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April 20, 2012

Clement marfo and The Frontline: Destined to hit highs and headlines in 2012

Meet rapper Clement Marfo, who has been making waves as an individual on the underground grime scene. Then there’s the band: you have vocalist Kojo, Dion-on drums, Johnny on bass, Rich and Dan on guitar, and the only female, Stacey, on keys and vocals. Collectively their sound is unique, uniting hip hop with grime, rock and pop. They have been together for three years, playing shows on the underground circuit as well as supporting Example, Plan B and Florence + the Machine. Now 2012 is set to be their year, to be at the forefront. Flavour meets Clement Marfo & The Frontline to talk fusion, concrete and Captain Kirk…

So, can Clement Marfo function or exist without The Frontline, or The Frontline without their frontman?
CM: That’s a good question. I was a hip-hop MC before this, and a mutual friend hooked me up with Dion, and Dion knew other musical people and recommended them to me. Everything just came naturally; and I swear, if I wasn’t with the band, I don’t think I’d be in this position.
Dion: As a band, instrumentally we can hold it down, but this dude’s stage presence and energy is amazing. We bounce off each other. If any of us out of the seven wasn’t there, it just wouldn’t feel right.

Your sound has been described as a fusion of grime, hip hop, rock, pop and R&B – is that how you’d put it?
CM: The thing is, you can’t put us in a box. There are seven of us with different backgrounds. Dion’s into his rock, I’m into hip hop, Kojo’s into soul, Stacey’s into pop… there’s different aspect of things. We can cross genres. I would say hip-hop rock. We borrowed those elements and incorporated them in our music.
Do you think by mixing up all these genres it unites today’s youth?
Dion: I’d say so. I’ve met people that are strictly grime or strictly rock, and the two worlds just can’t understand each other. I feel as a band, hopefully we bring it all together. Kano did ‘Typical Me’ – that’s when everyone started to go, ‘OK.’
CM: People are borrowing elements. I think we’re in this generation where it’s not like your jazz, your hip hop, your pop; everything’s mixed around. When you come to our show there’s a wide demographic; there’s kids, adults, teenagers, black, white, Asian people. It appeals to everyone, not because of the music, but because of the seven figures you see on stage.

Does having so many creative individuals within one entity often lead to creative differences?
Dion: No chance.
CM: Were a family. I wouldn’t say not a chance.
Dion: No, because I feel like…
CM: We’re having a dispute right now… [all laugh]. It’s the quality control, everybody puts a contribution in, which is positive. It’s not like, ‘I want this in because I’m a rock guy.’ We all sprinkle our ingredients on it to come together. I’m the frontman.
Dion: Captain Kirk.
CM: There always has to be someone who makes the executive decisions, in a way. You’ve also got to listen, and the guys have got so many valid points, it makes you think outside of the spectrum.

How do you begin to make a song, with so many of you involved?
CM: There’s two ways: One is where a producer might come up with a little snippet of a beat and we kind of loop that and put an instrumentation of that. Or we go in a rehearsal studio or a sound check, for example, and come up with a natural jam.
Dion: We’ll go into a rehearsal room and start jamming and doing our thing, and Clement will come out with some screenplay, he’s very visual.

Tell us about your latest single ‘Overtime’. What has the reaction been so far?
CM: This is the first step in the door, I think. With this track we’re here to set a mark and the response has been crazy. It’s No 2 on the MTV Base Chart, and Radio 1, 1Xtra have all been supporting the track, and it’s got us MTV Brand New for 2012. The track is about nobody works harder than us, it’s about work ethic – in order to get where you are you have to work harder than the people around you. Someone like Ghetts, his work ethic is crazy – every year he’s got singles, mixtapes, collaborating – he was perfect for this.

Your second single ‘Mayhem’ is out in March, so tell us about it…
CM: We’ve had this track for a year and a half now. We knew it was going to have some heat on it, because when we did it on a few shows it gets the crowd hyped. With Kano on it, he just added an extra something.
Dion: He just swagged it completely.

Clement, how do you feel about other MCs on a track, being the group’s rapper?
CM: I like collaborations; I think it helps us as a campaign and as a product. People want to hear a great UK legend on track. If it was any Tom Dick or Harry, I’d be like what’s this?
Dion: For me, if you can bring it…
CM: It’s a very competitive field and it steps my game up. It’s great because these guys are inspirations to me and it feels like I’ve worked hard to be on stage with guys that I’ve looked up to.

What was the track that you feel first got you guys noticed?
Dion: It has to be ‘Champion’.
CM: Yeah. We wrote the song on the day of David Haye’s fight – we wanted an entrance theme, that was the inspiration for it. The day we recorded it, I remember the producer was like, ‘This is it, this is a hit.’ Then A&Rs started coming to our shows: Warner came, Sony came, EMI, it was like, woah, crazy! So after a few months we were offered a contract with Warner Brothers; it was like, damn, massive major label!
Dion: That was one of the best days, but we didn’t want to get gassed.

How long do you think it takes to create an underground buzz?
CM: You can’t blow in six months; you can’t blow in one year.
Dion: You just can’t do it like that.
CM: There are ways, though; with the likes of YouTube you can have one song and blow up. Everything takes steps – you can’t run before you can walk. We’ve been together maybe three years and I believe that’s how long it takes. You’ve got to build a foundation, get the concrete, make sure everything sits perfectly and then you can start building.
Dion: You need to be going out and tearing shows to pieces. I think what’s worked for us is we like to go out and talk to people after shows and just hang out with them. If you want to keep them on board, you have to give them something to remember.

You’ve worked with many great artists. Who’s been your favourite?
Dion: You could ask each member of the band and everyone’s got a different answer. For me, I feel torn, because Ghetts’ energy on stage is incredible, and then Sway, when he came down and I heard his verse, it was just like incredible.
CM: Ghetts matches our energy, and I love that. Sway adds a polish and Kano adds a package full of swag.

What’s the nicest thing a person in the music industry has said about your music?
CM: Mike Skinner from The Streets, we did a gig with him at the Freeze Festival and he said, ‘Keep doing what you’re doing, because you know what it is, I’m not going to make your head big, but you guys are the future.’ This is Mike Skinner, he’s sold millions. ‘The future’, that makes us feel amazing. He’s an icon, a legend.
Dion: There was a session drummer, Ginger his name is, he came down and saw the set and said, ‘That was incredible.’ For me, from drummer to drummer, that was just beautiful.

