LordGio Speaks on Artistry, Overcoming Depression, and Open Musical Horizons

by Dustin

gio

It’s not very often that a submission to our open inbox actually catches our ears here. Generally projects are half finished, poorly put together, and underdeveloped; yet, the inbox remains open as a means for artists to put themselves out there. It stays worthwhile as every once in a while something genuinely special blows away all expectations. That was the case when Mississippi’s LordGio submitted his Heatwave Vol. 1 tape several months back. Digging into his back catologue showed a true hidden gem of an artist, and a true creative. Simply reviewing his material would have been difficult. There is no material about his backstory to provide context. It would have done any of his works a severe injustice.

That’s where we come in. We decided to sit down with LordGio and really sink into what makes him an individual. It’s a bit of a longer read, but we promise it’s well worth it. Enjoy.


EN: For those who are unaware, could you give a little background on yourself as a musician?

LordGio: Alright well, I guess technically I started with music in middle school when I was learning to play the trumpet, which I practiced all the way up until college. When it comes to rapping though, I started writing raps in 5th grade and they were pretty trash…but I guess decent for my age looking back at them? Like, I had a knack for sticking to themes, subjects and storytelling even though the wording was pretty cringey. Sometime in the 9th grade, I started being active on the website RapGenius (now Genius). I saw so many musicians on the forums and that made me realize how un-impossible this whole thing was.

I had gotten the game Rock Band in middle school and I played it pretty much every day until around the 9th grade when I didn’t really have time and I could pretty much “100%” all the songs on hard mode. I got the idea to use the microphone from the game (because it was a working USB Microphone) and use that to actually record some rapping on my favorite beats. I believe the first one I did was Low Class Conspiracy by Quasimoto.

I wrote something on the way to school and it kind of had the same subject of police brutality and was a bit of a distortion of a real life story that happened to me and looking back it’s one of the few of my old things that I’m like “eh that’s not too shabby”. I post that to the forum, asking people what they think. There wasn’t much technique or wordplay, but people appreciated the flow and storytelling and said it was pretty good besides the fact that it sounded like ass because the cheap mic and lack of mixing and mastering. However, that was enough for me to be like, “huh maybe I /can/ do this”. I started doing it more often all the while trying to improve my lyrical ability; studying hip hop way more than I did before and studying from all sorts of artists that I never listened to before. I eventually hit a bump where I was tired of looking for beats and never really finding anything that really fit what I was looking for (not to mention being too broke to afford any legitimately).

I started fiddling with the idea of just making my own beats. I tried all sorts of useless free software and made a bunch of worthless material, but each time I got better than the last and that’s all that mattered to me. I eventually landed on ableton and started getting decent enough after a while to where people said it was alright, but not to the point where I wanted to rap over it (which was the initial goal of course). I kept trying and trying and shaping and molding and changing styles until I finally made one and decided to try rapping over it. It was decent, but it sounded terrible. That was around halfway through the 10th grade…

Now I’d suffered from depression since middle school, and around this same time is where I probably hit rock bottom. I got tired of the routine (wake up, go to school, go home, repeat…replace school with college and then with work and do this until you die). I felt like life was so pointless and i just wanted to skip to the dying part, but I remember it like it was yesterday: I was in Chemistry class and I was staring out of the window looking at birds fly and wishing I could just do the same. Just be able to fly and never have to stay in the same place, and deal with the same shit over and over again. I was addicted to watching Curren$y’s Jet Life vlogs and wished I could just be on the road like that and go all over the world. So I said fuck it, that’s what I’m gonna do. I didn’t know how I was gonna do it, but I knew I was gonna do it. And I just kept getting better everyday. I didn’t even care about school anymore, nothing else mattered and music was the only thing I thought about from the time I woke up to the time I went to sleep. This shit became the only thing I’m alive for, and so I refused to let anything get in the way of it.

EN: So you got really serious about it at that point.

LordGio: Yeah. I started figuring out the formulas from watching interviews, listening to people’s firsthand accounts, soaking up any kind of knowledge, advice, and good or bad examples that I could find. I didn’t have any connections so i made myself the connection. I learned how to make beats, I learned how to mix and master, I learned how to promote myself, and most importantly, I figured out how exactly to get on and do something with this.

Enter: JELLYFISH_.

I realized that if I was ever gonna do something with this, I have to be unique. I have to have my own sound and my own image and my own brand. People need to remember me apart from everybody else that makes music. So I started a project making beats from scratch, with no real stylistic blueprint. Whereas before, I though “I’m gonna make a beat like this guy or like that guy.” I instead started JELLYFISH_ with the mindset that “I’m gonna make this beat that’s not like anything I’ve ever heard before.” I finally got enough songs that I was proud of, cut out a bunch of them, and put it on Bandcamp. Since then it’s been pretty much business as usual

That album didn’t just grant me any wishes or anything, but I’d say that was the turning point where I started realizing how to get myself on, and actually started applying it.

EN: I notice you mentioned Quasimoto. I’m assuming Madlib is one of your influences, but who else influenced and shaped your drive to produce?

LordGio: Madlib is definitely one of my primary influences. I’d say Curren$y was the one who inspired me to rap, but I remember very clearly that I wanted to start producing after I listened to Purple Naked Ladies by The Internet. Noisey had a behind the scenes interview with them at Syd and Matt’s apartment. They had simple, barebones furnishing, with eccentric lighting everywhere and a simple studio room and I was just like “this is it.” That was what I dreamed of. I imagined having a space like that and I was able (and still to this day able) to say that, if I could just wake up in a place like that everyday and just be able to and make some shit and do whatever…that was my dream.

At that time I was really into Odd Future stylistically. It was through them that I discovered guys like MF DOOM. I guess they kind of opened my ears to so many different genres and sounds. They probably inspired me to be confident enough make something as left-field and all over the place as JELLYFISH_.

Other influences though would be A Tribe Called Quest, Eric B & Rakim, the OVO collective. Artists like Three 6 Mafia, UGK and No Limit were influences from before I even started making music. Being from Mississippi that’s pretty much what I was raised on. I think those influences are starting to show a little bit more than they may have on JELLYFISH_ with this new sequel project I’m working, ANEMONE_. I should also list Flying Lotus, Hiatus Kaiyote and even Led Zeppelin to an extent. I’m influenced by a lot of stuff really [laughs], I don’t think I could make a full list.

