[SXSW Interview] The Tontons, Well on Their Way
Photography by Andrew Zeiter
Back in November I was in Austin for a different festival, Fun Fun Fun Fest, where I first met Asli Omar and the guys from The Tontons. At the time, the four piece blues-y rock group from Houston was riding a wave of publicity en route to their breakthrough project, Make Out King and Other Love Stories, a harrowing 11-song project that puts forward the young band's strengths both vocally and in building complex, attention-grabbing tracks that have launched them from their native Houston and brought them back to the annual business card emporium that is South By Southwest. Back in November the squad of Omar, Tom Nguyen and Justin and Adam Martinez were hungry, eagerly anticipating the release of their project, Make Out King which dropped soon afterwards on February 18 of this year. Anticipating a big jump in notoriety, the world offered up some obstacles after their drummer, Justin, fell ill with a bad appendix that landed him in the hospital for two weeks, arriving in Austin straight from his stay there, a literal hole still in his side. Rock N' Roll. Anyway, it's obvious the music world has taken The Tontons in directions they would have never expected, and a bit of the frustration was evident in talking to them this time around. Through it all though, The Tontons have an innately upbeat spirit that makes even them jokingly talking about being jaded seem like being on the outside of an inside joke. They play great and make music that transcends radio trends or falsified public relations campaigns. The Tontons are the band you come to SXSW to see, and I was lucky enough to get a few minutes of their time before they played the Big Picture Media Showcase at The Thirsty Nickel to see how everyone was doing and where the ship is headed in 2014.
[SXSW Interview] The Radkey Brothers Are Bringing Punk Back
Photography by Ra Ra Photography
By the time I had gotten to The Hangar on 4th and Colorado, SXSW had begun to weigh on me. In what is easily evident from the journals throughout the week, this year's South By was filled a bit more to the brim with corporate positioning and exclusive shows than actually enjoying new, fresh music on the cusp. These three brothers from St. Joseph, Missouri, however changed all that pretty quickly. I jogged up the last step to the rooftop of The Hangar with my photographer, Asia Ashley, right on my heels as Radkey tore into the beginning of their set. As a decent crowd stood back, drinks in hand, smug looks in place watching the three young artists it became readily obvious these guys were a little different. With powerful chord progressions and vocals that stack beautifully and play well to the ear melodically, Dee Solomon and Isaiah pulled the crowd toward them one by one. As if in a trance, couples began gyrating towards each other, older men nodded their heads and stomped their feet and some stood open-mouthed. It seems somewhat uncomfortable, if only because it had been awhile since anyone had heard an act like this in today's electronically-saturated music climate. Isaiah rolled on the floor furiously tearing away at his white guitar as Dee handled the vocals and stood, power-stanced at the mic. As calm as could be, the youngest brother Solomon kept pace on the drums. The three brothers stand out in punk rock, a genre that has been largely out of the spotlight for the better part of a decade, both for their smooth playing and their age. As part of a new resurgence in the genre that is led by both them and The Orwells, these three brothers from a little town in Missouri are ready to take the music to the forefront once again, with true punk grit to match. While their live show may be a frenetic, in your face experience, Dee, Isaiah and Solomon may be the nicest bunch I've had the chance to interview. The next few months will find them across the country and in Japan, the mecca of some of their favorite pastimes: Anime and video games. Check out my candid Q+A with the next big thing out of St. Joseph, Missouri.
[SXSW] Music Festival 2014 Recap
Photo by Kristen Wrzesniewski
In 1977, a water skiing Henry Winkler wore a leather coat and life preserver and attempted to 'jump the shark' in a move that become synonymous with the beginning of the end of a good thing. In that regard it was the long-running "Happy Days" sitcom. Last week in Austin, Texas, it was the South by Southwest Music conference that took the leap from humble beginnings to corporate cash in it's own rendition of 'jumping the shark'. No one pointed it out better than TDE-signee and Oxymoron artist Schoolboy Q, who interrupted his set at the Complex House several times to address several SXSW sets he played for 'yuppies' while his real fans stood outside unable to get in. Alas, the 2014 edition of SXSW couldn't have been described better. An armful of wristbands, garnered through careful planning and RSVPs was instantly trumped by a litany of barriers between them and the artists they had traveled to see. When it began in 1987, the festival was a place for new and unsigned artists to get recognized and for true fans to catch them before they hit the big time. Today, to put it the words of my Journalism professor, it is essentially 'one big blow job'. Despite a lack of a real industry, or perhaps because of it, record labels funnel top-tier artists to the highest bidders, who more often than not come with long guest lists that leave fans sitting outside wondering where all the public transportation in this 'city' is. Even the Illmore, the exclusive house party that has become a staple of the fest, running late into the night with star-studded performance, seemed a bit too big this year in it's new home at a sterile youth center.