What can we expect from the forthcoming debut album?
CM: We’ve written 60 songs; I know in the back of my mind there’s eight songs that I want on the album.
Dion: We’ve all got our lists of what we want; because there are seven of us we need to get a shortlist.
CM: Expect something like ‘Champion’, big energetic hooks, full of instrumentations; we’ve got two guitarists so it’s going to be a very rock/hip hop/pop album. It’s out this summer, just before the Olympics.

Is 2012 going to be your year, we expect great things from you?
CM: I wouldn’t like to say yes, 2012 is our year, because I might jinx myself or underachieve.
Dion: I think it is; the momentum at the minute is building, and if we keep going how we are, then yes.

Follow Clement Marfo & The Frontline on Twitter
@ClementMarfo or visit
www.clementmarfo.com

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April 16, 2012

Review: Obie Trice – Bottoms Up

Obie Trice has released a new 16-track album; ‘Bottoms Up’ that will be the first since 2006 and the first since leaving Shady Records in 2008. He will be releasing it from his independent label Black Market Entertainment. Many people will remember Obie Trice from his cameo on Eminem’s single ‘Without Me,’ and his two album releases on Shady Records, ‘Cheers,’ and ‘Second Round’s On Me,’ which featured 50 Cent, Akon, Trey Songz and Nate Dogg.

The album will represent a fresh start for Obie, but that doesn’t mean he is leaving his roots in the past. Dr. Dre produces the intro ‘Bottoms Up,’ with heavy keys and thanks from Obie to Shady Records and Eminem for backing him. The beat is one of the best on the album, and personally I think should have not have been the intro. The second track ‘Going No Where,’ is produced by Eminem, and shows the intensity the MC is known for. The fifth track ‘Richard’ produced by Statik Selektah shows Eminem lending a verse, and from this we can see he is still one of the best wordsmiths.

The first single set for release is ‘Battle Cry,’ with marching solider beats and the smooth vocals of Adrian Reeza, it exemplifies the resilience Trice has exposed throughout his life. The second single lined up is ‘Spend The Day,’ which is a funky West Coast sounding beat with sensual vocals from Drey Skoni, providing an ultimate backdrop for the track where Trice gives the ladies a glimpse into what spending a day with him would be like. This album is not single heavy, where only his single releases are worth a listen. Every track on this album is.

Thematically Trice talks about his personal ups and downs, the block and women. Overall the album is definitely a good listen with melancholy keys, thumping beats with some West Coast and old school hip hop bump to it. Stand out tracks include ‘Richard,’ ‘Going Nowhere,’ and ‘Crazy.’ ‘Bottoms Up,’ proves Trice has the same wit, force and delivery to his lyrics.

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April 16, 2012

Obie Trice Interview

Obie Trice is the rapper from Detroit, who Eminem introduced to the world on his single ‘Without Me,’ by saying “Obie Trice, real name, no gimmicks.” He was the first rapper signed to Shady Records, but as we reveal in this interview left due to problems with Interscope. Now after a six year hiatus, Obie Trice is back with his own label Black Market Entertainment, and his new album ‘Bottoms Up.’ Shireen Fenner speaks to the Obie about the shooting which killed Proof from D12, his own shooting thus the reason for taking a break from music, working with Eminem and Dr. Dre on his new material and more.

You have become involved in trying to increase the opportunities and possibilities for young people in Detroit to pursue music. What was available to you when you were starting out?

For me it was just the hip hop shop in Detroit, Maurice Malone was a clothing designer here in Detroit, and we had this cypher that we used to used to go and perform and do our thing in this little boutique clothing store, with hardwood floors and print t-shirts with prints on them insinuating different things hanging on the walls. There was a DJ booth a DJ would be there scratching and putting on instrumentals for people. There would be guys from all over Detroit, who would come here on a Saturday afternoon just to showcase their skills. That was defiantly one of the places where I started.

What makes a Detroit rapper stand out from other American rappers? What is it about being shaped by Detroit that is unique?

It’s the mid-west we don’t only take in West Coast music, or South music, or East Coast music, we feed off it all. They have always been in the public eye as far as hip hop is concerned, so we have a diverse sound here, because we haven’t been in the public eye. That’s what differentiates us from other places.

How does being shot in the head change your perspective on life?

Yes it did, it told me to sit my ass down (laughs) and stop hanging out so damn much. It definitely changed my perspective, I almost died from that situation, and the bullet is still lodged in my head. Three months later, Proof got a bullet to the back of his head but he didn’t make it. It definitely was a very eerie and morbid and overwhelming for me. I had to take a break from the media and being in the public eye. I just had to do what I had to do, that was one of the reasons for my hiatus. I always created music and I never stopped working in the studio making music it just wasn’t in the public eye. Then I wanted to establish my own company being that Interscope didn’t want to further an Obie Trice project

How different do you imagine your situation would be if you had not met Proof and been supported by him?

That’s kind of a hard question to answer. I met Proof at the hip hop shop but not as far as hanging out at that time. Our relationship got close when I was signed to Shady, but we did know each other. He was the one that told me to use Obie Trice as my name back in the day, I do love him and he loved me. I always put out music, back to the first question I put out music through a company called Buzz and a company called Landspeed and they distributed my music internationally. That was the outlet for me back then, and Eminem got wind of it and Proof was like I remember that dude, and that’s how things came about. Our relationship just really grew when we were on Shady together.

You have strong links with both Dr. Dre and Eminem. How would you best describe your relationship with the two artists?

Me and Eminem are brothers, we always make music together. It’s just a great relationship, we always have been close. It was a personal when we made ‘Richard’ and it was fun and hilarious in retrospective. Dr Dre is definitely on the same level, he sent me the beat, and I wasn’t actually in the studio with him when I made that record but he wanted to see me succeed and he knows that he has the sound that I like so I’m sure that we will continue to make music together.

What was the reason that you left your previous label and set up Black Market Entertainment?

It wasn’t a split up with Shady; it had more to do with Interscope and Jimmy Iovine. We kind of bumped heads and we couldn’t come to an agreement on furthering the business opportunity. It wasn’t feasible for the both of us and my people at the same time, this is Eminem’s boss, so Shady had nothing to do with that. It was an Interscope and Obie Trice thing. There’s no bad blood with Interscope or Jimmy Iovine, that’s what I kind of explain in some of the songs on ‘Bottoms Up.’ Shady was always supportive and will be my family forever.