EN: Do you believe that having a wide range of influences helped you to become more versatile as a producer going forward?

LordGio: Yeah definitely. I think having an ear for so many different genres has not only opened me up to different rhythms, chords, tones/tambres, but also different subjects or concepts that people who only listen to one style of music may not be familiar with but perhaps that they identify with personally or culturally. I think having those things that people can relate to gives them a further appreciation for my work because I show awareness of things they aren’t used to being addressed in “hip-hop.”

Speaking of that, I think having these different influences has also helped me to craft a sound that doesn’t strictly fit one genre. This allows my music to be picked up in different crowds. I’ve had people tell me that they’d never thought they would like 4/4 style dance music until they heard the second half of drip, at which point they started seeking out more. They saw that there could be stuff for them in the dance music world.

EN: Do you think it’s too limiting when artists allow themselves to be defined by a single genre right out of the gate?

LordGio: Yeah, I think it can cause problems in the long run. I don’t think Kanye ever really wanted to just be a rapper for example. I think he always intended on making projects like 808s & Heartbreak or Yeezus, but maybe we just caught him early in his creativity. I’ve noticed that there are artists who “blew up too early.” What often happens in the entertainment industry is that artists tend to be forced into the style fans discovered them with. If you look at a Kanye or an Earl Sweatshirt, you see people who suffered because they got famous for one thing, when in reality they have a lot more to offer.

I think a Tyler, the Creator is an example of when it goes right. He came in the game kind of unusual, so he had room throughout his career to completely re-invent his style because nobody knew what to expect since the beginning. I think that’s what I aim for and why I’ve grown much more patient with my career bubbling slowly. I want to build a diverse catalog before people really start looking at me, so no one has to look at future releases and feel blindsided by a change of pace.

EN: Touching on something you mentioned earlier because I’ve gone through similar things mentally. I was wondering if you could expand on the importance of music for you when dealing with depression?

LordGio: It was a lifesaver man. I grew up in a household that stood on the concept of “you’re a child, you don’t open your mouth unless spoken to. You don’t have an opinion, privacy, or a right to your own thoughts.” Looking back, that’s an unhealthy way to raise a child because it’s important for people to get these thoughts out freely and have them heard and digested rather than instantly rejected. I grew up feeling like I was alone. Like I’m the only one who thought the things that I thought and saw the things that I saw and there was something wrong with me. At some point early in childhood this, coupled with bullying at school and other things essentially made me give up on society. I still to this day (while I’m trying to work on it) feel like I can speak something clearly in English and other people react like I’m speaking another language. I just stopped saying anything.

I was left alone with these thoughts, like an open wound left to fester. Lack of self esteem turned into self hatred when I was the only one who seeing my side of things. Parents reinforced those negative thoughts that I already had. Life is only a predictable cycle of misery when shown no other path but the standard, and it fueled the inadequacy and self hatred because I don’t fall into that norm.

When you introduce the idea of writing lyrics however, this changes things a little. It introduced a space where I could write these ideas down. There is no criteria for being right or wrong; there is no “MLA format.”; there are no weird looks or uncomfortable moments; there is no misunderstanding because I know exactly what I mean by these words. When I share these ideas with strangers and they like them, they try to figure them out. Even if they’re getting it wrong, it feels like I’m not alone.

I mentioned that i first started recording music after being active on Genius. This also introduced me to many of my best friends of all time. People who were intrigued by the same art as me, even if it was for different reasons. This shows that I am truly not alone because if they completely shared my points of view, that would still feel like being alone. For their thoughts to be different takes on my own, it shows they aren’t patronizing my thoughts by pretending to share them.

Producing tacked on a whole new level to this. There’s kind of an understanding of how inefficient and ineffective spoken language can be. There are feelings and ideas that neither I, nor anyone can find the words for, but that I know other people experience. I think art is such a powerful tool because it allows us to communicate those feelings and thoughts to each other without the limitations of semantics, grammar, logic, and tone. A person can look at a painting of some splotches of color, and feel something from looking at it that they just can’t express in words; however, they know what they’re feeling, and it’s so strange because that feeling can be so much different than what the artist felt or even what the next viewer will feel.

Producing music is my painting. I have this freedom to put sounds here and there, like colors from my palette. Sounds that I create, sounds that I cut out and re-use because they’re familiar to me.

This limitless nature of sounds shows me that maybe life isn’t a predictable cycle. If nothing else, I can at least count on the idea that there are no railroad tracks constraining me musically. I applied this to life and realized that the railroad is only there if I want it to be. We’re told to drive on the road and that works for many people, but the truth is that we’re perfectly free to pull over and walk into the woods. If I wander around the woods long enough I may find other campers like me who have the techniques and supplies to help me survive. Alternatively, I could kick the bucket before I find these people, but that’s okay with me as long as I’m able to roam freely with the imagination of something being out there. It gives life meaning and a reason for me to press on and keep waking up for the next chapter.

EN: Do you think that, in general, we (be that author, musician, average person, whoever) need to be more open about mental illness? I know for many, particularly for individuals in poorer communities, there is a “don’t ask, don’t tell” mindset around it. I know you mentioned experiencing something like that with your family, so I’m very interested in your thoughts about how the discourse needs to change.

LordGio: That’s it exactly! There’s a cycle in poorer communities that “we have bigger things to worry about than mental health,” but that only creates further problems. We tell our kids that they don’t have anything to be upset about, which teaches them to disregard their emotions in unhealthy ways. It ends up warping their view of the world and causing them to develop more bad habits or commit harmful acts to themselves or others as an outlet.

Then as adults we reject the idea of seeking therapy, even amongst ourselves via honest dialogue because “these bills are more important” or “there’s nothing wrong with me.” Our kids see this, and it adds to the stigma around mental illness.

Unfortunately, the famous people who are more honest with their personal issues and struggles are seen as alternative, strange, or downright taboo to individuals in these communities too.

EN: I appreciate your openness on these subjects, thank you. Moving back into your music a little bit, your last project had some work with other vocalists if I remember correctly. What’s it like to work with the idea of having someone else perform on your track?

LordGio: It’s really exciting because when I’m making a song – whether it has lyrics or not – I kind of have this whole central idea of the song when listening. But then when I’m collaborating with people it’s interesting to see that the song could evoke a totally different or eerily similar feeling in them. It’s also exciting when I’m mixing or editing their vocals and they get that same sort of feeling.

