JPEGMAFIA: On Channeling Anger, Making Music In Japan & Racial Tension

I met up with JPEGMAFIA -- the punk-leaning newcomer to Baltimore's DIY rap scene -- at his girlfriend's studio in the city's Bolton Hill neighborhood earlier this week where we spoke over jerk chicken dinners. A recent transplant to Baltimore, the 26-year-old, born Barrington Hendricks, surveyed the city's scene from his military housing in Japan in hopes of moving back to the states, somewhere close to New York but not as expensive to pursue a career in music. Over the past few months, JPEG has made it a goal to collaborate with as many artists as possible, quickly making a name for himself in underground circles for his candid, yet occasionally satirical take on liberal racism and the tension it creates.

Having moved to Baltimore shortly before April's Uprising, JPEG made Darkskin Manson -- a 40-minute "fuck you"  to all anti-black sentiments with track titles like "Cops Are The Target", "Mask On The Masters" and "I Wipe My Ass With Confederate Flags" -- as he watched the city erupt over Freddie Gray's alleged killing by the Baltimore City Police Department. It was a spark to an amber that had been burning inside of him since his adolescence. Born in New York to Jamaican parents, Hendricks spent the bulk of his childhood in East Flatbush, Brooklyn -- a neighborhood deeply rooted in West Indian culture and black pride -- bouncing from place to place due to rough circumstances at home. That experience of Black Utopia was uprooted when his mom abruptly moved them to Alabama when JPEG was 13, where he had his first experiences with overt racism. It was also in Alabama where he first started to study rap music as a genre, having been exposed to mostly reggae for the majority of his life. 

After a short stint in prison due to a racially-charged altercation in his late teens, JPEG joined the military where he'd be deployed to different parts of the world, meeting fellow artists and adding new elements to his producing and rapping repertoire. He moved to Japan and formed a group called Ghost Pop where he gained a local buzz in Tokyo before returning to the U.S. As we sat and ate, we talked about how each stop he's made in his 26 years has influenced his artistry, how he now deals with racism and how he plans to inspire fellow black people to act on their anger, instead of suppressing it. 

Was your experience of living in Alabama the foundation for your musical content? Because most of it deals with racial tension.

JPEGMAFIA: Almost exclusively. But New York is too because I lived around nothing but niggas. East Flatbush was like Niggalopolis. I was surrounded by black-owned businesses so I came up with a weird point of view when it came to race. At that point, I didn’t feel like I was being held back for being black because my community instilled the whole black power ideology into my head, even though I hadn’t applied it to anything. When I moved to the south I learned what racism truly was and it’s not what everybody thinks it is. It’s not people riding round with the Klan on horses. It’s a lot sneakier. It’s like this quote from Eddie Griffin that I like: “People don’t say nigga anymore. They say ‘We’re not hiriing.’” I went through so much shit in Alabama. My first day of school, some white dude pulled up to me while I was walking and spit on me and drove off.

Your last project is titled Darkskin Manson. Are you inspired by Charles Manson in some way?

Not at all. I’m just appropriating his name. I’m just stealing his shit and using it the way I want, how white people do to us. He wasn’t doing it right.  He’s a failure to me. He’s celebrated but he didn’t really do anything but brainwash a few stupid people. 

What were you listening to growing up?

I came up listening to a lot of reggae with my dad but Dipset was like my first introduction to rap. My favorite rapper of all time is Ice Cube, though. That’s where I get the inspiration for my delivery and even my lyrical content. To me, he was the first rapper I heard as a kid to talk about black power but not in a preachy way. It was like, ‘We’re angry so let’s do something about it.’ Our anger is always so suppressed. White people can have the KKK and all these hate groups for no fucking reason but when we get angry it scares the shit out of people so they try to shut it down ASAP.

@jpegmafia x @elonofficial Produced by JPEGMAFIA OFF THE NEW EP COMING SOON AF HOOCHIE MUSIK THAT WILL HURT YA BUTT

What was your music like when you first started making it?

My music was always about what it is now but it didn’t sound anything like my music does now. Cam’ron is where I got my first rapping style from and my production because he would always use the chipmunk samples. I always wanted to know how he did that then I started looking it up and realized that he was just using other songs. I wasn't even listening to him when I lived in New York. When I first moved to Atlanta, a guy I went to school with gave me the first Diplomatic Immunity like, “Yo, you're from New York. You’ll fuck with this.”  So I was on some real hip-hop, soul-sampling, elitist shit. I liked a lot of punk music too like Bad Brains. I really liked punk music for the energy and not the content because most of it is trust fund baby bullshit. I wanted to harness that energy and put something to it that was actually worth being angry about. That’s why I liked Ice Cube.

Did your military experience make your music different?

Yeah because I came across a lot of artists there. I met a guy named Enso who’s on some of my stuff and we lived in Japan together and made a group called Ghost Pop. But my music changed mostly because being in the military is a stressful environment. I made a lot of beats overseas when I was deployed in Iraq, living in really small spaces where people were throwing little bombs at us nonstop. I really had to time when I made beats because of the environment and also I couldn’t record so I was writing a lot. But having so much time on my hands, I really got to harness my skills from practicing and studying people. Ghostface for the flow. NaS for lyricism. Ice Cube for delivery. Wayne for his non sequiturs. Jay for his wordplay. In the military we only got one day off which was Saturday for me so on Thursday I would download albums because the internet was slow it took a whole day to download an album (laughs).

How did you navigate through the Tokyo scene to gain recognition? Was that difficult as a foreigner?