How has the reaction been so far to your latest mixtape ‘Watch the Chrome?’

The reaction was pretty good, it was a good look. I definitely wanted to warm up my fans and the people that have been waiting for a long time, and let them no I apologise for the hiatus and things like that. It was to let them know I’m still here with the music, I never really left, and that was basically it.

Why did you call the mixtape ‘Watch the Chrome?’ Is there a story behind it?

I appreciated the ‘Watch The Throne’ album that Kanye and Jay Z made.’ Watch The Chrome’ is the environment that I come from; I wanted to incorporate how things are in my neighborhood and my upbringing where everyone carries a pistol. The chrome is the coating on a gun. I wanted to put that in there and change it up a little bit. I’m definitely still a fan of ‘Watch The Throne’ and that’s where the inspiration came from.

What can we expect from your forthcoming album ‘Bottoms Up?’

I had to pull Eminem’s tooth to produce a record on the album because he doesn’t produce records anymore, he doesn’t go on the beat machine anymore. I wanted to have that old feel also as well for my fans, and then with the Dr Dre joint I wanted to have some of Dre’s influence on the record as well. I got up and coming producers from Detroit on the records that are very talented. It’s like vintage oldie, you can ride to it, and it’s definitely a breath of fresh air from where hip-hop is right now. I believe a lot of people will enjoy it.

How does it differ from your older material?

I never really left so I’m always working, I’m just not in the media, and I’m always in the studio. I guess its just gradual development. I just continue to do what I do, and the records that feel good to me is the ones that I use.

What does Bottoms Up mean to you?

‘Bottoms Up’ was supposed to come out on Shady Interscope and I was going to name it Debt. The situation had changed. ‘Bottoms Up’ for me now is a fresh start for me and it’s a celebration being because that I’m putting out an album on my own imprint, which is Black Market Entertainment. My mother had just passed from breast cancer last year, and she has this picture of me as a baby above her bed in her room so I took that and I was going through all the things and getting her stuff together all her photo albums when she passed away. I came across that photo and thought this is where it all began from, so I just wanted to use this photo as the album cover. ‘Bottoms Up’ I’m a drinker as well, so it all fits.

Buy Obie Trice – Bottoms Up here

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April 12, 2012

Preston Play

Preston Play is the producer behind Mic Righteous’ latest release Kam-Pain. Having been brought up in Cape Town, he was introduced from a young age to music from his parents who were singers and owned a music bar there, and in the townships where he would join in playing homemade instruments. After the success of Kam-Pain and recently opening up for Talib Kweli on the UK leg of his tour, Preston Play releases an instrumentalist mixtape, singing all the hooks and harmonies himself, ready for any artist to record on it.

How did being raised in Cape Town play a part in your journey in music?
I lived on the outskirts of the Cape Town flats and near a township called Khayelitsha… Half the kids from my school lived there so obviously that was where I played and ran riot as a younger. Music is a big part of people lives in the townships, they don’t have much, but they do have each other and music. It’s not rare to find groups of people banging water drums and homemade instruments and I used to watch and dance along with my mates. Then obviously as a kid you start to want to get involved so I started banging drums and singing with everyone. It was a fun time and I learned a lot. My parents also owned a large Music Bar and I grew up in the “Bar Life” surrounded by singers and bands. It was cool as a kid. I used to love it.

Your parents were singers. Would you say this had a big impact on you?
Yeah well my dad is a great singer, he won’t admit it now though but he used to sing Roy Orbison songs at the bar nightly and was amazing. He sung all the oldies, Roy, Elvis, and Eric Clapton. My mum used to sing anything. She was really talented. I remember even at home, she would always be in the music room with headphones on playing records and singing and making mixtapes. Music was a big part of my family’s life growing up.

Did you always know you would become an artist?
You know its funny, from back then, at the age of 11, when my parents got me my first keyboard, I knew I wanted to “do music”. I have held over 20 different jobs, all in different sectors, including training and becoming a qualified chef. I always felt miserable though and hated every minute of them. Music is all I’ve ever wanted to do.

You also moved to Spain for 2 years. Musically what was the biggest thing you picked up from being there?
Spain is my second home; I have a real strong bond with Spain and feel at peace over there. I have a flat there and try to get over there as much as possible. Whilst I was there, when I was younger I worked in a Flamenco bar. I learned about melody, rhythm and the importance of music as a healing tool. The Spanish see music differently from us; to them it is a very community based activity. Everyone comes together you know?

Do you incorporate Spanish and African musical influences into your production now?
African, definitely…. My thing is percussion. I spend hours getting my drums and percussion right, sometimes before I’ve even written a line I will get that right and then play my melodies over the drums half the time, as was the case on most of ‘Kampain’. Spanish music is a strong influence on my melodies too. As I said, I learned a hell of a lot!

Why did you decide to MC on pirate radio for a year? Was MCing something you had always done?
Yeah I kind of just got into writing lyrics and MC’ing on the garage scene for a while…I still bar occasionally but only very rarely. But my music is my thing now…

Why did you start to take production seriously after being on the pirate radio circuit for a year?
I used to get bored of MC’ing over beats everybody had hit, so I decided to make my own. I sold my car and everything of value that I owned and hustled the rest to raise enough to buy a mac, a Yamaha Motif synth and an MPC. I didn’t even have speakers I done it all through headphones. It took me about 5 months more to get money for monitors! Eventually, with enough practice and WEEKS spend learning on YouTube and from other producers, I started to get good. I remember going into studios with a pen and pad and writing down everything I was shown and told. It was peak, but I done it the right way. I learned to do things properly, and all my own.

Do you believe that to make it in music you have to sacrifice everything?
For me, yes 100%. I sacrificed everything, I still do, daily. I think if you want something bad enough, you will always do what you have to do and par everything else to get that thing. If you don’t, you can’t want it that bad. I have sacrificed everything for my music. You have no idea…. Hopefully now I will start to get the recognition I feel I deserve. In the last year I have not only secured a great working relationship, and gained a good friend in Mic Righteous, but through putting in the years of work, I’ve been able to open for The Game, Talib Kweli and Lowkey with Mic as his DJ/Producer. I feel that’s a good achievement in itself for me, last year no one knew who I was hardly.