For me, the best part of the week was living vicariously as if the SXSW Schoolboy Q encountered was somewhere else. I hustled interviews with true rising acts in Philadelphia-based Cheers Elephant, who's onstage presence is obviously culled from years of performing together and who I'm sure saw a significant boost afterwards, The Tontons, a Houston indie/soul group with a personality to match that hit SXSW on the heels of their latest project, the well received Make Out King and Other Stories of Love. Then there was Radkey, the trio of young brothers, aged 16, 18 and 20 respectively who single-handedly got me back into punk rock with one of the wildest, most raw sets I have seen in a long time, and 17-year-old Bishop Nehru who very well may be the second coming of Nas, The Lonely Biscuits, a band of Belmont University students who stopped down to ATX between projects and mid-terms. They weren't a sit down with Rick Ross, or an in-depth on Phantogram, but the stories I was able to dig up throughout my time at SXSW made me proud to be able to say I saw through the thick haze of bullshit and gerrymandering that descends on the city for a week and actually seek out acts that benefited from the experience.
To be sure, it was two Chicago artists who not only embodied all that SXSW should be, but capitalized on it to continue their independent, organic rises out of their hometown. A year ago, Chance The Rapper ran around SXSW playing sets in anticipation of his yet-to-be-released album, Acid Rap that turned 2013 into a roller coaster of experiences for the 20-year-old MC. At that time, Vic Mensa was still performing as part of the band Kids These Days, which broke up soon after Chance dropped his project on April 30. The two close friends arrived again in Austin at wildly different points in their careers. Chance, with just about every accolade possible under his belt is becoming the biggest independent artist in recent memory, while Mensa, fresh off a plane from Norway, put on a marathon of sets throughout the week that had crowds buzzing in the street about the kid from the Midwest with the funky, different flow to him. Chance's only show was cut short by Fire Marshalls, an ode to his popularity and a crux of the festival at large while also picking up a Woodie award with Austin Vesely for the "Everybody's Something" video. As independent, self-funded artists, Chance and Vic may have embodied the spirit of what SXSW is supposed to be better than anyone else in Austin this week.
In 1977, Fonzie made history by ruining a good thing while ten feet in the air on water skis, in 2014 Lady Gaga did the same by performing beneath a carefully-placed canopy of Doritos bags. Corporate money has always been prevalent (early 2000s 'ringtone rap), and it's just another chapter in the money making something so genuine so utterly unrecognizable.
[SXSW Journal] Day 1
Photo by Andrew Zeiter
After sixteen and a half hours in my past-her-prime Chevy Trailblazer, my knees were sore and my back was knotted but I had gotten to Austin, and it was time to dive back into the deep sea that is South by Southwest. After hiking downtown through the cab-less wasteland that is downtown ATX and picking up the proper credentials, I took off for the W Hotel where local Chicago music label Maek was taking part in the Fashion Brain Bar, a cocktail party and show on the fourth floor of the W that served to introduce invitees to new acts. So, there are always lessons, and this year I got one early.
Having found a pair of brand new Converse Chucks in my closet from Christmas, I decided to run around my first day of SXSW tearing up my feet to the point of almost utter disrepair. Gingerly walking my way down the vaunted sixth avenue I came across artists from around Chicago’s scene including Calez, Legit, Eryn Allen Kane and Stefan Ponce as everyone milled about, looking for the thing to do on a fairly dead Monday night offset by the rain. I had the chance to catch Charlotte, NC dance duo Styles N’ Complete who got the rooftop indoor-outdoor space jumping with hip-hop infused production pieces that were equal parts sample and original work. After that I rushed down to the other side of the freeway to link up with Supa Bwe, Karl, Blakkass Westley and Netherfriends who put on a set at the Volstead that set the bar high on night one as he killed his night cap with his looping sounds, interesting overall aesthetic and powerful stage presence got the alcohol-infused crowd that got pushed out at close.