I had lot of help. We had two Japanese people in the group and they were already connected within the scene. One of them was in the military so, based on that, I had a place to stay. Plus, a lot of stuff in Tokyo is in English so it wasn’t hard to get around. If I’d went there by myself and hit the ground running, I would’ve had a harder time.

Download Here: http://jpegmafia.net/darkskinmanson

You moved to Baltimore just before The Uprising. What effect, if any, did that have on your work?

I recorded the whole Darkskin Manson the week of The Uprising and put it out the week after. It had a profound effect because I was actually proud that people rioted and got angry. A lot of times they want us to shut up, hold hands and pray.

You were studying the Baltimore scene before you even got here but who’s been your favorite to work with since you came? Who are you learning from?

The first person I made songs here with is :3lon. I’ve made so much music with him. We actually have an EP coming out together. I really like working with Butch Dawson because we both are one-take kind of artists when we make stuff. I’ve probably learned the most from Abdu Ali; the way he records is really interesting. He doesn’t know much of the mechanical aspect of recording, but it comes together so well for him. It’s like a gift. 

What does an :3lon and JPEGMAFIA project even sound like? Individually, your music is so different.

We hang out all the time and like the same kind of music so we wanted to create. We’re using my kind of production which is more industrial with his input and voice. We’re completely different but the same all at once. But it’s really genre-bending, which we both like. It’ll be bouncy but industrial. I also have an EP with Grey Dolf coming and another solo project called Black Ben Carson.

What experience do you want to create for people who listen to your music?

The only people I ever talk to is niggas ‘cause nobody ever talks to us. I talk about a lot of liberal racism. I just want people to get out of this turn-the-other-cheek mindset. I’m not saying I want niggas to kill people but don’t be a bitch about it. That’s the goal right now. But artistically, I just wanna create an environment like a Death Grips or a metal show, but with black people and shit that we’re angry about. I wanna create an environment for us to come get loose and say "Fuck all this shit." Death Grips is cool but they make music for hipsters. They talk about abstract shit that don't mean nothing. So I wanna take that energy and infuse it with shit that’s relevant to niggas in the hood.

Follow JPEGMAFIA on Twitter and SoundCloud

Interview: Trillnatured

Jess Hyman is a DJ and grad student, currently based in Baltimore. Known behind the decks as TrillNatured, she has made a name for herself playing for crowds at popular venues such as The Crown and Ottobar, as well being included in line-ups for this past summer's Ratscape and first-annual Pangea Fest. 

A relative newcomer to the art form, Trillnatured works tirelessly to balance academic and nightlife. On any given night, her setlist could include selections from Sam Smith to Rod Lee, and everything in between. No matter the genre, or the venue, Trillnatured aims to bring you out of your comfort zone and on to the dance floor. 

Where were you born and raised?

Trillnatured: I was born in Baltimore and raised in Harford County. My parents were raised in Baltimore, and much of my family is here, so I ended up spending a lot of time in the City as well as Harford County.

Favorite place to DJ?

My favorite place to DJ is most definitely The Crown. I love the crowd, the positive energy, and folks’ openness to all kinds of music. Because it’s such an open-minded & free-spirited crowd, I’ve been able to try out new things while beginning to find my niche as a DJ.

What are your musical inspirations? Do you come from a musical family?

I don’t come from a musical family in the sense of making music, but I can definitely say that I got my musical influence and taste from my Dad. I grew up hearing him listen to everyone from Gil Scott-Heron, to Phyllis Hyman, to Garth Brooks. I really developed an appreciation for various kinds of music through his eclectic collection.

Throwback #Meltmix from @jessica-hyman!

When did you decide to start learning how to DJ?

I’m not exactly sure how and when I decided I’d learn to DJ. There’s a chunk of time in between the time I started to ponder it, and actually starting to mix—maybe a year. Initially, I started introducing myself to local DJs and asking if I could watch what they do in the booth. DJ Exel from PA was one of them, and I’d watch her play at Hippo on Thursdays. Shortly after that, she taught me how to count (beats), and I became more excited about doing the real thing. In April of 2014, I bought a mixer and started teaching myself from there. The timeline is all kind of fuzzy, but I’m enjoying the journey.

Describe the experience of your first gig.

My first gig came without warning. Blaqstarr asked me about a half-hour before start time if I wanted to DJ an open-mic at Play hookah lounge. I freaked out (and almost punked out) but I knew I had to just throw myself out there and play in front of people. I was definitely nervous (I took a shot of Henny before I left the house), but the night turned out to be a relative success. I remember his wife, Mia,  telling me that she was “pleasantly surprised” by my skills. That was awesome.

What have you learned along the way?

The number one lesson that I’ve learned is to move at my own pace. I block out any pressure to compete with anyone but myself, or to take on things that I’m not ready for. I started DJing when I was ready, and I will progress to different levels when I’m ready.

What have been your favorite experiences, venues and parties so far?

My favorite party is definitely "Queerology" at The Crown. It’s a queer dance party hosted by TT the Artist on every first Thursday. I’ve always dreamed of an event/venue where queer folks gather to just BE. No “S&M” (standing and modeling), positive evergy, and dance music in its true form.

What is your take on the 'scene' in Baltimore?

I’m relatively new to it, but I’ve quickly come to know where I feel like I’m at “home” and who I feel at “home” with. If I had to define my scene, it would be the likes of The Crown, Windup, Metro, Copycat, Annex, Ottobar, and the music-lovers/makers who frequent those spaces. This part of Baltimore is so rich with talent & I’ve found community here in the purest sense.

What are you studying, and how does that affect your music and vice versa?