How do you decide what artists to work with?
You know what, I will contact someone if I see that raw talent and potential. I’m not interested in gun talk and how much drugs someone sells. I love rap that means something and rappers who are true to themselves and real. I will never work with someone trying to be something they are not. My art won’t work for them. There’s too much feeling in what I do…I don’t think they would get that.

You and Mic Righteous released ‘Kampain’ together. Tell us about what work went into this, and how you both put it together.
I contacted Mic and his manager, (Now also my manager) about a year ago and sent the track, ‘Take Me Away’ with the hook on it. They contacted me back straight away and we got Mic in the studio that week to record it. It went on to ‘Yob Culture’, Mic’s debut mixtape. I guess we just clicked you know? Making a mixtape together just seemed like a natural progression from doing a great track together. Next thing I know, he comes for a couple days and we have done 3 tracks, then comes for another couple days and we do another 4 then a couple weeks and we got a banging mixtape! Mic’s work rate is sickening. Perfect for my work rate.

‘Show Of Force’ is released this Friday 13th April and is an instrumental mixtape. Tell us about the ideas and concepts of this new project.
I decided that the time was right to put out something different for not only the supporters, but for artists who are struggling to find good instrumentals on the web. I have packed it with this sound Mic and I kind of came up with whilst making ‘Kampain.’ It’s got a stripped back feel. I got rid of all the generic snare rolls and “bells and whistles” I hear so many producers pack into their beats, and focused more on the real melodies and live sound that I love to listen to. I also don’t really use samples…No disrespect to anyone but I personally have never been a fan, to me, making music should be exactly that, making music. I have 2 tracks on there that use a sample, but only really to show that I can.

You sing the hooks and harmonies on nearly every track. Why did you decide to do this?
I don’t believe any producer has done it before? I wanted to give the supporters something fresh and exciting…You can listen to it as an album without any artists on it, or record vocals on it…. As far as I know, no producer has done this so I’m excited to see the response.

All my hooks and harmonies are 100% free use. Royalty free.

Which artists would you like to work with next?
I have my eyes set on a few different artists I’d love to work with and also a few up and coming artists I am keen to help develop. I am working on a lot right now.

What’s next for Preston Play after the ‘Show Of Force’ release?
Mic and I will be working on more music and I have a few things lined up to keep me busy. I’m just enjoying what I’ve got myself into and taking it day by day. I still just sit here everyday pouring my heart out into the keys…Hopefully that will get me somewhere…

Show Of Force is out Friday 13th April 2012 from micrighteous.com

Follow Preston on Twitter @IAmPrestonPlay

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April 12, 2012

Sway – Money Matters

Derek Safo aka Sway is the rapper who has changed the game in the UK. Since his first mixtape release in 2006 This Is My Demo, he has released six more and sold over 100,000 albums.

We haven’t heard much from Sway since his last album release three years ago The Signature LP, but now he has come back with the high impact single, ‘Still Speedin’ which has had Lewis Hamilton and Nigel Mansell talking about it on Twitter. It has various remixes including another one of the UK’s premium rappers Kano, and another from American rapper and producer Lupe Fiasco. This is the first single off Sway’s third long awaited album Deliverance, which is out in 2012.

Jobs before music
For my first ever job, I was a paperboy. I was about ten at the time. I used to deliver newspapers. The last job I had before my career took off was at Gap in Marble Arch, but I don’t think it’s there anymore.

Paycheck
When I was a paperboy it wasn’t a check though, it was like a tenner a week they just gave it to me out of the till. My first cheque was from Universal as a street team boy. I used to run out of vans and hang up posters promoting their artists, that was the first time I got a cheque. I got a cheque for my first mixtape This Is My Promo Volume 1, when I took them in to a record store and they sold out.

Investments
I brought a house in Ghana. I also own my own publishing company, I have three writers under me and they are sub published by my main publisher, so I’ve invested in quite a few things.

Business man
I have Dcypha productions, I have a music publishing company and I’m looking into other ventures as well but that’s between me and the bank. (Laughs)

Money sensibility
I’m 50/50 when it comes to being sensible with money. I have periods when I’m very sensible, and I have periods where I live for the moment. I live a reasonable life.

Impulse buys
I spent £1200 on a suede Roberto Cavalli blazer once, and I thought that was a bit much. I’ve worn it 3 times, because I wore it in a video, I’m conscious about wearing it everywhere else. When you wear something in a video, people assume that you wear it everyday.

Best Advice
It has to be my dad, he tells me not to throw it all away. He’s good at that sort of thing, but he’s not good at taking his own advice.

 

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April 7, 2012

Future The Prince – Young Money

Flavour Magazine’s Shireen Fenner recently caught up with Future The Prince, Drake’s official DJ before the Club Paradise Tour kicked off in the UK. In this interview The Prince talks about him and Drake’s respect for one another, his solo career, understanding people as a DJ and the Young Money crew taking over.

You have made yourself quite a name as a DJ, and yet your connection to Drake seems to have a large part of your success. Do you think your career would be very different now if you guys hadn’t come up together?

Yeah absolutely, I mean a lot of opportunities come from touring and being able to go to lot of places and have these big shows. From there that’s where a lot of the other DJ stuff stems. Would I be any less successful I don’t know because to me being successful is enjoying what you do and being happy. To me it’s just enjoying the ride and understanding this is something special, not only for me but for Drake too, for all of us.

Have you and Drake ever had any disagreements?

We have a difference of opinion on things, but that’s the best part of our relationship. I got to be honest with him at all times, and he has to be honest with me at all times. We just got to help each other be better at what the other one does; we’re all part of one team. We never have arguments, it’s always constructive, and it’s always trying to help someone be better or help our show be better. We’re too like-minded. Your always going to have difference of opinion it’s just how you handle it, as long as you have respect for each other, nobody will ever get offended or upset.

Any funny stories from being on tour?

I can’t really pinpoint one; its different because you’re with your friend’s everyday so everyday is funny. We’re pretty calm, laid back kind of guys, so nothing super wild. A lot of great things happen at shows that might be crazy to other people. People have tattooed Drake’s face on their bodies, a girl tattooed Drake’s name across her forehead, that’s probably the craziest thing I have ever seen, people committing that much as a fan.

Other than touring with Drake and Young Money, are there any other developments with regard to your solo career?