EN: Would you like to expand further into working with other artists on their own material, or do you prefer to work mostly on your solo releases?

LordGio: I do prefer to work mostly on my solo releases, but I also want to have collaborative projects with people. My JELLYFISH_ album is part of a three part series and they’re all going to be self produced and have no features, but I’m always excited to have collaborations on other projects.

I also want to collaborate with artists of different mediums. I have this video out right now called “eyes(n)ears” that depicts me playing a set while a line artist I met does a live-draw outside a local art museum. We’re gonna be looking to do it again in different places.

But expanding on that, I’m interested in doing work on video games, anime, and independent film. I have fragments of ideas for short films, but I want to focus on my music first before I take on another medium.

EN: That seems like a very unexplored territory for younger producers. The only producer that immediately jumps to mind for soundtracking video games is Doseone. Do you think producing for other artists is a skill that’s highly transferable to scoring for a game or movie? I mean that in the sense that you’re basically having to bring someone else’s ideas to life rather than your own.

LordGio: Yeah, the only one I can think of in video games is C418 who made the Minecraft soundtrack. But yeah, it’s the same as that whole collaboration aspect where I think it would be cool to create my own interpretation of that artist’s vision. There’s usually more functional soundtracks, but then there’s those like Minecraft, or anime like Cowboy Bebop, FLCL, and Samurai Champloo, where the soundtrack composer approached it with the functionality taking a backseat but while still fitting within the aesthetic of the whole production. That’s where you have projects whose soundtracks can arguably stand alone as their own pieces. This often times enhances the project as a whole, because it can reinforce the emotions evoked from the writing or the visuals.

That’s the kind of thing I would want to work on, as I tend to find myself struggling when I try to do more strict and conventional work.

EN: To close, I’d like to ask a question that often gets asked to people who’ve made it to huge levels of fame; however, I always think the answer is more interesting when discussing it with smaller independant artists. If you were to sit down and talk with someone who was just learning to produce – as in they’re completely new to music as a whole – what would be the advice you’d give?
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LordGio: It would probably be that there’s no right way to do this. Lots of people are gonna feel like you’re doing it wrong, because either you’re not using the traditional techniques or because you’re not doing the state-of-the-art new techniques. The truth is, art has no blueprint. There’s no tried and true route to creating art, otherwise it wouldn’t be art. I look on the internet from time to time and see a lot of people asking what tools they should use, whether hardware is better than software, and whether sampling, sound design, or the use of live instrumentation is better. The truth is it could be any combination of those things that makes a great project, or it could just be one. Either way, use what you can get your hands on because it makes for a more interesting story when you came across a tool or material by chance and figured out how to make sounds with it especially if it’s something nobody ever considers using.

So yeah, there’s no right or wrong way. Don’t listen to the old people or the hipsters. Don’t listen to the little kids or the hypebeasts. Just make what feels right.

Album Review: Walter Gross – Super Basic

by Dustin

superbasic

8/10

Ah, Walter Gross. One of the most creative noise-based musicians alive. A little early this year we took a look at his Black Box Tapes release, Vestige. An album which was, and still is, one of the best releases to date in 2017. Moving with the swiftness of a sparrow Walter Gross has already ventured into another release, Super Basic. This release isn’t a really a follow up to Vestige, instead it is a collection of material recorded between 2015 and 2017 (according to his BandCamp page) being released completely DIY both digitally and on cassette. These sorts of beat-tape releases can be slightly unpredictable; however, when they’re from an artist known for experimenting with sound they’re usually worth checking out. They’re unrestrained and free from the need to fit an overarching sound, and usually loaded with interesting tidbits and lost cuts.

Walter Gross is exactly that type of artist, and Super Basic is a very interesting tape.

Super Basic feels like a cutting room floor of ideas, experiments, and loose ends that make up Walter’s progression as a musician. The songs have this loose quality to them that definitely feels like an assortment of not entirely fleshed out thoughts. The track names lend to this rough cut experience, with titles such as “Party Loop”, “Cut I”, and “Cut II” feeling as unpolished as the songs themselves; the ruggedness of Super Basic is not a negative quality by any means however. It leads to somewhat of a scattered experience, but it makes it feel as if the listener is being granted insight into the method behind the madness of Walter Gross.

Even the packaging of the cassette release is a little rough around the edges (in the best way possible). There’s some previews up on BandCamp of the physical release, and it really adds an element to the aesthetic. The digital art (as seen above) is similarly simplistic yet beautiful. The way he’s crafted all elements of this album by hand is admirable, to say the very least.

As far as the music goes, there are some genuinely beautiful moments on Super Basic. The vocal melody on “Cookie” for example is absolutely gorgeous and has this delicious contrast with the noisy, glitchy, sauntering drum line. “Hierophant I” is another stunning piece on this album. It has this crunchy distorted wall of noise at the forefront of the song, with a very subtle meditative nearly-angelic sound slipping through the cracks (and eventually closing out the track). That’s not to say that the rest of the tape isn’t also very cool – which it is – but hearing these moments of blissful relaxation hidden in the noise is breathtaking. It provides a wonderful balance, and gives weight to the most abrasive moments on Super Basic.

There’s also a really nice amount of variation on this beat tape. There are looping moments that drone on, hellishly insane noise tracks, and even some bits that feel hip-hop influenced. It gives one a sample of the range Walter Gross is capable of playing with.

Super Basic may not quite be the powerhouse album that Vestige is, but it’s really not intended to be. Walter’s assortment of sounds on this project are the ultimate fanfare. Even though Super Basic shows off his varying styles, it most likely would not be the best jumping off point for a new listener. That being said, as an established fan this tape is a seductive sampler platter featuring everything lovable about his music. Super Basic totally encapsulates the do-it-yourself and gritty nature of Walter Gross. Perhaps it’s even safe to say that this is him in his rawest form; dirtied up, a little bit chaotic, but an absolute blast to sit through.

Album Review: Walter Gross – Vestige

by Dustin

wgv

9/10

After a decade and a half in the scene, it’s safe to say that Walter Gross is a well-seasoned veteran when it comes to do-it-yourself music. He’s also an artist who has gone through some very interesting times recently. In his released statement about Vestige – the album which this review is tackling – he spoke on the circumstances that gave birth to this album. Moving from America to Berlin, losing the source material in an equipment failure, and creating art in circumstances less than ideal. The end result is this album. An album that serves as an exercise in growth for an artist, and perhaps even somewhat of a musical rebirth.

