write lyrics with more depth, there is a problem. Pookie Baby had this problem. When he opted to rap, Prof’s delivery did compensate for some of the weaker writing to a degree. It still wasn’t his best work by any means, but it was passable enough for songs like “Time Bomb” and “Action” to sound genuinely engaging. Sadly, these moments were very much the minority. Prof misused his vocal tools to the point that it hurt the record severely. It’s a shame because there were a few glimpses of that bombastic skill on the album. He just decided, for whatever reason, to put a minuscule amount of it on display.

In addition to Prof delivering vocals well below his capabilities on Pookie Baby, he received little help from the instrumentals. It was more cohesive than Liability musically but lacked the eclectic charm and character of that album’s production. It felt like a binary. Either he was rapping on top of a bouncy, upbeat trap flavored beat, or he was crooning on top of something more wavy and slow. While none of the instrumentals were inherently bad, they were generic and grew dull quickly. Prof normally has enough energy to carry weaker beats, but his complacency on Pookie Baby enabled them to stand out as mediocre. Tracks were screaming for more intricacy to help carry his performance, and it just was not there. It was another unfortunate reflection of the regression Prof displayed as an artist. His production choices were that of an individual who misunderstood his strengths and appeal, resulting in a bitterly inferior product from top to bottom.

In spite of Pookie Baby’s quality issues, it doesn’t seem fair to count Prof out entirely. As much as this was a rather significant misstep, it wasn’t bad due to deteriorated ability. It felt more like he was lost musically, and leaned heavily on his crutches to be able to flesh out an album. This has happened to many an artist over the years, and a future return to form is more than possible. Regardless this is a review, and the reality is that Pookie Baby offered little of value or interest. A couple of songs were quite amusing and might be worth spinning again, but the overall product was underwhelming at best. It just didn’t click. He’s worth keeping an eye on going forward as there’s plenty of untapped potential, but this is a project better to be left forgotten.

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Album Review: Black Milk – FEVER

by Dustin

FEVER

9/10

Detroit. One of the meccas of hip-hop. For years the city has churned out phenomenal talent like flowers growing through the cracks of the extremely rough social climate. Since the turn of the millennium, Black Milk has been honing himself as one of Motor City’s finest artists. Working with prominent local names such as Slum Village, Danny Brown, Guilty Simpson, and Royce da 5’9”, he became known as a production wizard before moving into solo rap releases in 2005. His career has been one marked by superhuman craftsmanship, particularly following the release of Tronic in 2008. Black Milk has been an artist to never settle, striving to push his style to new places with each new drop. Just shy of four years since his last rap release, Black Milk stepped out of the shadows with a new offering of tracks; one that may only have been his most bold step forward in the name of musical progression.

FEVER was a sonic departure for Black Milk, at least regarding his rap releases. While it moved away from the alternative street-hop sound, he had crafted on No Poison No Paradise, and If There’s a Hell Below, it built upon the distinctive flavor of the Nat Turner collaborative effort, The Rebellion Sessions. This will likely be a sticking point for some, and admittedly it did make for a confusing initial listen; however, once that shock wore off, the album felt incredibly well put together. It doesn’t take a hip-hop aficionado to recognize that Black Milk has been a production powerhouse for many years, but he still managed to find a point of ascension for FEVER. The instrumentals on this album were fantastic. Through the process of chopping tracks recorded by his actual band, Black Milk gave the beats a sense dynamic liveliness that would otherwise be difficult to accomplish using samples. It created an intimate environment, much like watching a jazz-rap show at a small venue. Additionally, he didn’t entirely abandon the classic boom-bap undertones that have become a signature of the Michigan region. The record maintained a needed sense of familiarity. There was a wonderful balance between genres that often gets lost on artists when they move into new territory. While the jazz and funk elements were certainly prominent, FEVER remained hip-hop at its core.

The production oddities didn’t end there, however, as the vocals on this release were handled uniquely. Black Milk felt to be a little further back in the mix, doing away with the stark contrast between emcee and instrumental. This had some interesting consequences. First and foremost, it gave the album a flawless aspect of cohesion. The way Black Milk allowed himself to be enveloped in the beat made it sound as if he was more at home than ever before. There were no moments that felt as if the beat selection was questionable, a true hat tip toward the attention to finer detail. Secondly, it created an environment in which it became possible to end up fully lost in a track as the listener. There was an ethereal beauty to each song, with the individual pieces joining forces to create a rich final sound. While this may have made it hard to firmly hang onto Black Milk’s lyrics at first, with subsequent listens it became a true marvel to appreciate.