I’m attending University of Maryland, Baltimore for my Master’s in Social Work. It’s been a long time coming; this is actually my second attempt at a graduate degree. My first attempt was at Rutgers University right out of undergrad. Long story short, I was depressed & isolated, and dropped out a few months in. Having said that, I still struggle immensely with motivation in my current academic pursuits, but DJing (and the community that has grown out of it) keeps me going. It happened right on time for me. Although I’m still cultivating my academic interests and career goals (aka “have no idea what I want to do when I graduate”), I’ve found a passion for DJing, which is all can ask for.

Interview: Butch Dawson & :3lON Discuss Their PVRVLELLS EP

Last weekend, Baltimore artists Butch Dawson and :3lON released their joint EP, PVRVLLELS. Dawson's been a staple in the city's downtown scene over the past two years with his kick-back rap style and seemingly interchangeable production skills--easily adapting and meshing to whatever artist he works with. :3lON on the other hand, has made a hell of an introduction to the scene over the past eight months since he dropped his track "Portraits" on SoundCloud, showcasing his dreamy production and almost-extinct forceful singing voice. Just before the project released, I met with the two in Butch's home studio and learned what it took for them to complete the project. 

Neither of you really go outside of yourselves for production so how was a balance achieved throughout this process? Who had to compromise the most?

Butch: Initially I wanted to hear Elon’s vocals over my production and when we came together to do the project we decided that he would add a track that he produced. We got to a middle ground as far as experimenting. It was chill.

:3lON: Teklon did a beat too.

What do you learn from each other artistically and otherwise?

3lON: (To Butch)  For instance, when you made “Record” your approach to making the sound was pretty interesting and you used this one synth that I immediately thought wouldn’t have been the first option for me but then once you started playing with the melodies I was like, “Okay”. It ended up bringing everything together. It’s really interesting studying other people’s approaches to making beats.

Butch: What’s interesting to me is that within the process of making a masterpiece, it doesn’t even have to be that long. You just gotta be around those people who are really talented and who do this shit; It’s in their blood. When I’m in the studio with 3lON, he’s not writing. I’ve probably seen him write some shit like once. He just goes in and has fun. Basically freestyling. I’m watching like, “What? You freestyling all this R&B shit?!”

3lON: That’s the thing: I can only do that if I feel super comfortable so I definitely felt like it was a kindred spirit here.

Butch: Definitely. When I’m by myself I’m most comfortable recording or maybe with like two or three people. More than that would be too much going on for me to focus. Working with 3lON and having a creative goal, it’s good to know that the other person is capable of doing that.

3lON: We were just vibing out for real.

from Butch Dawson & Elon's upcoming joint EP "PVRVLLELS" coming June 13th. Produced by Jujuan Allen Cover art by Ronin Wood Follow us on Twitter: @primelard @_3lON

How much of this was hands on? Was it always recorded as a team or was it a lot of emailing back and forth?

Butch: He was always here. I’d either have beats and tell him that he needed to hop on them or we’d sit and make shit.

Were there any roadblocks throughout the creative process here? If so, what were they?

:3lON: Not that I can remember (laughs). It was just real chill. We knew we wanted to do this shit so we did what we do. Make songs all day and package it.

Butch: More than any other artist in Baltimore, me and 3lON see eye-to-eye without having to say anything. You just know. Even when I’m joking around with a few bars he’ll finish that shit.

Photo: Keem Griffey

:3lON, most of your music is solo. Do you feel encouraged to collaborate more now that you’ve done this project?

:3LON: That was my objective from the beginning. To collaborate with as many people as possible. That’s how you learn--doing shit and making music with other people.

What song was the most fun recording?

Butch: I would say “Storms”.

3lON: “Record” is mine.

Both of you have been making your rounds in Baltimore. Why haven't you traveled more?

:3lON: That’s the objective for this summer. I plan on touring a lot. We have two tours we’re working on together for the summer then I’m gonna go on tour with Chiffon later in the year which will be a lot of dates. So hopefully by the end of the year I can say I’ve seen some shit.

Butch: Yeah like 3lON said, we’re doing two tours. From that I’m trying to head overseas.

As Baltimore artists, what would you say holds people back. Or why do you think it's difficult for people to propel themselves to the masses?

Butch: I think some people are still trying to establish themselves then go from there. Sometimes I just think it’s trying to maintain living in Baltimore. Not just shit like getting a job or making money; it’s situations where some people feel stuck but are still trying to do this music shit. Those situations can hold them back.

3lON: Once you have the basic shit taken care of, it’s up to you to push yourself. I feel like anybody from Baltimore can do it. It kinda confuses me that more people from here don’t. You shouldn’t let anything hold you back. It’s people who were really poor and started making beats or found ways to make music. So for you to sit around and use your surroundings as an excuse is kinda like…

Butch: You just gotta extra grind.

Butch Dawson & Elon gets together for an experimental joint ep entitled PVRVLLELS.

Do you think it’s really excuses or is it that Baltimore is a very unique place, socially? A lot of people here are struggling for life’s necessities and that’s deeply ingrained. It could be more of a struggle with feeling discouraged more than it is making excuses.

3lON: But it is people out there that believe that there’s nothing they can do but trap. Like that’s the only thing that could ever do. Why?

Well, how do you feel as an R&B singer in Baltimore’s music scene? How do you fit in?

3lON: I don’t really consider myself an R&B artist but because I sing the way I do, people say that I am.

What do you consider yourself to be then?

3lON: I try to experiment with different things. There are a whole lot of singers in Baltimore but it’s rare to see a show full of them because they want to do other shit. They either do choir or sing for their YouTube channel. I like performing, though. I started with doing open mics because it’s hella singers in that scene too but once I started having to pay to participate in open mics, I didn’t want to do it anymore.

To both of you, what would make Pvrvllels a successful project?