As a side note, this album is coming via Black Box Tapes. That might not exactly be a household name at this point, but it’s a label run by a classic figure in the underground hip-hop community, Sole. Those who are hugely into rap (and read this site) might find it interesting to know what he’s up to these days… Anyway, onto Walter Gross’ absurdly powerful record!

Vestige sounds like the demented stepchild to post-rock. Walter Gross has blended the melodic evils of groups such as Godspeed You! Black Emperor and Viet Cong (now known as Preoccupations) with his classic breed of experimental electronic to create a unique beast. The instrumentation on this album hits like a noisy wall of sound; while it is probably more accessible than much of Walter’s work, Vestige is in no way an easy album to sink your ears into. While a song such as “Naked Lunch” may have a delectable, head bobbing bass-line, there are copious noise elements happening simultaneously. This leads to a wonderfully challenging listen; moreover, Vestige feels like an album that will retain replayability as there will always be new elements to discover within songs. Amazingly the stylistic differences between tracks – which at times can be quite vast – don’t hurt the cohesiveness of the album. Every song has its place within the environment of Vestige.

A prime example of this is the punk-chant “Fixated on the Light” coming immediately after a much more hip-hop oriented ending to “Window.” Their sounds couldn’t exist in further worlds, yet Walter Gross found a way to bring them together and make it work in a way which felt entirely natural.

The focus on vocals is also very intriguing for a Walter Gross album, and to be completely honest it was refreshing and worked flawlessly. In true post-punk fashion, the vocals are often muddy, aggressive, unnerving, and hidden back slightly in the tracks. They’re unconventional, but so is the entirety of Vestige. Even when the vocals exist purely in a murky haze of words, the way they compliment the instrumentation is gorgeous. They’re not technical darlings, yet they work well.

It’s reminiscent in ways to how Ian Curtis made imperfect singing sound cool in Joy Division. It just fits the atmosphere and tone of the music exceptionally well.

While Walter Gross has been a mainstay figure in the do-it-yourself music community for years, he has reached a new level on Vestige. While it might not be quite as consistently unnerving as some of his releases (such as Goner, for example), it is a mind-melting play-through. The elements of noise, post-rock, punk, hip-hop, and genres yet-to-be named laced throughout are an absolute treat to listen to. Sure, this album may not be a mass-consumable brand of music (and let’s be honest, Walter’s records never will be), but that’s exactly how it should be. The lack of pressure to stay chained to a particular sound has granted the freedom for a record like this to exist. Vestige is a prime example of the power behind the do-it-yourself route in music. There’s something special in the clarity of an artist making the kind of music they want to make, and hitting a sort of full musical realization. That holds true in spades for this release. Vestige is the type of album that should (but won’t) get consideration on top album lists when the year comes to a close.

Also, it should be mentioned that the mixing sounds great. Shout-out to Michael J. Collins of FilthyBroke Recordings (who we interviewed a little earlier this month).

Seriously, if you want to listen to some genre-bending futuristic-but-retro post-punk-yet-electronic (hyphens, so many goddamn hyphens) massive tunes then keep your eye on this record. This is the type of pallet-cleansing releases that are an absolute joy to experience for the first time. The physical release isn’t quite here yet (that tape looks beautiful, though), but it can be streamed/downloaded on Walter Gross’ BandCamp right this very moment.

Album Review: V8 – One Dog Night

by Dustin

odn

8/10

Welcome, ladies and gentlemen, to our very first review of 2017. This is actually a very special review for us, as it’s the very first piece of “early press” we’ve been able to contribute. When our friends at Filthy Broke Recordings agreed to send us a press kit, we were absolutely overjoyed. Though we didn’t get this out as early as we would have liked (stupid actual job causing mayhem), it has still been a pleasure.

Now, onto the review itself. You may be asking, “what album are they so hyped up about?” The answer is One Dog Night, by alternative rapper V8.

The first thing that stands out about One Dog Night is that V8’s vocal performances are really quite monstrous. You won’t find raps full of quotable punches and one-liners on One Dog Night, but it remains an unapologetically gripping listen. V8 has a charming gravel to his delivery on this album, coupled with a wonderful willingness to explore a range of vocal inflections. Whilst drawing you in with what he’s saying, V8 simultaneously begins to construct this dark-sounding environment vocally. The rasp and strain to his voice perfectly sets the atmosphere for what is a grungy album.

Buckle up, because the concept of musical atmosphere and environment are going to be overwhelmingly prevalent while discussing this album.

Backing up his vocals is an assortment of absolutely grimy production that feels nostalgic, yet fresh. One Dog Night’s instrumentation draws inspiration from a wide variety of sources, and it is ever changing throughout the duration of the tape. It’ll have you jamming to a powerful boom-bap beat, then immediately slap you over the head with something completely out of the box and experimental. To be frank, any attempt to verbally explain how diverse-yet-cohesive the production is on One Dog Night will not do it justice. That filthy grunge sound kicked into motion vocally was really well supplemented by the production on this album. A seamless marriage, if you will.

That filth (said affectionately) is further built upon by the usage of interview, news, and other samples between tracks. Though the frequency in which these appear is jarring at first, it quickly becomes a necessary part of One Dog Night.

One Dog Night is the kind of tape that taps into the essence of indie hip-hop that was established through the late nineties and early two-thousands. Those who grew up fascinated by the likes of Myka 9, Radioinactive, Busdriver, and any artist from the Project Blowed heyday will find a welcoming comfort in this album. It’s not the most accessible hip-hop release, but it’s not supposed to be. There are times where One Dog Night almost feels like too much at once; however, the energy and thought that is evident on this album rivals early indie-scene juggernauts, ultimately leading to an incredibly satisfying record. V8 goes against the grain, and his efforts serve as a reminder that abrasiveness can be done tastefully.

Those looking for something to throw on in the background will probably not enjoy this record, and it is beautiful in that way. One Dog Night forces you to pay attention with an in-your-face confidence that many would not be able to pull off.

The cassette release, coming via Filthy Broke, also looks quite intriguing. It is on top end of price point for a tape, but every order comes with a handmade leather case, so the dollar amount is definitely understandable. If you’re a cassette collector looking for something quite unusual, it might be worth having a look at. The cases are super unique, and it’s cool to witness an artist doing something out-of-the-box for a physical release. Really, it’s about as true to the indie mindset as you can get.