Making it all the more worth taking time was the fact that Black Milk’s performance as an emcee remained solid as ever. There’s something to be said about knowing when to keep it simple, and he has proven time and time again to be a master of that art. While admittedly more ambitious on FEVER than some of his past work, Black Milk’s flows never attempt to overwhelm. They were tight and complementary to the chilled out production. At the lyrical level, he opted to focus on his strengths: observant bars and social storytelling. Verses were packed to the brim with quick poignancy, and tracks such as “Foe Friend” highlighted his ability to craft interesting stories out of the day-to-day. What FEVER lacked in bombastic vocals was made up for in spades with unmatched consistency. There isn’t much else that can be said. Black Milk was simply extremely sharp for the entire duration of the project, and that’s an underrated quality for an album to possess.

Unfortunately, FEVER was the sort of album that will evade a good handful of listeners. It felt distinctly removed from the path Black Milk was on, and if fans don’t approach it with an open mind, it likely won’t land with them as well as it could. This is “unfortunate” because beyond that surprise it was truly a pleasure to experience. Spinning it with expectations checked at the door made it evident that this is a special record. A potential candidate for album of the year, assembled by one of hip-hop’s most artistically attentive minds. Black Milk once again found a way to push the envelope, a remarkable feat for an individual with an already fantastic track record of releases. Bravo.

Celebrating the Growing Importance of Physical Media

by Dustin

cassette2

To be completely honest, the title to this article might sound odd to most. How can physical media possibly be more important than ever when digital has steamrolled the industry? At the surface level, it is dead. Retailers are pulling the last of the CDs off the shelves, marking the end of a decades-long music media evolutionary process. Yet, many have never spent more money on CDs, vinyl, and cassettes than they do now. I am extremely bad. If I don’t budget a monthly allowance to be spent on music I suddenly find myself in a position where groceries are particularly troublesome. Financial tomfoolery aside, I’ve come to realize that moving back toward physical releases has changed my relationship with music entirely. With today being Record Store Day my friends and I wanted to take a minute to share our passion for this fading corner of the music scene, and hopefully shed some light on why we consider physical releases more important now than they have ever been.

“In a world where streaming makes music easier to consume than ever, it seems as though its value is continuously decreasing. For a long time now, I’ve been confronted with the question “why buy a song when I can download it for free?” However, with the increasing prevalence of streaming, which poses as a way to “support” artists in a cheap (potentially free) way, the statement seems to just be given more validation. I’ve always felt that streaming is dissatisfying in many ways; there’s no connection between fan and artist. Physical albums allow that connection to exist. You have something tangible to hold, you have to store and maintain them, you get to surround yourself with what you love. They allow the music to keep its value in a market where it’s more dispensable than ever.”
@RajinBuu

“Buying records means reading liner notes. It means learning about the friends and family involved with the project and glimpsing into their world. It also meant (like in the case of Outkast) learning just exactly what they were saying in the days before OHHLA or Genius.”
@deaconlf

“As both an artist and a music lover I appreciate something tangible and it warmed my heart as an artist to know that so many fans wanted to buy a physical copy of our debut project, my mom bought one my dad bought one it was something that they can look at and say “wow my kid did this” and fans can look at and say “yeah I can touch this, I can hold on to it, I can frame it” it’s like a time capsule from a forgotten period where projects stayed in your rotation for longer than a week and reviews weren’t done instantly but it’s an incredible thing to be apart of, physical music goes right along with t shirts and posters as genuine mercy.”
@MTFRyourmom of @_Nobodies

“Physical releases, no matter the format, are more important than ever now. Much of our lives exist between ones and zeros, so holding and hearing and smelling something like a record can really fill the binary void… Establish a sense of connection beyond the internet. As soon as the needle hits the groove something real happens and it is fucking beautiful. It’s almost primal at this point. I think this is true with vinyl, cassettes and CDs. All formats provide a tangible experience that sounds better than streaming, hope people stop arguing about ‘superior’ formats and just focus on making something beautiful and real. Physical releases are awesome”
@FilthyBrokeRex

For myself it’s much of the same. I crave the connection to art that only physical media can provide. From the beauty of large format cover art to the excitement of finding carefully placed easter eggs inside the album booklet, there is a tactile appeal to the senses that cannot be found anywhere else. For me, it transforms listening to an album from a simple act of consumption to an event that feels special and unique every single time. The thrill of entering a record store or thrift shop and crate digging can only be surmounted by the childlike wonder I feel when my hands finally reach something that I want. My music collection at any given moment is a treasure trove of memories, personal discovery, and adventure. It’s something I curated for myself and nobody else; a scrapbook of self-assuredness that carries all my convictions in taste. I wouldn’t trade that feeling for the world.

There’s also the element of showing that you care. The artists I love create music that becomes an integral part of who I am, and as such I want to support them in any way that I can. Attending concerts isn’t realistic all the time, but buying something that I can hold, show people, and proudly display is always an option. Digital media feels so incredibly disposable, and to me that undermines the effort and dedication these individuals pour into creating something for us to enjoy. Sure, I can acknowledge that 25 or 30 dollars for a vinyl record sounds expensive; however, when you start to consider the entire process behind the album’s existence, it really isn’t that much money. Support keeps people creating. At the end of the day, I’m more than willing to shell out extra if it helps my favorite musicians are able to stick around a little longer. Fraction of a penny streams don’t pay the bills for anybody who isn’t already a star, and that fact alone would be enough for me to proclaim physical media’s importance in the modern climate.