Butch: It’s already a successful project to me because initially I wanted to do it so I could hear 3lON on my beats. A lot of people that listen to me in Europe fuck with my “Helium” song we did together and it made me want to do this.

Photo: Keem Griffey

Listen to PVRVLLELS on SoundCloud. 

 

Al Rogers Jr. Speaks On His Growth & Shares "BlueGreen"

It's been two years since Baltimore's Al Rogers Jr. came out with his debut project, Almost, which was a somewhat-erratic introduction that touched on his weighted relationships with parents, watching his older brother sell drugs and his own frustration with the system. On narratives alone, the project was a solid one; Al shed his layers enough for listeners to get a sense of who he was beyond his music. Musically, it lacked a true identity, as his screechy delivery doubled as his best friend and worst enemy on a track-to-track basis. Having songs that were made two and three years prior to Almost's release sprinkled amongst newly-recorded ones made for a undesirable listen at times, too. 

Al's taken all of these things into consideration, he says, and in his absence, he's worked hard to not only sharpen his artistry but his personal flaws. His upcoming project, BabyAl, is set to release in the coming months and he's given us a chance to share one of the project's songs, "BlueGreen", which showcases more singing than you'd anticipate if you've heard his earlier material. We talked to Rogers about "BlueGreen", BabyAl and what's been in the works while he's been taking time with his new music. 

Expressing the importance of being your self. The sky is blue and grass is green these things are naturally that way, so it's an analogy for everyone to just do what comes natural, never force yourself to be like anyone else. Individuality has always been key to accomplishing great feats. Swooz! LYRICS BELOW: [Verse 1] You know its hard to say when they say don't wear no disguise don't tell me no lies it's just you and I we don't need no surprises// My beloved heart not far above lost nor far below low just give enough soul the truth is you who are you running to they can't save you only you can save you// My retreat it's not hard to see they don't know your fate fate are you free of hate hate please don't forsake forsake me// You know it's so dope don't you know you know its so cold when you know. [Hook] Blue skies grass is green on the other side you know what I mean you can't change who change who only you only you can be you [Repeat] [Verse 2] Fought with myself on nights like this on the nights I spent trying to get through these days like this on the nights I spent alone not sure about who I was then I heard a voice said "Al give me your trust" only one you understand that duplication is just saying that you disrespecting what God hand wrapped it's only one you understand that and imitation is just saying that you forgot that ribbon on top you forgot just where you got that rhythm you got. [Bridge] only you only you only you only you can be you [Repeat]

Your newest track, "BlueGreen", is probably your most singingest (lol) song you've done even though harmonizing has always been a part of your delivery. Why's that?

Al Rogers Jr.: I felt it was important to show that versatility, you know? Some of my favorite artists are actually singers and at this point in life I'm listening to more R&B/Soul than Hip Hop. Don't get it twisted though, i'm working on my rhymes just as much as i'm working on my pitch. I always remain a student of the game especially when you have artists out here spitting and putting out quality Hip Hop like Kendrick.

Judging by the material you've released over the past year, it seems that love is something fresh on your mind. Does that reflect your personal life?

Love is the most important factor in my life. Without it, I would not have any drive to continue at all; it's the origin of passion and the origin of hate. My music from the beginning has always been very personal and  it's not just about falling in love, it's about the act of love itself. Life for a lot of folks of color is in a very dark place right now and love conquers all. The greatest leaders would not have been able to conquer any feats without love on their side.

Your debut project, Almost, was two years ago now. Is it difficult to go back and listen to the person you were back then?

Almost was necessary for me and  I would not be able to make the music I'm making right now had I not put those personal stories into my music. A lot of that shit held me back and it was a lot of doubt and fear in those songs, so listening now feels triumphant. Although I am not in that same place, I can still appreciate how far I came.

How've you changed as a person in that time?

I'm a lot more honest with myself about my flaws and personal struggles. I'm still fighting some of the same inner demons but it's always better going into the fight with a sharper sword; my mind is more equipped. You learn to accept the things you can't change and learn to love the things you have. I'm not completely content with life but I am very happy with the route i'm going. Shoutout to my girl and my mom for holding me down.

What are a few things you think no one is expecting to hear on BabyAl?

An artist who came ready for battle, battered boots and all. BabyAl is my war cry; I have a lot of things to get off my chest because a lot has happened in these 2 1/2 years since Almost. I respect love in its truest form and a part of that is continuing to create and having enough heart to push this culture. It's so much going on in this world and I would be a fool not to talk on that as well so expect a lot of aggression and passion.

Follow Al Rogers Jr. on Twitter & Instagram. 





 

Labtekwon: On His B.O.P. Album, Not Wanting To Travel & People Selling Melanin

Describing what an "underground" artist is in 2015 feels like more of a genre indicator than whether or not that artist has any corporate ties. Underground artists headline major festivals now and perform on network television late night talk shows. It's rare to find artists who choose not to align themselves with some sort of major backing. One artist that does come to mind is Baltimore's Labtekwon -- an over-twenty-year veteran in the rap game who chooses to remain free of pressure to please the masses. Over the span of his career, he's released thirty albums, all of which take on different musical identities; He's Sun Ra-like in his relentless outpouring of substantial material. When I first stumbled across his work a few years ago, it was a task to get into it. I came up on songs like "The Truth About Population Control", which taught me a great deal but wasn't delivered in a way I was used to. I had to be warmed up to it.

At the end of last year, we happened to be speaking on the same panel in Baltimore (The Exchange) which explored reasons why Baltimore's rap scene was still so divided. From that, I started to appreciate Labtekwon's music much more and recently got a chance to pick his brain as we strolled through Downtown Baltimore:  

With your work, you often challenge what the general concept of rap is by using it as a tool for a broader agenda rather than to just make quality music. Do you see rap, at this point and in its 40 year existence, as the best way a person of color can get a point across?