Though, they could be gone at this point as only a handful were created. So, you may just be shit out of luck. If that be the case, we sincerely apologize (just kidding, if you snooze you lose).

Lightning Pill Discusses Experimental Music, Helping the Community Feel Heard, LGBT-music relations, and More

by Dustin

lp

Sometimes you stumble across an artist that just has an aura about them that instantly signals they work on another level compared to most. Maybe they’re involved in social causes, maybe they’re workaholics, maybe they’re incredibly mentally dedicated to their craft and community, or maybe they’re all of the above. Such is this case with Lightning Pill. From experimental music crafting, to making sure others don’t feel left out in the cold, Lightning Pill is a lot of things to the do-it-yourself music community. We’ve been aware of his work for a while, and thanks to an introduction by IHeartNoise we’re able to provide an insight into the mind of one of the hardest working individuals you’ll ever have the chance to know.

Lightning Pill can be found on his Twitter, and website. His blog (mentioned in the interview) can be found at Revenge of the Persona Non Grata, and also at its official Twitter. Be sure to give him a look after you’ve finished reading this interview!

EN: First and foremost man, thank you for joining us today. It’s an absolute pleasure. I’ve interviewed quite a few musicians, and I always love working with those who are socially conscious.

That being said, for those reading who may be unaware of you, how would you describe yourself?

Lightning Pill: I am a singer-songwriter who mainly plays keyboard. I take on multiple genres, all which fit underneath bedroom pop, antifolk, etc. I also make beats every now and then. On my downtime, I blog for Afropunk, IHeartNoise and Revenge of the Persona Non Grata, a blog I began focusing on avant-garde/DIY Hip hop, r&b, jazz and electronica.

I also write poems every now and then, but nowadays, poetry is molded into song.

EN: Did being a DIY artist yourself inspire an ambition to write about those forging a similar path musically?

Lightning Pill: Yes. Very much so. I’ve been in the music-making game for years, and found a correlation between most great DIY artists. They want Pitchfork and SPIN coverage and find themselves ignored despite putting out great work. I literally spent all year finding new music through Twitter recommendations and affiliations because, I wasn’t exactly messing with the recommendations of bigger labels. I understood the need to be on bigger platforms, but you don’t need to do that with blogs such as Afropunk helping.

The second album I put out to Afropunk as a DIY artist was Humanbeyondrepair, an album about having Asperger’s Syndrome. I didn’t have the money to tour, didn’t have a huge following, no labels, and so on, but they covered me. I wished more blogs would do that rather than creaming over the same bands they will slag on later.

Twitter is chock full of original musicians and small labels who want to spread their name with no real help from larger platforms. Since they are what I am, I can’t in good conscience make them feel like no one is paying attention. So, I started RPNG. Really it started as a blog for avant-hop, since there wasn’t a huge niche blog for that. Then it expanded into me giving love to smaller acts trying to get on 2DopeBoyz, Pitchfork or Consequence of Sound.

EN: That’s very similar to the reasoning why I started Extraordinary Nobodies. I really respect that at a personal level, but I have to ask: why do you think it is that major outlets turn their ears off to experimental and DIY music?

Lightning Pill: It feels related as why major labels sign experimental acts: if you are engaging, accessible and at least sound like you have a chance in hell in the mainstream or something, then you are “in”. That’s bullshit too, considering that there are some great acts that do have a fighting chance at connecting with the general public.

It feels like going to high school and the “cool kids” either ignore or bully the weirder kids, only to find that they envy them. Acts like SassyBlack (formerly of THEESatisfaction), and even AJ Suede, can’t be found on 2DopeBoyz even though the music has a chance of reaching the public. Only one clipping. song can be found there, too. People are likely to turn a blind eye to artists that don’t have a huge following, and you get a huge following through either celebrity-based nepotism or “accessibility” within the industry.

Perfect examples are rappers and singers within Deathbomb Arc, one of my favorite labels. Excluding clipping., rappers like Signor Benedick, Hareld and They Hate Change don’t get the attention they worked for in their fields despite being really original and talented artists. They deserve to be known in the same corner as Death Grips and Kendrick Lamar. I had to take matters into my hands and write about They Hate Change and True Neutral Crew in Afropunk. Their coverage would probably still be fairly minuscule, if they hadn’t known that I write for them.

EN: Are there any other acts out there that you especially think aren’t getting the attention they deserve, or is it basically the DIY/experimental community as a whole that’s being ignored?

Lightning Pill: It’s a funny thing. If they do get coverage, TheNeedleDrop and Pitchfork are the ones doing it. Still though, a good amounts of the DIY community pretty much live by their wits. Artists like DijahSB got into music and despite how great her music is I don’t even see Aftopunk covering her, and I sent in a blog about her Blue album.

EN: So, running your own publication very much came out of a place of frustration.

Lightning Pill: It started as a way to fill in the niche that 2DopeBoyz and XXL didn’t, couldn’t or won’t touch. It snowballed into a frustration that I shared with artists over making great music but not getting attention despite how “great” they are. This inspired me to take the reins, and I encourage many others to use the blog as a way to give back to your community. The moment I started the blog, I had plenty of artists say they loved my writing. JPEGMAFIA even said my kind of journalism and research rivals that of empty journalists and music critics today, which made me happy. I’ve even had plenty of people approach me to write something for them. I had no right to turn them down because I was, and still am, them.

Type in THEESatisfaction, milo, F. Virtue, Cakes Da Killa, or clipping. in 2DopeBoyz and watch it come up with nothing. The only real explanation I can find is that their blog mostly focuses on artists who aren’t too experimental, as to gain a huge following.

While I am here, I do want to shout out one slightly well-known blog that does what I do: UGSMAG. They cover nothing but that underground shit. Some avantgarde stuff, too. That blog, and the dearly-missed Potholes in My Blog, inspired me to write the blogs I do.

EN: Do you find it difficult to balance your personal life, music, and working on other projects such as journalism?