If you still carry any doubts, please take the time to visit a record store today (or at any point in the near future). If you’ve never been fortunate enough to take the time, it is a vastly different experience than endlessly perusing music on Spotify or Google Play. It’s a world that not enough people take advantage of these days, yet there’s a reason it pulls so many of us in. We could sit here for days and try to explain, but really you won’t get it until you try for yourself. Who knows, you could just end up catching the same bug that bit the rest of us from the very moment we purchased our first albums. Apologize to your wallet on my behalf, and have fun!

Happy Record Store Day.

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.

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.

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.

Collectors Corner: clipping. – CLPPNG (Standard CD Release)

by Dustin

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Welcome to the newly revamped Collectors Corner. We’re going to be transitioning from speaking about multiple albums at a time, to a more in depth look at unique individual releases. A bit of discussion of some of our personal favorites from our collections. I’m a big fan of creative packaging when it comes to albums. In an era where digital is becoming the norm, an act going the extra mile with design can be the difference maker when it comes to putting out the extra cash for a physical copy. It can be particularly attention grabbing when it’s an unconventional CD release. CD can be a pretty boring piece of media at face value. Standard jewel cases feel incredibly sterile; even digipaks can seem uninspired, regardless of the fact that they tend to be better looking than plastic casing.

Today we will be having a look at one of these extra cool albums, clipping.’s 2014 record CLPPNG. Released on Sub Pop Recordings, catalogue number SP1071, in compact disc format.

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The front cover of CLPPNG.

When I ordered my copy of this record, I had very little idea of what to expect. It was around the time I had first started my music collection, and all I knew was that I dug the album. When the parcel came in the mail and I finally got my hands on it I could not have been more pleasantly surprised. Upon opening the tri-fold outer casing, you’re greeted with very creatively edited pictures of all three members of the group in a very pleasing black and white. The print quality is high, leaving all of the artwork looking well defined and clear. The cardboard itself is incredibly thick and has a slick finish. It feels quite durable, and the corners don’t seem to be quite as prone to breaking down as you might expect from a digipak. Overall, I am a fan of CLPPNG’s outer package. It’s not a groundbreaking design by any means, but it’s cleanly put together and tastefully minimalistic. This creates a kind of contrast with clipping.’s noisy and chaotic music that I thought was quite clever.

That aside, there are some internals to discuss as well. The two outer segments of the tri-fold digipak are hollow and have some goodies to look at. One contains the credits booklet, and the other contains the disc itself.

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A look at the internals of the packaging.

The credits booklet was a necessary addition, but it is not overly substantial. It contains song names and additional credits that aren’t listed on the digipak tracklist. I would have liked to see a lyric booklet, or possibly some more photos of the group in a style similar to those in the tri-fold; however, the rest of the packaging is relatively minimalistic and this does fit that style. It felt more like a reference sheet, but it still looks really nice; moreover, there are some interesting tidbits as far as minor vocal credits that will appease the super-fan curious about all details of any given song.

The CD is probably the most interesting part of the album packaging in my opinion. The artwork on the disc is just a minor reworking of the album cover, but the real showstopper is how it is stored inside the digipak. Rather than clicking into a plastic holder or just slipping inside the case, the disc is wrapped in a paper dust cover very reminiscent of those you would find in a vinyl release. This protective sleeve even has a bit of a design on it that pairs up nicely with the album artwork. It’s such a small little thing, but it turns a cool tri-fold digipak into something special. Given my own personal preference for vinyl (as well as its resurgence in recent years), it just felt really awesome to open up a CD that takes influence from that style of packaging. Vinyl is expensive, and having a more affordable option such as this offering part of the same tactile experience is fantastic.

As far as sound quality goes, it’s a CD so there aren’t really any surprises. CD doesn’t tend to have the variability in terms of sound quality compared to vinyl pressings, and CLPPNG is no exception to that. It sounds great, but it offers no benefit when compared to the digital version of the album (particularly if you have the album in a 320kbps mp3 or lossless format). This release isn’t a must for audiophiles, and lends itself much more to those who simply love collecting physical music.

Ultimately, the CD version of CLPPNG is well worth buying if you’re a fan of the release. I would have personally preferred the vinyl, but I would be lying if I said this wasn’t unique. The assembly and design of the packaging are both superb, well above the average I would hold against compact disc. Though I do have a few deluxe editions and short run releases from other artists that I like more, this is probably one of my most cherished standard versions of an album in this format that I own. Time and time again I find myself smiling when I open up the digipak to give the record a playthrough. There’s just something about the minor details that make CLPPNG feel like something special. I recommend it fully for the avid music collector.