Labtekwon: My music is an element of Hip Hop culture and Hip Hop culture is actually a means to bring forth knowledge, wisdom, understanding, freedom, justice and equality to all the human families of the planet Earth. As an EMCEE, my focus is on the art of Emceeing and the evolution of the craft of Emceeing. As a Black man with a divine purpose, everything in my life connects to my purpose. So my art is a reflection of my mind and spirit. A glass can only spill what it's filled with. I get my point across in rap, books, lectures in the academy, scholarly research, mentoring, community action and daily life. Art is whatever the artist makes it to be and however the patron of that art interprets it. I mastered rhyming when I was 16, but I am constantly growing as a man of substance. I am a master of my art form, and I am also a master of my own divine purpose. Form follows function.

I'm gonna be real with you, when I first came across your music about five years ago, I didn't appreciate it enough to sit with it. And not because of its content but more because of your delivery. Do you run into a disconnect with listeners on a regular basis? Does it even matter to you?

I make music for those who love the art of Emceeing and I have been blessed to maintain an audience without trying to please casual listeners. I keep it a trillion always: as an Emcee my main concern is advancing the art of Emceeing. I represent the vanguard of Hip Hop culture and to be honest: everybody isn't really interested in Hip Hop culture. It's a way of life for those of us who have chosen Hip Hop culture, whether it's Graf artists, deejays, dancers, Emcees, or those that build community. My friends that do Graf art in BMoor often share a similar view about how the layman may enjoy a piece in Graffiti Alley, but those layman don't truly know what they are looking at. But for those of us committed to the culture of Hip Hop and it's art forms: we seek to please those WITHIN the culture, rather than those outside of the culture. I am not an entertainer: I am a practitioner of the art of Emceeing. It's just like a saxophonist or pianist: some folks like a little sax and piano here and there, but they aren't truly trying to listen to Bird and Monk. I always make the metaphor of food and art: McDonald's has a large consumer base, and most of those folks who frequent McDonald's don't really care about gourmet cuisine. In terms of what I do as an artist, most folks only know McDonald's value meals: my art is gourmet vegan cuisine. To each his own.

Following and researching your work, you give an alternate perception of what I'd normally think of what a rapper, or really any artist should do to pursue a career. My idea of the come-up is feeding the street, digitally establishing yourself, doing shows and building a platform to release increasingly recognized work. But I'd be stupid to not acknowledge that the process I just listed is something I've been programmed to believe. I view your work as more, though. It's almost an oral history; a collection of essential teachings. Your work has always felt more rooted in community-building to me. Can you speak to that? Like, how many of us are pursuing success that is genuine to our being and purpose?

Most folks don't truly understand the difference between art, entertainment and the art/music business. I maintain my vocation as an Emcee at the vanguard of Hip Hop culture, regardless of the themes I cover in my work. But I am not trying to be a "reality star" and I am not in the business of YouTube views or trying to give away free music. I sell products that uplift the minds and souls of those who support through their patronage.

In terms of the business of music and art; my classic vinyl had sold from from anywhere from $100 to $500 a 12 inch. I have classic CDs that have sold for $400. I make art and quality art appreciates with value. For those who appreciate the art of emceeing, I always have a market for my products. I collect sneakers and I always know when a new pair of Foamposites will be released, but Nike never does commercials or ad campaigns for Foamposites. Yet Foamposites always sell and they appreciate with value when they resell on EBay. My musical products are like Foamposites. But my craft isn't monolithic, I do many different things and according to each project the content and styles vary. The last few years I chose to emphasize substance based content and 21st century style. I am an Emcee and every album I make is more like a novel or a movie.

You've been promoting the B.O.P (Black On Purpose) for the past few months. It leaves a lot of room for interpretation so what was your vision when establishing it?

Well, it's a 25 song double album...The album title is an abstract, "(B.O.P.) The Theology of Timing: Tehuti and the Het Heru Cult"  is really explaining the theme of the album and the styles on the album.

"(B.O.P.)" is an acronym and a double entendre; Black On Purpose speaks to the paradigm of Black Consciousness developed over the last 200 years by David Walker, William Blyden, Marcus Garvey, The Honorable Elijah Muhammad, Franz Fanon and Steven Bantu Biko. I cover themes as it relates to asserting Blackness as a willful decision, rather than a random circumstance.

(B.O.P) also refers to the evolution of Jazz known as "Bop" or "Bebop", which emphasized deconstructed melodies and improvisation, this is a focal point of many of the styles of my delivery on this album as well. The flows I use are designed to show the evolution of Emceeing beyond the redundant formats we used in the 80s that rappers are stuck doing in 2015.

The "The Theology of Timing" portion of the title is a double entendres as well. The Honorable Elijah Muhammad did a series of speeches called "The Theology of Time: knowing the time and what must be done." For me, knowing the time and what must be done in that time is what separates a child from an adult. "The Theology of Timing" in the artistic context represents my perspective of rhythm as a sacred science and how melody and tone convey and accentuate rhythm. This album ranges in tempo from 80bpm to 270 bpm and time signatures that range from 4/4, 6/8 or even 7/12. I show what the art of Emceeing looks like in 2015 and timing is central to that purpose.

The "Tehuti and the Het Heru Cult" portion of the title explains my motivation for doing the album. Tehuti is the Scribe of the Ntr (Gods) from the pantheon of deities in the Nile Valley civilization of Kemet. Tehuti is the founder of language and the sciences, and he is married to MAAT: who is the embodiment of truth and justice. As an Emcee, I am a high priest in the order of Tehuti; with language and tone as my tool. I am also married to truth and justice in my craft.