Lightning Pill: Only because when I get into these projects, I REALLY get into it. When I write about projects, I listen to 5 albums a day. After that, I find myself wondering when I’ll have enough juice and focus to put into my music. When I do music, I get really into it too. It gets hard because I don’t do any of this to merely half-ass it. I’m in it for the long haul… Even if I don’t get paid for doing any of it. That’s how committed I am to what I do. As for my personal life, people know good and well I don’t sit on my bed and do nothing. I’m always working on something to occupy my time. Whether it be hobby or not, I do it because I find fulfillment in it.

Admittedly, it does get hard making sure that when I am head deep in one thing, I don’t neglect the other.

EN: Throughout the year I saw you getting a lot of love from various outlets and labels, such as Deathbomb Arc for instance. How much does it mean to you to know that what you’re doing is being noticed?

Lightning Pill: Man, it means a lot! Imagine years of making music only to find out that I’ve got fans purely from being deep into the underground. This wouldn’t have been possible without Ilya of IHeartNoise, who heard me and has been hyping up my instrumental works, mostly. But since I started pushing everything, not one person has told me my stuff sucked. One dude did, but that was on a couple of fun bars over Jonwayne beats that got a lot of attention, and got me followed by Jonwayne himself.

The Deathbomb Arc thing had me taken aback because I’m a big supporter of the label. The reason being that Deathbomb is one of few labels that aim to surprise you with every artist they add to their roster. So when they asked me about doing a song for them, I was like “what?!”.

I have fans in Ceschi, Dionne Sheree, Ilya, They Hate Change, and plenty in the DIY/experimental (mostly hip hop) community. I feel blessed and it makes me want to work hard to see to it my next few albums and mixtapes don’t suck.

EN: On that note, do you think more artists need to take a second to step back and enjoy the small scale love they receive, rather than desperately trying to “make it big”?

Lightning Pill: In a short answer, yes.

In a long answer, I understand why people want to get big. They do it for money, for attention, to reach people and change the landscape of music. Everyone has reasons as to why they want to get famous. But even if I don’t ever reach the stratosphere, it’s still heartening to know I have a cult following. I do music everyday and never get paid, but it makes me want to keep going knowing people are waiting for my next work.

I was one of those people who wanted to do music to get paid for it. But the more I made music the more I slowly accepted I may never get paid, or that I may never get known to the level that, say, Atmosphere is. But even having a little fans may give me a new perspective. Perhaps making music for them will lead to them spreading the word and finding out that my music can get better and reach people who aren’t just blindly following me. Some people will become Jay-Z and Lil Wayne and some people will be Atmosphere and Run the Jewels. Either way, just knowing one person loves your work is heartening. All one has to do is keep going and keep making your best stuff, keep trying to one up yourself and watch people slowly reveal that they have been a fan of yours.

I think in time I understand why people say that knowing people love your work and are waiting for the next one is better than money. Often times, if people really love and support you, they’ll pay for it when it is for sale. I’d be just fine being the next Ariel Pink, Dam-Funk or Captain Beefheart. People should take any blessing that may come their way in the form of true love and appreciation for what you do.

EN: I noticed on the RPNG Twitter, you note things such as being a LGBT friendly site. I think that is awesome, and I wanted to ask how important it is to you to be open in your support of such causes?

Lightning Pill: Very much so, seeing as how there are a lot of gay rappers in existence. One of the first I found back in high school was Deep Dickollective, helmed by Juba Kalamka. Their music is basically conscious hip hop from a gay man’s point of view. Since then, I found rappers like Melange Lavonne, God-Des and She, and more recently Cakes Da Killa, LE1F, Mykki Blanco, Abdu Ali and F. Virtue. All of them are getting shunned from larger hip hop for being gay, and hardly ever pushed towards a straight demographic. They are part of the reason why I stretched my blog towards people who just plain can’t get bigger attention over stupid shit.

I read in SPIN Magazine that Juba heard some sites pull the “there’s nothing we can do” stance for making gay music more mainstream… To this day, the only gay rapper the world can even mention is Frank Ocean, who only spit a few bars on a few songs.

It’s very important to notice all dimensions of music in general. People need to stop being brand new about rappers just because it doesn’t fit their universe. I just told Cakes Da Killa, “people would rather hear some mediocre ass dude spit bars than to hear you rap. That should change!” That stemmed from me praising clipping. for having Cakes Da Killa on a track, and working with an actual gay rapper. I couldn’t give less of a single fuck about a person’s sexuality. If you got true bars and can stand out musically, fuck everything else.

I cover LGBT rappers, Christian rappers, anyone who can bring something truly fresh to the table.

EN: Do you think that someone like Fly Young Red, who basically turned the gay rap scene into a meme with “boy pussy” did more harm than good for the LGBT community in hip-hop?

Lightning Pill: Eh… I think we should be past the whole “harm and good thing”, seeing as how there are multiple dimensions of anything LGBT. Where there are people who make gay people look hypersexual, there are people putting a good name on it. It’s the same as black people showing they have respect and intelligence among ratchets thinking they are acting white.

Of course it is doing “harm” as it is showing gay people as hypersexual, rather than people who have more to talk about than just that. You know? But, the same can be said about demands that Nicki Minaj and Rhianna be less aggressive with sexuality in their music. They are doing nothing more than being a mirror for the culture we live in. The only difference is straight people make AIDS and femininity jokes, while giving or getting AIDS from the next girl with a fat ass and a pretty face. Where there is a Fly Young Red, there’s a Cupcakke or multiple amounts of dudes talking about running a train on your girlfriend.

That’s just the way it is, but the ones who have yet to see it that way are straight people.

EN: That’s a great approach to conceptualizing it. My cousin (who is big into LGBT activism, with her girlfriend) has already remained conflicted on people like Fly Young Red, so I thought it’d be interesting to get another perspective.

I’m also very curious on your thoughts about hyper-masculinity in hip-hop. I interviewed Kash Jordan last year, and he really wanted to see hip-hop move away from the trend of hyper-masculine music. Do you share that sort of view?

Lightning Pill: Yeah, and as fast as possible. Back in the day, they said hip hop was for the outsiders and hip hop is revolutionary. If that’s true, then why are all these masculine-ass drunk dudes with guns taking over the game? At the end of the day to me, they are more rap than hip hop. The difference between the two is like the difference between rock, alternative, and punk.