I still do my own DJ tours and travelling is a big passion of mine so I go to a lot of places I’ve never been to before, that’s what I always try to do with my time off. I use DJ’ing to get to those places, it makes it a little bit easier to know that your going out there to not only explore, but to fulfill a commitment and to be a part of a sub culture that’s within music in these other cultures around the world. Most of my career has to do with touring and being with Drake.

DJ to producer seems to be a natural evolution for many. Are we going to see you in the studio at some point?

I’ve always worked on music and I’ve always been part of the musical process in our team. I produced a remix for Adele for ‘Someone Like You,’ that was something I started and I want to come out with more in the near future. It’s just a natural progression to get into production and making beats and arranging music. I’ve put out a couple of mixtapes before and they’ve done really well for people, it just takes a lot of time to make them really special and really good. When I really settle down and get some time off I’ll start making some mixtapes.

What are you enjoying about the UK music scene at the moment?

The music is amazing; I really like funky house and the culture of Grime, and the sound and everything that embodies that. Coming all the way from North America and coming here and listening to music I’ve never heard before, that’s been built here and made here and is big here and accepting it and enjoying it means that it’s good music. I like good music and the people in the UK really take pride in their music, and they’re very cultured in music, so it’s always been fun for me to be a part of the music scene here. When I land in the UK the first thing I do is really try and find out and get caught up and reacquainted with what’s hot in the music scene. I got a couple of songs here and there that are pretty big that I can’t wait to drop. Labrinth’s Earthquake is a big record.

How has coming from a city like Toronto helped influence and shape you into the artist you are today?

It’s everything; it’s shaped everything that we are. Not only me but my entire team, it’s a big part of who we are. Growing up in Toronto is special you get a sense of culture, you get exposed to so many types of people and so many different walks of life. It makes you very open minded to go explore and understand parts of other peoples cultures that you incorporate into your life. It’s always been the most important part of our influence. London is the most similar to Toronto out of all the places I’ve been, from the people to the sub culture, that’s why I feel very at home when I come here.

Do you ever feel like the impact and importance of the DJ is sometimes slept on, and the DJs role is overshadowed by others?

It really depends on how much of a role you play in ones show. Sometimes shows are really band heavy and the DJ doesn’t really shine much, and sometimes the show is just the DJ and the DJ shines more. At the end of the day anybody who’s up on that stag looking for shine is doing it for the wrong reason. It’s about being part of one sound, whether it’s you and one artist, or you and a band, it’s all about all those elements coming together to make a great sounding show.

What is the most important attribute a DJ should have? Because we often see DJ’s with great technical skill who can scratch and do all sorts of tricks, but couldn’t get a crowd moving in a club if they tried.

The most important thing is to understand people and understand where you are. If you’re in the UK, go find out what’s hot in the UK. A lot of people from America come here and just play the same stuff they play in America, and it doesn’t really work sometimes. You got to be able to adjust, and walk into a room and look at the people and see what they like and see what they’re dancing to and keep up with that. Never play for yourself, always play for the people that are in the room, so I think that’s the most important attribute a DJ should have. It’s the thing I pride myself on.

What is the most enjoyable aspect about being a DJ?

Making people happy, making people have fun. You don’t know what’s going on in their day or in there lives, they could be having the worst day ever, and they walk into your club and it’s your job to take them away from all of that and make them dance for 3 hours and have the time of their lives.

Being able to control a mass of people’s mood and movement and energy is power. Does it give you a rush to know that you are the influencing and moving so many people? Almost like a puppeteer…

It’s an amazing rush when you have hundreds and thousands of people and there all moving to one beat, and your dictating to them, and their excitement and everyone singing along to a song at the same time.Young Money has been amazing, as a collective it’s given me a lot of opportunities to be a part of a change in culture when it comes to music. You can’t get in your car anywhere in this world and not hear a Young Money song.

What doors has being with Young Money opened for you? What does the future hold for future the prince?

Young Money has been amazing, as a collective it’s given me a lot of opportunities to be a part of a change in culture when it comes to music. You can’t get in your car anywhere in this world and not hear a Young Money song. The leverage that it gave me, and the leverage that it gives us a team to be that powerful in music is a great thing. What does the future hold; I don’t know we’ll see. I’ve always been excited about moving forward and taking advantage of the opportunities that happen as they happen. You can always look forward but sometimes you don’t know, an opportunity will come out of nowhere, and you’ve got to take it and run with it and just be ready for it.

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March 26, 2012

Review: Talib Kweli at HMV Forum

Talib Kweli came to London on Tuesday 20th March 2012 to HMV Forum for his first gig of his UK tour. With some new songs out from the legend, and the album ‘Prisoner of Conscious,’ on the way, anticipation was high as Flavour’s Shireen Fenner headed down there.

Mic Righteous the young UK rapper opened for Talib, performing tracks off his new mixtape Kampain, with his friend/producer/DJ on the decks Preston Play, providing Mic with the soundtrack to his performance. Opening with the track Kampain was perfectly suited, as the track gives a solid introduction and background knowledge about Mic, with him telling the audience, “that tune gets me gassed.” Next up was ‘On Your Ones,’ where he interacted with the crowd saying, “Let me see hands in the air,” and pretty much all the crowd were taking part, warming them up. My personal favourite track off the mixtape ‘I’ll Try My Best,’ where he raps from a fans perspective, was performed to the crowd, who were really starting to enjoy themselves now, with Mic dropping the microphone and leaving the stage, leaving the audience wondering what had happened. Of course after 30 seconds he is back on to perform the rest of the song with more passion and delivery. Talking to the audience again to explain his next track, ‘Look At My Balls,’ he said, “This is for the fake, the part time rappers. Make some noise for the real hip hop fans.” This track was delivered with such intensity; you could tell he was consumed by the passion of his lyrics. A freestyle was followed by the closing track ‘Winding Road,’ where the stage lights were turned off and everyone in the audience turned their phone lights on.

Lowkey the second opener for Talib Kweli was on next. There were plenty of Lowkey fans in the audience and when his second track ‘They Call Me A Terrorist,’ came on, hands were in the air waving side to side. ‘My Soul’ was also a winner, with Lowkey asking the crowd to sing ‘You can’t take my soul,’ and everyone singing along. Up next was his Fire In The Booth, with so many people knowing the words and the crowd starting to have fun and dance, accompanied by a freestyle at the end. ‘Hand On Your Gun,’ was next with everyone in the audience putting their hands up. Lowkey then talked to the audience asking them to say, “Hip hop ain’t dead, it’s in London,” and the gig turned into a chant. ‘Obama Nation,’ was next on the schedule for Lowkey. Singer Mai Khalil was brought out to perform, ‘Million Man March,’ showcasing her amazing vocal talent. The closing track, and in true Lowkey style, was ‘Long Live Palestine,’ with people in the crowd jumping up and down and pumping their fists in the air to these lyrics.