Waking up the next morning, startled again by the lack of white icy hills outside my window in March, I continued a slow transition into the full breadth of what SXSW can offer as Chicago came out in full force, led by the enumerable Mayor Rahm Emmanuel himself for a pre-party at the aptly-named The Chicago House, which was filled with artists, media members and local movers and shakers from around the Windy City. Red 7 on 6th St. and Red River was the setting for Chicago Made Blog’s showcase, hosted by Hologram Kizzie, which started off with a rousing, endearing set from ProbCause, who when paired with his live drummer Cofresh is a true sight to see and got the steadily-building crowd worked up before the very talented singer-songwriter Bonzie took the stage, changing the aesthetic as the sun began to wane. Rockers Autumn Defense and Archie Powell and the Exports did their thing, showing Chicago has much more than just the hip-hop that has burst from it’s streets over the past couple of years. ShowYouSuck did what ShowYouSuck does, joined again onstage by compatriot Auggie The 9th he put on one of his best sets to date, crowd surfing, moving erratically from one side of the stage to the other and waxing knowledge on everything from ‘Big Gulps’ to ‘80’s Boobs’. As fans patiently waited, the show slowly ground to it’s headliner after a heavily Kanye-influenced DJ set from The Hood Internet, who flexed his production muscle a bit by bringing up a host of earlier performers onstage to do a series of tracks including ‘Sub-Zero’ off of ProbCause’s The Recipe Vol. 2 which may go down as one of the cooler moments of this years SXSW, as Auggie The 9th showed how hungry he is to take his game to the next level, eagerly tearing through bar after bar with vigor. Chicago seems to have a new act pop every year, and Auggie made a case for himself surrounded by some of the city’s finest. The big moment finally came around 1 am for Chance The Rapper and Peter CottonTale to take the stage, which revamped the crowd who had stood in line and inside the venue for nearly six hours. Chano started things off with the familiar “Good Ass Intro”, dropping into “Brain Cells” which got a juke mix before rolling through his Acid Rap catalogue. But, suddenly, as seems to happen in Austin during SXSW, the fire Marshalls called, the police showed up and a comfortably outstanding show was cancelled. And that was it. Two days down so far, plenty more to go.
[RH Interview] Mic Terror Talks "Fresh Prince of Darkness"
Photo by Andrew Zeiter
Last week a steady stream of Treated crowns, leather and sneakers streamed into the Hard Rock Café in Chicago. The crowd that makes up a large part of the hip-hop scene here was assembled in the Loop to give one of their own a proper celebration for the release of Mic Terror’s Fresh Prince of Darkness. The album’s release, debuted under the Chicago independent hip-hop label Closed Sessions, was a community affair of artists, management and a wide swath of the crowd that took hip-hop music in the scene to another level. If you’ve been to a rap show in the Second City or spent some time at local boutique Jugrnaut, you’re familiar with the Treated Crew. Led by Kanye West’s DJ Million Dollar Mano, the squad has established itself as a bastion of what rap is in the city and there are few who have had a larger impact on the crew, it’s origins and what the music had developed into than Mic Terror, who capped weeks of promotion for the project with a rousing performance that had the packed crowd rocking with him from start to finish as he pulled from a multitude of experiences for the set, proving why he has had the kind of staying power that wasn’t evident in the city even a decade earlier. The 28-year-old Dolton native has been a mainstay for about a decade now, progressing in his own lane while also pushing those around him to continue to grow, resulting in the push that has been a huge spike in hip-hop emanating from the center of the country as of late. For FPOD, Mic Terror shows a matured, true side of himself, pulling from years of experience and learning to create a project that accurately and succinctly sums up Mic T as an artist and a person. To hear him say it, his previous projects were largely rooted in attempting to perfect this or that, whereas on his latest release he felt more comfortable spreading his wings and exploring territory he hadn’t to this point. The result is a fully-fleshed out album that exudes exactly what the Treated Crew name has come to represent over the years. I recently had a chance to stop by Soundscape Studios in Chicago to sit down with Mic Terror and discuss the ins and outs of what the ride has been like this far, what lays ahead and the role he finds himself in within his scene as it expands exponentially.
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[RH First Look] Sidewalk Chalk
Sidewalk Chalk embodies Chicago. As much as the recent Vice "Chiraq" documentaries have done the opposite as of late, the eclectic eight piece band from the Second City pulls from both their hometown's past and present while focusing on writing it's future. The immediately soulful feelings of their latest project, Leaves, released February 24, is the result of an penchant for a sound that came off less polished and more gritty, capturing the sensibilities of both vocals and instrumentation that can be lost in post-production. The result is a fully-formed album that can keep you listening from the first to the last note. Long established in their hometown, Sidewalk Chalk has been making a large push around their latest album, and after playing a pair of album release shows over the weekend at Double Door in Chicago and Drom in New York City they will head off on a national tour in support of the new material. I had a chance to catch up with keys player Charlie Coffeen around the time of the release, check out or Q+A below.