Hyper-masculinity is doing a lot of harm, in that it is controlling the idea that men don’t have feelings. We are hyper-violent, hyper-sexual ne’er do wells with hella masculinity problems anyway. Even worse, some people encourage this shit. I thank God for Kash Jordan and Young Thug aiming to tear that shit down, because hyper-masculinity is a fucking facade. All the way. Show me a man who flexes their manhood like diamonds, and I’ll show you a weak dude who probably wishes he was as brave as LGBT types and hides insecurity with a gun or an equally masculine girlfriend. Or show me a dude who talks shit to other rappers, and you’ll see a woman revealing him to be a “fingerinthebootyassbitch”.

Hyper-masculinity is stupid because it denies that men have a feminine side, which they do. Everyone has a little bit of something. Every man has a bit of femininity and every woman has a bit of masculinity. Point blank! It’s just a matter of when you bring it out, at what time, for what. You know? It gets dangerous, if not tricky, when there’s a clear imbalance of the two, but what can one do about that? You know?

EN: Yeah, I get what you mean – in a lot of ways it seems like hip-hop as a whole is going through a bit of an identity crisis, don’t you think? Like, there’s the hyper-masculine old guard, then this new wave struggling (but trying) to break that binary but facing resistance.

Lightning Pill: It is, but it is necessary. They say music dies when you put out the same shit and things get hella stale… Actually, I wouldn’t call it an identity crisis. Maybe an exploration to see all of what hip hop and rap can actually be and do. It’s a revelation of different dimensions of hip hop that was mostly just banished to the underground. It’s intriguing, and long overdue.

EN: That brings me to my next question, what is your biggest gripe with hip-hop currently? Is it the hyper-masculine environment, or something else?

Lightning Pill: My frustration with hip-hop mostly lies in people’s thought that hip-hop should be one-sided, hypocritical and ignorant of their influence. The same people who admit being influenced by Biggie and Tupac are the same dudes who say that their music is “just music” when they get called out on their ignorance. Anytime these people say they don’t want to be role models, I respect that; but, if they didn’t want to be role models, then they should never have gotten famous… Where everyone can see them and learn from them.

Wherever there’s a person just trying to get a check, there are a group of kids on the bus talking about “smoking dicks”. And the parents only care when there’s music that disturbs the general idea of how society is. They are no less ignorant than anyone else. To them, mainstream music is the only music there is, until someone busts out a hip-hop album that’s better and possibly more revolutionary. The trouble with mainstream rap is that people always think “this is how it is”, and that’s bullshit. There is always more to the world than what people see… Or maybe their ignorance is willful. Either way, I hate that hip-hop wants to use their ignorance as a crutch for why some of them just want to make money and don’t want their music to do anything else. Once you are on the Billboard, you are a fucking role model to someone! Deal with it!

Also, I am not entirely comfortable that entertainment has an upper hand over education at times because of how catchy and gripping the music is. People think all you got to do in music is make hits about what you know and don’t know, but how many of them even know how to play an instrument? How many of them studied the music business to figure out how to get ahead other than just making hits? Kids are like sponges. They learn from artists because in their eyes, artists and entertainers are more intriguing. That’s their escape, and it eventually turns into their education whether they believe it or not. So, when something like hyper-masculinity is a thing, more men are being taught that that is what being a man is. We both know that is absolute bullshit and a complete detriment to their sense of humanity.

EN: It sounds a lot like you want prominent musicians to realize that they’re role models and use that elevated status more wisely.

Lightning Pill: Do they have a choice? They are literally in the face of the general public. Men, women and children of all ages, sexes and creeds see them. They don’t have to completely change themselves, but if that’s what they want to maintain, then they have the option of embracing the private life of others. Hell, they could be underground where you can be anything or anyone and nobody can censor you. Hell, Cupcakke is a rapper who has turned down a LOT of record label offers to do it herself, which might afford her some lowkey privacy compared to much bigger types. As soon as you are eligible for Teen Choice Awards, you should expect eyes on you. Not just in terms of fame, but in having loyal “followers” in every sense of the word. It is inevitable and raging against it would be hella useless.

Though, I wouldn’t have minded much if Cupcakke went bigger because I predict her time infront of the spotlight will be spent offering something for the kids as well as adults.

EN: So, transitioning to something a little more about you as an artist. What can we expect from you in the coming year both musically and otherwise?

Lightning Pill: I have been told multiple times to never tell people things before they are done, or before they happen… But, I have two albums and a long mixtape coming up next year. The long mixtape is called Cincuenta, which I can say is my only truly guaranteed project. The rest might fall to the wayside if I lose motivation and seek to do other things musically. But Cincuenta is a yes for next year.

As for performances? I am working on performing more, and maybe testing out Concert Window or my own YouTube concert inspired by Couch by Couchwest.

EN: I like that you’re always trying innovative things like the concept of a YouTube concert. Have you ever released any physical copies of your music? If not, do you plan to?

Lightning Pill: I haven’t. I wish I had the funds to construct physical stuff. I’m still trying to find labels interested in releasing either cassettes or CDs. For now, it all remains digital. Though, I recently talked to Become Eternal, and if all goes well, they will make cassettes of my old ambient work. So, stay tuned there!

EN: A bit of a random question here, but my curiosity is eating me alive. Where’d you get the name Lightning Pill, and what’s the meaning behind it?

Lightning Pill: I have two explanations for this, both of which actually fit. One day I was walking home listening to Patrick Wolf’s The Magic Position, this whole time I pictured him as this glam folktronic figure. I was already trying to work out a sound that’s like folk music using electronic instruments, as opposed to using electronic instruments to manipulate the sound of folk instruments. I have a tendency to put myself in artist’s shoes to keep my imagination going, and I named myself Lightning Pill.

I thought about it a little further another day when I remembered seeing a cartoon where all of the farm animals ate the pills that were supposed to control the weather. If an animal ate a sunny pill, the sun shines out of your stomach. If you are a rainy pill, a rain-cloud will constantly follow you. If you ate a thunder and lighting pill, your insides will get shocked.

So, my name is a bit more extroverted than my music is willing to match, but Lightning Pill stuck around longer than Charcoal Sketches of the Invisible Man (a name I was now willing to use when in a band or collaborating with an artist).

EN: Alright my man, we’re basically at length for this interview. So my last question is, is there anyone you’d like to shout-out, and show some love to, to close things off?