Talib Kweli’s DJ was up next to warm the crowd up for what everyone had been waiting for, asking ‘Y’all ready for Talib Kweli?’ He bursts onto the stage full of energy getting onto the first track of the night, ‘Say Something.’ “London how are you feeling?” he asks the audience, who replies with shouting, ready to hear more from the hip hop legend. He gets into track, ‘Listen,’ one of his most popular tracks. A few tracks in and he then asks ‘How many Beastie Boy fans we got in London?’ before rapping over one of their tracks, then mixing it into Drake’s ‘I’m On One,’ this bit got the crowd buzzing with the audience raving. One of the highlights of the night was Talib sampling “All The Lonely People,’ by Paul McCartney stating, “Paul McCartney denied the sample, but my s**t is doper than all the other s**t,” and when the beat dropped on the track the crowd again went crazy, enjoying the moment. The next track up was off his next album ‘Prisoner of Conscious,’ and his latest release, ‘Distractions,’ with him stating, “The first time I performed this track was at Occupy Wall St.” At the end of the track Talib gives us a freestyle highlighting why he is one of the best in the game, with the crowd clapping and cheering at the end. The DJ and Talib Kweli swap positions with him behind the booth rapping and saying, “hand in the air, say turn it up,” and the DJ at the front of the stage dancing, and then Kweli putting on Jay Z and Kanye’s track N***s In Paris. He then raps over Tyga’s ‘Rack City,’ showing us his versatility as an artist too. ‘Definition’ sent the crowd absolutely berserk from his Blacksmith days with Mos Def. The next section of the show was dedicated to his work with J Dilla, with the crowd moshing. It was getting towards the end of the night and Talib wanted everyone to remember the show as one of the best saying, “We gonna have a good old fashioned sing a long right now, clap your hands to the beat,” perfoming the track with him and Hi Tek, ‘The Blast,’ in between telling everyone to keep dancing. He leaves the stage and we think it’s all over, but the crowd want him back and are chanting, “Kweli, Kweli,” and stomping their feet. He bursts back onto the stage with as much energy as before, giving us some more classic tracks including ‘I Try,’ with Mary J Blige and the Just Blaze produced track ‘Never Been In Love.’

All in all, the show was definitely one for the hip hop lovers, full of intensity, passion and love for the music. The delivery and crowd interactions from all the performers were on point, showing that all of them had thought about their fans. I couldn’t have asked for better from the legend that is Talib Kweli, even after years in the game and being one of the most respected hip hop artists, he still performed throughout the show with as much energy, vibrancy and passion as ever.

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March 21, 2012

Freedom in music – Sarvi

Sarvi is the 22-year-old, self-styled, Persian singer/songwriter from Mayfair. Her ever-growing presence on the UK and European club scene has made her name one to watch for 2012.

The new single, ‘Amore,’ and previous single, ‘Stereo Love’ have been playlisted in Chicago and San Francisco, with ‘Amore’ being broadcasted all over Florida by several net radios, and ‘Stereo Love’ at number two in the charts of Music One Radio in New York. This talented Sylvia Young graduate talks to Shireen from Flavour about growing up, her music and the reason why she has turned down record deals.

Sarvi is… 

I love going out with friends and family and spending quality time with the people I love. I am extremely sensitive but love to laugh and see the lighter side of life. I don’t see the point in dwelling on the small stuff as life is short and should be lived to the full. Music is my whole life and I hope to share my musical journey with the whole world.

How do you think being at such a highly acclaimed theatre school pushed your musical direction? 

Studying at a school like Sylvia Young’s allowed me to flourish into the artist that I am. I was very shy when I first started and had to get over that very quickly, but with the support and the love that was shown to me I easily overcame my timidity. The school taught me to be professional and grounded which are two qualities that I regard very highly in this business and ones that have put me in good stead. Your talents are highlighted at the school and nurtured alongside gently introducing you to other arts. It really is the best platform to start off from and I feel very lucky to have had the opportunity to attend.

What happened in terms of your music career after you left Sylvia Young?  

After I graduated I went to drama college for three years and whilst I was there I was always writing songs and working on my musical career. After graduating from college I began concentrating more on music and working with different producers in the States. I have been fortunate enough to meet some fantastic people on both sides of the pond who have taught me so much and helped me produce some fantastic music so far that I am really proud of.

What was the defining moment for you when you realised singing/songwriting was going to be your career?

Ever since I can remember music has been my life – I have just never been able to imagine myself doing anything else. I remember doing a school show when I was 5 and I was given the main role and had to sing a solo. I loved being on stage and just got such a rush from it. I knew there was nowhere else I would rather be than on that stage singing my heart out.

When did you first begin songwriting and where do you draw inspiration?

One of the first songs that I wrote was when I was 16 and it was about my relationship with my father. From that moment on I realised I could express my feelings through music and to this day it is the only way I can really express exactly how I feel. I realised from then on that song writing was something I wanted to do and there is nothing better than singing a song that you know has come directly from your own head and heart.

How did you feel when you heard the news that ‘Amore’ is No.1 on the UK Upfront Club Charts? 

I screamed! Such an amazing feeling. ‘Amore’ is a song that is so close to my heart and every single emotion in it is real to me. I know that others feel that emotion too when they hear it and that means the world to me. To have it validated like this by the people is just incredible.

You’ve got various remixes to ‘Amore’, so which one is your favourite and why? 

Hmmm that’s tricky because I don’t really have a favourite. The three mixes by Seamus Haji, Steve Smart and Chuckie are just so different it is impossible to choose. They all instill different feelings in the listener and I love that. I love them all and they all did an amazing job. I feel very proud to have worked with them.

Your previous single ‘Stereo Love’ also went top ten in the Upfront and Commercial club chart. What is the next step for you in terms of chart success?

My next step is to keep them coming!! I want to create number one hits all day long and for as long as I can think and speak! The iTunes charts are the next charts in which I hope to achieve a number one. Every step I make is one closer to my dream and I wake up every day looking forward to what it brings.