Jake: So, the album is out in the world now. What has the process been like just readying this project to get out there?
Charlie: We're really excited to put it out. The process was a bit different from our first album, we kind of played a lot lot harder on this record we let the music be what it is a little more. We did a few takes of the tunes of the tunes with keys, bass and drums and once we were happy with it we just kind of let it be instead of tweaking things and making everything perfect. We kind of embraced the imperfections of it and I think that was the right move for what we wanted this record to be: raw and gritty and kind of just sound like us. The first album, we wanted everything to be perfect and for everything to be polished and I think we achieved that but on this one we wanted to push the boundaries a little bit and see how far we can stretch ourselves and our sound to the point where we had a finished project.
Jake: Was that something that was a conscious decision from the get-go, to let everything kind of ride on this project?
Charlie: Yeah, that was certainly our goal from the moment we stepped in the studio or even began thinking about how these songs were going to fit on an album. We knew we wanted them to be raw and we wanted them to sound real, like us. That was really our primary goal.
The College Dropout 10 Years Later
When The College Dropout dropped, I was 13 years old and in 8th grade. Living in the suburbs at the time, there wasn't a lot for a young hip-hop head to really connect with. Ja Rule was rapping about the "thug life" with Ashanti and Irv Gotti, Ludacris was shouting for folks to "Get Back", T.I. had just hit the scene rapping about twenty-four inch rims and selling copious amount of drugs to make the dream work. Outside of Eminem, who at this point had entered the goofy days of Encore, there was little for me to relate to, and hip-hop began to feel out of touch. Rap had always been from the streets, but often had poetic sensibilities, easily interpreted by a cross-section of communities. We were in the midst of ringtone rap, until Kanye came along. Rap albums weren't considered among works of art in a larger spectrum, T.I.'s breakthrough album, Urban Legend was given a two out of five stars by Rolling Stone. Hip-hop had hit critical mass, it had jumped the shark, the Ying Yang Twins were serious players. I personally hadn't heard anything like "Slow Jamz" or "Through The Wire" in a long time. It was a hark back to the music my parents played growing up: a mix of soul and funk, all rolled together in Ye's signature sample chops. I remember watching MTV for hours in the days before YouTube to catch that collage video that was so Chicago, yet so different. I remember explaining Kanye to my Mom ('well he's a rapper, but he wears a backpack and talks about Chicago') I bought a hard copy of The College Dropout. There is a whole generation brewing right now that will never do that. I subsequently bought every Kanye album in hard copy until My Dark Twisted Fantasy. Kanye brought me back to hip-hop with The College Dropout, and likely shaped much of what I did after hearing it. It was the culmination of a sound that had been crafted by the likes of No I.D. and J Dilla, but which West was able to succinctly package together in one seminal piece of art. Chance The Rapper points a heavy finger Ye's way when influences come up, and he perhaps describes the feeling The College Dropout still evokes today with a line from his song "Tweakin" with Vic Mensa: "Bumpin' Kanye like it just came out". 10 year later, it's still good to that last clink of glass on "Last Call".
Statement from Kanye West on The College Dropout turning 10:
“Ten years ago today we finally released what had been my life’s work up to that point: The College Dropout.
I say “finally” because it was a long road, a constant struggle, and a true labor of love to not only convince my peers and the public that I could be an artist, but to actually get that art out for the world to hear.
I am extremely grateful to each and every person along that road who helped, lent an ear, lent their voice, gave of their heart to that project, and to all the projects that followed, and are to come.
I am honored and humbled by my fans, for the unwavering support and love over the past ten years. I wake up every day trying to give something back to you that you can rock to and be proud of.
Ten years later I am still the same kid from Chicago, still dreaming out loud, still banging on the door. The doors may be heavier, but I promise you WE WILL BREAK THEM.”
Stream Kitty Cash's Latest Mix for SSENSE
Last month, when I had a chance to catch up with up and coming New York City DJ Kitty Cash on the heels of her well-received Love The Free mixtape she expressed her eagerness to get right back to work after having finished one project. "As soon as I was done, I was like, 'Damn, I can’t wait to work on part two'." Well, we got the latest from Kitty Cash last night as she continues to craft interesting and ear-catching mixes, this time for the likes of SSENSE. The piece of work brings together elements of airy 808s and features the likes of Kanye, Tinashe, Tamia, Sade and Beyonce to help you chill out while hiding indoors from the polar vortex. Check out the full stream of Kitty Cash's latest mix streaming below.