In the Nile Valley civilization of Kemet; Het Heru is the mother of the omniverse and the source of all material existence. Het Heru is also the patron of music, art, dance and joy. She is the Supreme Black wombman.  

My album is designed to touch the souls of Black folks thru the art of Emceeing and also to honor and stimulate the Black wombman through rhythm, tone and language.

What musical direction did you challenge yourself to go in with the project?

Mainly what I sought to do was channel Fela Kuti, Charlie Parker and Al Green through the art of Emceeing.

I wanna talk about my favorite song on the project, "Time Check". You question the encouragement of black youths protesting because of the prison industrial system's power at this point. So is your issue exclusively with those who push people to protest or is it also with those who choose to protest? I ask that because most people marching in the streets are coming from a good place, in my experiences. And even though it may not make a significant dent in white supremacy, it can provoke those affected by it to somehow involve themselves in liberation. Do you see value in that?

It's 2015 and those who don't learn from the past are doomed to fail in the present. A lot of folks are just regurgitating the past because they didn't learn anything from the past. It's like repeating 10th grade for 50 years. Folks don't use rotary phones anymore because they respect the evolution of technology; I am saying that we need to respect the evolution of the Black Human Rights Movement in real time.

If you aren't willing to transform in this larger rites of passage: you will face the fate of the dinosaurs. Liberation is not an event: it is a process that begins with a state of mind. Liberation is the Theology of Time: we must know the time and what must be done in that time.

"The American ideal of racial progress is based on by how fast I become white," is a quote by James Baldwin that you recited during "Time Check". I read Paulo Friere's Pedagogy Of The Oppressed a few months back and it spent a great deal on our idea of progression, in that, the white man's success is what is base ours on. Where do you see that being exercised most in music right now?

Some people just want to get rich and be famous, and they see entertainment as a means to that end. The harsh reality of America/capitalism/white supremacy is that you most likely won't be rich and famous as an entertainer unless white folks say so.

For an artist such as myself: I am FREE from having to please anyone beyond the Creator, so my art is liberated/liberating and my inner peace is priceless. I Self Lord And Master, and anything less than that is a personal hell. I choose heaven on Earth and I seek that for my people and all the Human families as well.

You always speak on how we have a skewed view of progression. You think the world is actually more stagnant than people realize?

Well, the "world" is a construct of the human mind, so there are many versions of the "world." In terms of the world that has been created by capitalism/white supremacy: everything is moving smoothly according to the plan. But as far as the world for Black folks and the human family as a whole: there is definitely a state of stagnancy and even regression. I see folks trying to make an analysis of the current problems faced by non-white people, and the perspectives aren't even as informed and cohesive as what brothers like David Walker had manifest in 1826 in his work titled "The Appeal." Folks have made entertainers and corporate propaganda/mass media the foundation of their world views and in doing so, even the folks that seek to "change the world" are only sustaining the world of capitalism/white supremacy with reactionary behavior and shallow ideologies. Folks have social media and more convenient technology, but it's like Jalal Mansur Nuriddin said: "new hairdo: same mind."

We make fools famous and we run from sages. So there is less psychological evolution in 2015 than there was in 1975. Of course this is all by design by those who rule this world of capitalism/white supremacy. There are open enemies of TRUE knowledge, wisdom, understanding, freedom, justice and equality; and those people are functioning to diminish the progress that was gained from 1865 to 1965, which in fact was moderate progress in reality.

Combine that with the fact that the best minds of our people are marginalized, while the best minds of the oppressors are given complete autonomy and you have a state of stagnancy in the collective of non-white people and the human family as a whole. My version of the 21st century doesn't include the SAMO shit from the 19th and 20th century: eating meat, smoking, assimilation, materialism, misinformation, etc... We should be evolved mentally, spiritually and physically based on every step of real problem progress we have already made as a collective and this progress will be evidenced in our daily habits and how we raise our children.

You told me that you're not into traveling that much. Why? Isn't that essential to spreading your message?

I am a recording artist and a filmmaker, so my art reaches people without me being in the same room with them. I have released over 30 albums and over 100 short films, documentaries and music videos and that has allowed me to reach people globally much faster than I could ever physically travel. This type of work offers posterity and a way for people to let what I do sink in more than a 30 minute concert. I have written two books in the last 3 years, which is another way for me to create a legacy that will last for generations and reach more people with my divine purpose. Also, I was naive growing up in BMoor because I thought that my experience with rap outside of my city would be similar to BMoor, but once I did my first 28 city North American tour, I realized how racist America is and it turned me off to touring. Also, I hate sausage parties. A lot of the underground Hip Hop circuit is basically dudes standing around looking at the stage while you perform; that is corny to me. I like seeing females balance out the males, because that's the culture I grew up in. The goal was always to touch the Black woman's soul with the musical craft; hence my album has the subtitle "Tehuti and the Het Heru Cult." For me, art is really just a tribute to the creative power of the womb, which is the highest form of creation for all human beings. So I need to rock stages where sisters can bear witness. At this point I'm only interested in the east coast and HBCUs, I will only travel beyond that for VERY LARGE sums of money, I'm not pressed at all to travel.

Earlier you mentioned that you learned about people actually buying melanin which is fucking crazy. What was your reaction when you first found out?

First thing I thought was "SAMO shit"; first they sold Black people now they just wanna sell the Black from our people....Yeah man, melanin is on the market for about $350 an ounce. Melanin is a valuable chemical in the epidermis and neurologically, so I wasn't surprised they were selling it. But my concern was where are they really getting it from?