Your songs are very popular in the US too. Why do you this is, and is this where most of your fanbase lies?

I couldn’t be happier to see that my music has travelled to the US and the people over there are listening to my music. Sometimes UK artists find it really difficult to succeed in America and I think because I have had so many dealings there with producers and making music videos etc they have taken me to their heart, which I am really grateful for. My fan base seems to be really spread over – not just the US but in Europe and Asia. It makes me really happy because it means I have done what I have set to do and made music that appeals to everybody.

You have turned down collaborations with several record labels. When do you think the right time for you would be to sign a deal? 

I have had several offers in the past to sign deals but just haven’t felt it’s the right time. Music is my passion and I don’t want to be dictated to with music that I can and cannot make. So far I have achieved a lot without a major label behind me and I have been in control of which path I take musically which is what was important to me. If the right deal comes up in the future then I would definitely consider it but right now I am enjoying my freedom too much.

Who has been the most influential person to you in your music career? 

I would have to say it would be musicians that I have followed careers of such as Michael Jackson, Diana Ross and Marvin Gaye. Their music touched me as a young child and continues to, to this day. I want to do the same as they have done through my lyrics and my instrument which is my voice. Their dedication and unfailing determination was incredible and if I become half the artist that they were I would be happy.

Your still very young, so do you plan to keep to dance/house tracks, or are there plans to branch out?

My music has always been a mix of soul and r&b so going down the dance music route was branching out for me. I recorded my first single in LA and when I got back the UK team I was working with suggested the track would sound brilliant with a dance remix. The remix was the version that got most of the response so it worked really well. I love trying new things and working outside my comfort zone. I have found that when one does this that the best art is created.

What is next for you? Is there an album in the pipeline?

I am recording my album right now in the states and I have many different projects that I working on too. I love to keep busy and keep perfecting my craft, because I believe you can keep learning for the rest of your life.

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March 13, 2012

Talib Kweli

Talib Kweli is one of the few rappers making music that speaks volumes and is still commercially feasible at the same time. The Brooklyn rapper came onto the music scene in the late 1990’s as a member of Black Star, educating and entertaining people with his music, which is perhaps why he was named by Jay Z and 50 Cent as their favourite rapper.

After the release of many albums and singles, himself and long time manager Corey Smith launched Blacksmith Music, signing an exclusive deal with Warner Bros with artists such as the highly respected female rapper Jean Grae, and super group Strong Arm Steady which includes Xzibit, Krondon, Mitchy Slick and Phil The Agony. Talib Kweli’s new album ‘Prisoner Of Conscious’ will be out this year, with the first song off it ‘Distractions,’ released two months ago.  Talib will be back in the UK this month on tour, with support from Lowkey and Mic Righteous.

1. Your first name in Arabic means ‘student’ or ‘seeker’. Do you feel that you have lived up to this name, and if so what would you consider that you are a student of?

I strive to live up to my name. Sometimes I do, sometimes I don’t. I always study details so I am a student of everything I see. But mostly of music.

 2. How would you order money, power, and respect if you had to list them in order of importance and why?

Respect, Power, Money. Success is measured in happiness not paper. The power that a respected man commands trumps the power a rich man commands. It’s in the long run, so it’s hard for people to see.

3. Do you think that it is possible to achieve money, power and respect without any compromise?

Depends on what compromise you mean because everyone compromises something in life even you and I, but if you mean without compromising integrity, then certainly yes.

4. Do you feel that your educated background ever made it harder for more impoverished listeners to relate to your content?

Yes, I feel that there are times when my lyrics may get too nerdy, but I feel I’ve learned how to embrace it without alienating the listener who may not get it. This took time, and it wasn’t easy.

5. What do you feel your position and role in hip hop is?

I feel like I’m a connector. I connect with like-minded artists like Yasiin, Hi Tek, Kanye, Mad Lib, Jean Grae, Common, The Roots etc and I feel I somehow keep these artists connected. I also find a way to connect with artists who do different genres of hip hop than what I do, and newer artists as well.

 6. What section of society do you think your music appeals to most?

Those who appreciate quality. Regardless of age, race, creed or region.

 7. You are often described as the most underrated artist in hip hop. Would you agree with this appraisal and why do you think this is?

There are artists more underrated than me. But I certainly ain’t overrated I know that much.

 8. As your career has progressed and moved forward your content has naturally evolved. Do you feel any pressure or constraints to stay true to the style and content that people first fell in love with?

I like the sound I’ve developed over the years, I enjoy it. On top of that I feel that I owe something to the people who have invested in my sound over the years. So I will always have an album or mix tape or something out that represents that style. But as an artist I get bored easily and have to try new stuff, whether fans like it or not. It’s always about striking a balance.

9.  Jay Z formerly shouted you out on ‘Moment Of Clarity,’ and you responded on ‘Ghetto Show.’ How did it feel to have your lyricism appreciated and publicly praised by arguably hip hops most successful artist?

It felt right. Jay Z has always been one of my favorites from Original Flavor days, and I always looked to him as an example. Still do.

 http://www.youtube.com/watch?v=5JlWDgOe_Is

10. What were the reasons that led to you selecting Lowkey and Mic Righteous to support you on your UK tour?

I didn’t select them; I usually am not involved with the selection of openers. But I am glad they were chosen. I’ve heard great things from them and I look forward to sharing the stage with them.

11. You will be touring in the UK soon. Where in the world would you next like to go on tour that you haven’t been to yet?

Iceland. Or the Middle East.

12. What single character trait or attribute do you most respect in another artist?

Honesty

13. What are you liking about the UK hip hop scene at the moment?

Not really up on the UK scene. But Low Key and Mic Righteous are both ill, and I’m not just saying that because they are on the bill. I rock with Kano too, and my man Sway.

14. Any plans for a future collaboration with any UK artists?

I get down with whoevers nice and serious about getting down.

 15. Following ‘Prisoner of Conscious,’ what is next for Talib Kweli?

San Juan. I want to move to Puerto Rico.

Quick Fire Round

  • Artists you respect the most?

Bjork

  • Most powerful person in hip hop?

Kanye West

  • What would you prefer money, power or respect?

Respect

  • What can’t money buy?

Happiness

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March 8, 2012

Steel Banglez

Mixing for Big H, Ghetts, K Koke and Giggs, to Asian artists Mumzy Stranger, Preeya Kalidas and Panjabi MC. Nice!

