[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] Bishop Nehru Embodies 'The Twenty Year Loop'
Photography by Asia Ashley
For the length of my career covering music, one theory has always stayed planted firmly in the back of my mind. Explained to me in one of my first interviews, with 9th Wonder in 2009, the 'Twenty Year Loop' has shaped much of the way I have consumed and understood music, culture and art since. The idea is somewhat simple, that every two decades, themes, aesthetics and ideas will re-emerge and manifest themselves once again in popular culture. It can explain the current 90s trend we're enjoying, the bell bottom craze of the late 90s and even bridge to presidents No. 41 and 43. I've never been more eager to sit down with an artist to discuss this phenomena than I was last week in Austin as I arrived at The Omni Hotel to talk to 17-year-old NYC phenom Bishop Nehru. The young artist from Rockland County, NY has a distinctly Nas-like flow that is easily recognizable throughout his breakout project, Nehruvia which was released last year. If we're following the Twenty Year Loop to a t, then that would put us in 1994. On April 19 of that year, Nas released a little project by the name of Illmatic, which can be fully felt on every rhyme Nehru spits. In essence, Bishop Nehru is the Twenty Year Loop personified. This is not to say he is a carbon copy of Nasir Jones, far from it. Instead, the point is to draw a map of the way influences work and how they manifest in music today. To be sure, Nehru has set himself up for a productive career in hip-hop, having been tapped by WorldStarHipHop as their 'Rap Act of the Week' in July 2012 at age 15 for an 8-bar freestyle over Mos Def's "Mathematics". Since then he has garnered co-signs from his idol, Nas, opened for Wu Tang Clan on their 20th Anniversary Tour and positioned himself as the true boom-bap artist to be reckoned with. Currently working on his MF Doom-produced project which he calls 'the first project he's been proud off all the way through,' epect to hear Bishop Nehru's name talked about a couple decades from now when influences get brought up. Check out my Q+A with the budding east coast MC.
[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 4
Photo by Kristen Wrzesniewski
The weekend in Austin started off quickly with several interviews on the docket early. My feet, blistered, sore and just generally unhappy about the situation, slipped into a pair of Converse boots with the thought it would help with all the moving. Strapped up and ready to go I headed out to The Blind Pig on 6th Street to talk to The Lonely Biscuits, a four piece jam/hip-hop/indie group from Nashville. The Belmont University students were on the back end of a wild collection of shows throughout SXSW and played a fitting mid-afternoon set after we had a chance to sit down and talk. As soon as I was done there, I raced across town to the Omni Hotel where I was to interview New York City’s rising star, 17-year-old Bishop Nehru. Sans photog for the week, I was able to get the lovely pair of Rasha Mosa and Asia Ashley of The Lab3l to lend a hand for what ended up being one of the more interesting interviews I’ve done in awhile. We discussed the theory of the ‘twenty year loop’, his ties to Nas and what we can expect next, words on that coming soon.
After that it was off to 502 Brushy Street on the other side of the highway to catch Chicago local Taylor Bennett perform at the House of Aura showcase. Technical problems led to him doing a rousing acapella performance before launching into a full set list. A trip to the Rap Genius Ranch ended up just getting me more miles on my ragged feet as we made the trip just a bit too late to catch Nas actually talking about Illmatic. It was at about this point I realized the ridiculousness of this ‘festival’ and how impractical a town Austin really is. There is a ton going on in ATX for SXSW, so much in fact you can find music just about anywhere you go. However, once you walk up to that venue with your Bomberman-looking arm of wristbands, trying desperately to find the one for this particular venue, you’ll likely find there is an extra hierarchy above your ‘credential’ (i.e. it’s a corporate party with people who don’t really even like the music), or you’ll be directed to a mile-long line with a shrug and a ‘good luck’. So, I spent a good amount of time Friday walking to shows like SaveMoney’s set at Clive, only to hear Tumblr only likes folks in badges and decided to pack it in and meet up with some familiar faces at D.B. Riley’s on 6th where Marrow played an absolutely fantastic SXSW debut. Going back to Austin being impractical, keep in mind there is little to no public transportation, the highway system is like a toddler’s SimCity game and they have a train that literally runs like every three hours in a straight line down one street. Sorry guys, you have a way to go before you get true ‘city’ status. Anyway, after Marrow injected happiness into the souls of D.B. Riley’s patrons, I decided it was time to get out of the city and ended up at a mansion party about 20 minutes outside of town where we partied through the night. Looking forward to the last day, ready to get back to Chicago.