Like I said: they ain't satisfied with stealing our Black bodies and grafting our Black souls. Now they just want the Black out of us completely.

Who are some of your favorite new artists in Baltimore? Are they inspiring you?

I dig Only and his new album "Lapis Necklace" on Ankh Ba Records; he has the best freshmen Hip Hop album of the 21st century hands down.  Elon is the best singer I have heard in this decade, he is a brilliant musician and I am very excited to work with him on his 1st album release coming out on Ankh Ba Records in 2016. I would say I am inspired by divine purpose 24/7, so I don't really get personal inspiration from other artists. I'm deep in my own journey, so it's more internal for me. But because I am internally inspired; I have a motivation to help others develop their own internal inspiration and divine purpose. My father Doc Soul Stirrer mentored many musicians here in Baltimore during the 50's and 60's, so I am tuned with his legacy of mentoring and the rites of passage.

How has the city changed since your childhood (like all the spots you were telling us about, etc) and do you think it's headed in the right direction?

BMoor has always been dope/wack and I think that's true now, but just in different ways. The thing I miss the most is after hours parties that end at 6-7 AM. I also miss events where people actually came to LISTEN to music and dance, now it's more of an open mic/show culture. People don't know how to act if they ain't on a stage, I miss the jams where we would sweat out our clothes, dancing and learning new music from DJ's that really educated listeners with new musical experiences and classic music equally.

Ironically, I think BMoor is safer than it was when I was younger, but now there are more out-of-towners trying to front like they run shit culturally. So there are trade offs, mostly because of gentrification. I think the main problems of poverty, weak city government and genocide are still the same, but opportunity for investment and development have increased. It's bitter sweet like its always been.

Follow Labtekwon on Twitter, @Labtekwon, and listen to B.O.P The Theology of Timing: Tehuti and the Het Heru Cult

Photos: FLAT OUT

This past weekend was the second installment of our FLAT OUT party. The Crown was packed with people who came out to let loose and hear great music from some of our favorite underground artists doing it right now. Thanks to everyone who came out to support and have a good time! Special thanks to Potionz, Greedy, Sadaf, DJ Dizzy and D.R.A.M. for all giving super live and passionate performances. The energy was crazy and already has me anticipating the reaction to the next party. For now, take a look at some performance shots by Diamond Dixon and others by Mike Edmonds! 

KAHLON w/ B L A C K I E

I'm happy to announce the next installment of KAHLON which goes down Thursday, April 24th at The Crown in Baltimore! Houston's B L A C K I E will be coming up and headlining (his set will be nuts), Abdu Ali will be rocking as usual with his frequent producer, Schwarz, providing sounds. There will also be sets by NYC-based singer Richard Kennedy and Baltimore punk band Sex Gender. Doors open at 8:30 p.m and there will be issues of True Laurels, too! Do not miss this shit. 

RSVP here. 

Interview: Olivia Obineme

When it comes to putting together the True Laurels zine, from the start, I always wanted to put an emphasis on collaboration. In Volume 1, out of necessity, I snapped a lot of the photos but this time around I made sure to work with people who have a real passion for being behind the lens. A big help in making True Laurels Volume 2 happen is Olivia Obineme—a photographer and blogger living in Baltimore. I first met her while walking downtown in the early part of last year. She approached me and I remember being kind of flustered with how polite she was (LOL). She asked could she take a few photos of me for her blog Strangers With Style and I was down. I didn't see her again until the backend of summer when she stopped a friend of mine for the same reason. Since then we've stayed in touch and agreed to work together for the zine. Recently we chatted about her passion and I got to know her a lot better. Peep the conversation below. 

To you, what is a photographer's responsibility?

Olivia Obineme: I'm not sure if it's a responsibility per se --perhaps that specifically for photojournalism. Regardless, I think when one captures something using a camera, one would hope to evoke something --a feeling--in those who view it. It's one way many people are able to express themselves. You know how they say pet owners and their pets have similar personalities? Or something of the sort. Anyway, it's like photography and the artist behind it. There are many photographers I know whose photography carries their essence.

What was your first camera and did you value it as much as your cameras now?

O.O: I mean, the first camera I ever had was a Polaroid ProCam. Still have it. Was pretty much a family camera, but I definitely made it my own. Funny how technology evolves and what becomes the latest trends. All of the original stuff. I own a DSLR now -Canon 70D, it's a relatively new purchase, actually. Still trying to get used to it. Felt much more comfortable borrowing my friend's 60D. My mind tends to go blank when I encounter similar, but new things sometimes. Weird.

Are you consciously thinking about taking a great photo while shooting or does that come after?

O.O: I'm still growing as a photographer. Sometimes, I feel I still need to shoot more and get more critiques in order to take on the title of 'photographer'. But many who have seen my work have said I have a good eye for things. So, I try to be in the moment as I'm shooting, keeping mind of some things seasoned photographers have told me to avoid. They see great potential, so that means you should all want to work with me. But seriously, I'm pretty chill on shoots, which allows for my subjects to be themselves and allows more of a creative flow. And, I was only semi-joking. Let's work together on something. It's a win-win!

What's the best photo you've ever taken and what separates it from the pack?

O.O: I don't know, to be honest. Sometimes after a couple of shoots, there's a photo that comes to mind --that stands out. Any favorite of mine usually is based on the whole experience. I can say that capturing the beauty and realness of Deana Haggag, has always been an all-time favorite of mine. I guess having one of the photos I took of her set as my desktop for the longest time, makes it one of my best? Everything about her, interacting with her, assisting her with styling, and being able to direct her during the shoot was sublime. Hoping to to capture her essence again, soon. There's a shot of Eze Jackson I took for my blog that's always stood out to me, too. Dude looked so cool, crown and all.