Lightning Pill: The most important person I have to shout out is Ilya of IHeartNoise. If it wasn’t for him, who knows if, one, I’d be making music, two, you’d know that I made music and three, I’d be blogging or sticking with the idea of making experimental music. He was the first ever person who had not only been blogging about my music, but actually championed and listened to my work. Not to mention, on Twitter, he constantly shouts me out to people looking for new music, new writers and all of that. Without that, who knows if you’d be here talking to me. Who knows if I would be getting as much blessings as I do now?

I’d also like to thank those who have listened to my music, read my tweets, and checked out any recommendations I had sent their way. I’m doing my very best not to let anyone down. It’s a hard process, but I didn’t adopt a workaholic persona for nothing. Thank you to all reading.

Collectors Corner: Meme Vivaldi, clipping, and Offsite & Wontu.

by Dustin

cctitle

Welcome to the Collectors Corner, a new article series on Extraordinary Nobodies where we will be taking a look at physical media from all sorts of record labels and artists. Most of these will be coming from my own collection, but my (kind of) wonderful co-writer Apu will also be contributing from his assortment of music on occasion. Collectors Corner will be a little more relaxed (and a little less hip-hop focused) than some of our other articles, serving as break from the usual… Mostly for myself, but I’m sure variation in content is healthy, right?

Primarily, I just thought it would be fun to spotlight some of the cool and weird physical releases that constantly pop up in the music scene. We’ll also get the chance to throw in some mini-reviews of albums we otherwise wouldn’t have the time to review… Wow, this is great, right? Right?!

Now, let’s just jump right into the first batch of albums in the collectors corner spotlight:

memev

From Poor Little Music, an underground Canadian label that deals primarily in cassette and floppy disk (yes, you’ve read that right) releases, I picked up Meme Vivaldi’s Smile on tape. The art on the packaging itself is really nice. There’s something about it that I found to be somewhat vaporwave inspired, particularly on the inside of the j-card insert. The cassette itself is a brilliant orange, and features a sticker rather than stamping.

Smile basically sounds like the soundtrack to an artificial intelligence having a mental breakdown. It is an incredibly odd little electronic album, but it’s also a lot of fun. I hadn’t personally heard Smile when I purchased it (yay, impulse buys), but I was pleasantly surprised once I got a chance. The sounds here definitely aren’t for everyone, but those looking for a mind-fuck will probably enjoy it.

Smile is also a limited edition of 30, so if you’re looking to own a cassette you may want to get on that soon. Hell, they could already be sold out by the time you read this. Sorry.

clippin

From SubPop Records and Deathbomb Arc, I also picked up the cassette version of clipping.’s Splendor & Misery. There were a few different physical media options for this album, but ultimately I ended up going with the cassette because the packaging is gorgeous. The cassette itself is wonderfully industrial looking, coming coloured in a clean light gray.

The insert has a very classy foil look to it, complimented by a retro feel to the rest of the packaging. This is very honestly one of the nicest looking cassette releases I’ve seen this year and I would fully recommend it to anyone looking to add to their collection. Plus, something about listening to glitched-out experimental hip-hop on cassette just feels right… And that is the most pretentious sentence I will ever write in my life.

Splendor & Misery is one of my absolute favorite releases this year; you can read more about my thoughts on this album in my full-length review.

offsitewontu

Third is Offsite & Wontu’s collaborative effort After Shenron. This album comes via Every Dejavu. The packaging on this tape is a really an aesthetic treat. From the incredible blue colour on the casing itself, to the beautiful album art. It looks great in my collection, but more importantly it is also a wonderful little project musically.

The production and rapping, are a very chill alternative brand that fans of rappers such as Open Mike Eagle and milo will certainly enjoy. After Shenron is short, but it feels like it packs enough content to sink your teeth into.

Album Review: Niku No Sekai – Flesh World Vol. 1

by Dustin

fleshworld

7.25/10

For nearly eight months we have regularly been reviewing albums here at Extraordinary Nobodies. Between our standard reviews of new releases, and the brand new “why was it good” retrospective category, it’s safe to say that we really love reviewing music. Yet, if one was to sort through our review archives they’d notice something odd… We have reviewed zero instrumental albums! This seems like a bit of a tragedy, as instrumental releases have been a big part of hip-hop forever.

Yet, the first instrumental album we’re going to have a look at isn’t even necessarily a hip-hop release! It is more of an ambient record, but it shares a lot of elements that instrumental hip-hop fans will be familiar with! This is particularly true for those who are interested in the alternative side of production. Plus, we do what we want. Fuck genres.

Moving on…

The album in question is Flesh World Vol. 1, a collaborative effort between two established artists (of SCRTS and Chinatown’s Pormer) released under the name Niku No Sekai. This project came out under the relatively young DOOMTRIP Records, a label which specializes in cassette based releases (you should follow them on twitter, sometimes they do awesome download code giveaways). Flesh World Vol. 1 was recorded on new years day, and saw release on DOOMTRIP in April.

So we’re a little behind the times here, but again, we do what we want.

Flesh World Vol. 1 is perhaps one of the most atmospheric releases to come out this year. The overall vibe to the tape is very chilled out, spacey, and slightly unnerving. It is not a long release by any means, but the sound is very cohesive throughout. Those who are already acquainted with ambient releases will most likely love Flesh World Vol. 1. It sounds like space. Listening to this album is like taking a trip through the galaxy while stoned.

The use of distance and beat changes on Flesh World really gives it life. Five tracks feels more like seven or eight, and there is a tangible environment with every second of playback. Though it’s ambient, the record isn’t afraid to grab your attention and force you to focus. The opening track, “WW4”, is a prime example of this. It has some really interesting switch-ups; moreover, the track is over ten minutes long but doesn’t feel dull for a second.

It is a dense piece of art. Don’t mistake “ambient” with “empty”, because this tape is immensely dense listening. Flesh World Vol. 1 is a record that will eventually demand your full attention, even if it does also make excellent casual listening. It is musically interesting enough to be much more than simply background noise. It certainly feels like there is a new sound to discover with every subsequent listen.

There are just so many things happening at once. It is a delightful and fun chunk of material to sink your teeth into.

For the hip-hop fans reading this blog wondering if they should give this tape a listen, yes, you definitely should. If you’re a fan of the stoned-out sound found in the cloud rap scene, this tape is probably going to be right up your ally. It’s a more developed sound as a product of needing to stand out without vocals, but there are clear similarities. Give it a listen, you probably will not be disappointed. Maybe you’ll even discover a new genre that you’ll enjoy.