Marrow at D.B. Riley's
Taylor Bennett at House of Aura
The Lonely Biscuits at The Big Picture Media Showcase
[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.
[Video] RH First Look: ZMoney
The temperature continued to drop, hitting seven degrees as my photographer, Bryan Lamb and myself pulled up to Emma's, a restaurant on the west side of Chicago. As we drove west from the heart of the loop of Chicago down Route 64, the landscape began to change. Amongst a neighborhood with more storefronts closed or shuttered than not, Emma's is a bright light, with it's freshly-painted windows and well-kept exterior, a hand-written sign braving the bitter cold to announce the day's special of catfish. Walking in we were warmly greeted, with unexpected laughter erupting when we announced who we were there to see. "They here to talk to Z Money!" his aunt shouted in somewhat disbelief from behind the counter. It's hard to blame her, too.
The first thing I remember about Z Money is how frustrating it was to find a photo of him this summer when trying to post his music. Employing a homegrown marketing scheme, the west side artist, who only started rapping something like a year and a half ago and his team decided to drop two mixtapes, Heroin Musik & Rich B4 Rap side by side on the same day. The release and the songs it contained made Complex Magazine's David Drake take notice, quickly branding Z Money as an artist to know by including him on their list of "25 Artists to Watch Out For". No on had heard of him before that, he hadn't done an interview, few had seen his face; Z Money was largely a mystery.
To solve some of that mystery, Lamb and myself now found ourselves in front of two steaming plates of shrimp n' grits, the special at Emma's. The restaurant is owned and operated by Z Money and from what we could tell, staffed as well by family members. Named after his Grandma, the cozy spot serves soul food with a smile and some home made Kool-aid. You don't hear about a lot of 20-year-old aspiring rap artists who own their own company, let alone a restaurant. But, contrary to much of his lyrical content, Z Money is out to better those around him as his name continues to grow. Thanks to the folks at Vice, much of the country now in one way or another refers to Chicago as "Chiraq", a 'clever' marketing scheme to sell individual's realities as a product. Talking to Z, one can feel his passion for showing a different route, his penchant for being a role model and his hunger to continue to climb. There is talk of upping the game and releasing a trio of mixtapes later this year. For now, though, this young Chicagoan is reveling in life and preparing himself to be the next big thing from a city that has steadily produced some of the top up and coming artists in hip-hop over the past couple of years. Check out the full conversation I had with Z Money, below.
[RH Interview] Giftz
Photography by ACJ Photos
Chicago is a rough city. Since the advent of "drill", GBE and Chief Keef, the stories of the city's streets have been told primarily by artists that painted pictures of death and destruction and little else. Enter: Giftz, the gritty hip-hop artist from Chicago's south side that has woven poetic lyricism and a cognitive thought process into a burgeoning career that has his hometown and all its good and bad wrapped up in it. Since releasing his 2013 mixtape Position of Power Giftz has gone about, well, establishing a position of power for himself amongst an increasingly populated sea of artists elevating from the Second City. Despite his self-described affection for gangsta rap aesthetics, Giftz is able to seamlessly move around the city, spending time at Leaders with Save Money or Treated Crew at Jugrnaut. Giftz made a leap in 2013 which has allowed him to make the leap of establishing a following outside the 312 area code. With his eye on a headlining show before the end of the year to hit 2014 running, he says all he's trying to do now is stay out of trouble. I had the chance to catch up with Giftz a couple week ago to talk about his recent rise in the hip-hop game and what he has coming next. Check out his latest song, "Statement," on the next page, and our conversation over the following pages.