Steel Banglez descent into music began as a young boy when he was taught to play various Indian classical music instruments by his mum, including the dhol, tabla and harmonium.

From there at the age of 10, his older brother taught him to DJ. This was just the beginning as he went on to study electronic music production and audio engineering at the School of Audio Engineering, and since then has been producing for artists from Big H, Ghetts, K Koke and Giggs, to Asian artists Mumzy Stranger, Preeya Kalidas and Panjabi MC. He was the personal DJ for grime legend D Double E mixing in various big clubs, and also shows including the Dizzee Rascalalbum tour in 2009, Estelle’s album launch, Sean Paul at Bristol 02 Academy and Busta Rhymes at Hammersmith Apollo. Now his focus is solely producing, and he is working closely with some of the biggest prospects for 2012, Cashtastic andKrept & Konan.

How has your family influenced your music career?

My whole family is musical, from my great grandparents up until now, to my mum and her brothers and sisters. There music professors in India, my mum’s brother is a classically trained music teacher, he teaches American Sikhs that come from America.

What was the defining moment of your life that transformed a musical hobby into a successful and acclaimed career as a producer?

When I got fruity loops in Year 8. When I was in school my teacher Ms., Conwall, was the nicest teacher and she believed in my music so much. She used to treat me different from everyone, you know when there’s only one computer in the class, and I’d be that one guy on there. I was learning Cubase, and one day she walked in and said, ‘I’ve got this new program and its called Fruity Loops,’ and it just changed my life as soon as I got onto it. It just made me want to become a producer.

Do you feel that pursuing a career in music as a young Asian male still breaks certain family and community expectations?

Do you know what, maybe with the older generation but not with the younger generation. It’s not a good career choice in their eyes. To be honest I don’t have a life when I’m doing this career. It’s not like I get to see my family a lot and chill out.

What more can be done to encourage more young Asians to consider music a viable career choice?

I think the industry should let more Asians in the limelight, because in England there are as much or maybe more Asians than there is any other ethnicity. There is a lot of talent, and a whole scene of Asian music that’s not recognised at a commercial level. I think as a new generation comes, people like myself and artists like myself that are Asian have to set a standard for other Asians to be inspired and want to get through. I think Jay Sean smashed it for Asians.

In what ways has your Indian background influenced the development and sound of your music?

My culture, I’m a Punjabi and it’s very musical. Bhangra is at the forefront of Asian music. I think just my family and my background and my life experiences, and learning and studying classical music on the weekends from a young age influences what I do, and what kind of sounds I go for in my current production. That’s embedded with what I’ve learnt growing up on the streets in East London.

Wiley has been seen to be very supportive of your career. As he is the Godfather of Grime and a respected veteran, it must have been very instructive being around him. What have you learned from him that has helped you to further success?

I’ve learnt so much from Wiley it’s unbelievable. He’s shown me the business aspects of things, he’s shown me how labels think, MD’s, A&R’s, what kind of sound their looking for, what kind of direction I should go, how I should go about getting myself out there. It’s just endless. With Wiley I can’t thank him enough for what he’s done for me. I’ve known people around me that are as big as Wiley or have the links, but never really gave me that opportunity. Wiley went out of his way, and he’s got a million people hollering at him and he saw my talent and he just believed in me. He just helped me out in every possible way, and I’ve learnt most probably everything about the music business from Wiley.

Who was the first person you produced a song for?

D Double E, it was a remix of a tune called ‘Colours,’ and that was when I was 15, I had my studio in Ilford. I used to make Grime then, and I invited Double and he vocalled the song.

You have been putting in a hell of a lot of work, and have produced for so many artists. What was the track that really made people take notice of you?

There are a lot of songs; I think I killed the rap mixtape circuit. I think I was out there getting on a lot of mixtape’s with the big rappers and rap was popping off at a street level. There was no sound developed yet for rap, so I came with a distinctive sound and I blew from there. I love all the music I’ve done. I think ‘Breakdown,’ has done a lot for me, I think ‘Let Go,’ with Krept & Konan is doing a lot for me, it’s most of my current work.

Your style of music is quite varied. So can you tell us the thought process behind the ideas for tracks?

Mad. What I do is nuts. I don’t know if I can give my secrets away (laughs). I can give one secret away; a lot of producers should try it. I’m surrounded in an area where there is a lot going on and it’s to the future so that’s one. I can just walk out my studio doors, and jump on a train or just walk on the streets and I can see the future, and it inspires me. I can capture certain moments and come back to the studio, and try to describe that as a thought of emotion. Or I get a picture of let’s say a waterfall or the Taj Mahal or the Pyramids, or some sort of emotional picture, and I just put it in the background. When I play my keys or make a beat I try to describe that.

http://www.youtube.com/watch?v=b9ilLILWZ1U

Why have you chosen to work so closely with Cashtastic especially and Krept & Konan?

I feel like it’s a new day in UK music now, I think the rap game is at the forefront of underground urban music, and Krept & Konan and Cashtastic are very versatile artists. They have a distinctive sound and style of rap that they do. Cashtastic is very good with making songs, and he’s young and he’s got a big buzz, and he knows where he’s going and I see the talent in him. Krept & Konan do the same, their raps are just incredible, the way they write, and the kind of stuff they come out with is just amazing. I just love working with them. I think there going to be huge artists.

Tell us about the EP your going to be releasing. What sounds can we expect to hear and who can we expect to hear on it?

I’m not releasing the vocal EP this year or next year. The vocal one will just be some of the stuff I’ve done with everyone if I do release it, and some exclusive tracks with Wiley, D Double E, and Blade Brown and DVS. I’m just concentrating on developing my production sound more, because I think I’m getting a new sound.

Also the “instrumentalist” album….

It’s called instrumentalist because I like to think of myself as a mad professor, like a mad man. Instrumentalist meaning I’m mental, instrumental, mad. Its just nuts, and your going to expect it to be like a film. I think the way I think and the way I work, I don’t think a lot of people work like that, and its not a big headed thing, I just think its unique. I want people to know and see the insight to Steel Banglez to how I work. There’s going to be visuals as well, I’m going to post adverts up and stuff. It’s going to be a total new image and direction of sound. There’s going to be dubstep, dance, rap, film, contemporary, acoustic, but with a touch of my style. It’s going to be signature in that I’m one of the heavyweight producers in this country when that comes out.

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