How important is music, if at all, to your creative process?

O.O: Music just opens up parts of me that I didn't even know existed and allows me to create with an open mind. I can listen to pretty much anything. I mean I do have limits. Sorry, Taylor Swift. Not about that life. And I'm also not the avid 'I know the title and musician of every song I've ever listened to" music type of person, either. I'm not even sure that people who know me the best (besides my family) know that I love classical music. I used to write poetry on a daily basis and the stuff that would manifest from this brain of mine when Mozart was turned up, would just be unbelievable. And then again, Erykah Badu would channel a whole different vibe for me; but pretty much, if my body is swaying or the beat triggers my brain, the creativity will be ever flowing. Oooh, African music is always on point for me. Could listen, dance and work to that all at the same time and still get stuff done. I'm Nigerian. I'll always find a beat to rock to, haha. I guess what I'm trying to say is, if whatever is playing allows me to focus on my work, on my thoughts, then it's fine in my book. I don't want to focus on the fact that Katy Perry is a firework. Catchy, but I get nowhere with that.

Have mobile apps helped you grow as a photographer?

O.O: Instagram. No, don't go checking out my account. It's not amazing. But, I think since I have been using the app, and have been seeing what others have captured, it has allowed me to see more when using my DSLR. Not sure if that makes sense. It's quite beautiful, some of the images many of these IG users capture in such a small space. I mean, that is for those who only use their phone cameras to shoot for IG.

Have you ever felt stuck in your progression? How did you pull yourself?

O.O: I feel like I have hit some obstacles, both personal and professional that have stalled my progression, but only temporarily. I try to find some inspiration. I love checking out local photographers' works. I love looking at Glenford Nunez's work. From sitting back and winding down to some Wendel Patrick, to checking out what other, I consider great locals are doing, helps. I look for vibrancy that will brighten my life and help me see things clearer. And at the same time, I'm rooting for the home team. If anything, Baltimore should be known for its self-starters, its self-motivating city slickers that grind it out each and every day. I was talking to a close friend of mine about this new age Baltimore I think is happening. It's the younger folks in this town that are the real grit of Baltimore and I can foresee those same young people taking over this city. Have I gone off on a tangent? I guess I like checking out the success of other folks in the city to help inspire and push me to keep going. Meditation, pulling myself away from the problem for a bit to just breathe and then go back in with a clearer mindset helps. Everyone gets stuck, but what you make of that situation is all that matters.

True Laurels Volume 2 Cover + Details

I'm proud to announce the details of True Laurels Volume 2! Copies will be sold at KAHLON this Saturday  at The Crown (1910 N. Charles St.) and there will be live sets by Abdu Ali, Butch Dawson, Neuport and Natural Velvet. Big S/O to Kristin Tata for illustrating the feature artist, Philly rapper Asaad. Others featured in the issue are B L A C K I E, Butch Dawson, Go Ddm, Rusty Burke, Kenny Evans and Al Rogers. Contributors for the issue are Brandon Soderberg, Kristin Tata, Olivia Obineme, Keem Griffey and FAM. If you can't grab a copy Saturday, no worries, it will be for sale in the site's shop Monday! 

Mykki Blanco's Sick Holiday Initiation Tour

This past weekend I was lucky enough to catch Mykki Blanco live for the second time in Baltimore this year, as his Initiation Tour is coming to a close on what seemed to be an eternal string of shows. As always, and something that's stood true since I first saw him play in Boston in the summer of 2012, Mykki gave a great fucking show. He kept the crowd engaged from the jump and played the best shit from his catalog (except "NaS Gave Me a Perm" which I was dying to hear). "Wavvy", "Feeling Special", "Bugged Out" and "HazeBoogie" were all jamming and the production from the unreleased material he played was crazy. Seriously, in hip-hop, we really have to start championing these artists that are putting in overtime on creating QUALITY performances; with Saturday being my third time witnessing Blanco live, every time has gotten more interesting and entertaining. When he's on the stage, he leaves Earth for a bit and as audience members, myself and others, have taken that trip with him—you can't help but to. The green stage-lighting was perfect for his mutant persona, too. His shit just makes sense, and even though it's supposed to, it happens so infrequently. Yeah, I'm probably rambling but I can't help but to get excited when a rap show in 2013 doesn't include pointless moshing from dudes who've never been in the pit, 39 people on stage being cool and the rapper standing in one spot his entire performance before bouncing up and down because he couldn't think of anything else to do. Whew. Anyway, in the midst of enjoying the show, I snapped some photos of Mykki, DJ Larry B, T.E.A.M.S. and TT The Artist (from True Laurels Volume 1). Check them in gallery above and share your thoughts. 

Photos: True Laurels + Abdu Ali

A couple weeks back, I interviewed my friend Abdu Ali for Frank 151, which went live last week (check it here). In the process of completing the story, we got together to take some shots, which, like everything with Abdu, turned into an entertaining situation. A big S/O goes to DUOX (from True Laurels Volume 1) for tossing us their studio and putting up with us for a couple hours. Check out the photos below and share them with your friends. Oh, and follow Abdu on Twitter: @AbduAli.  

Gritty & Flashy: An Intimate Session w/ Abdu Ali

Transparency is something I always long for in the music that I absorb. There's nothing like a vividly painted account of a monumental event or someone's feelings. It always trumps superficial fluff. That's where my appreciation for Abdu Ali's music comes into play: he dabbles in different styles, doesn't shy away from turning himself inside-out for his listeners and seemingly has no grasp of censorship. "I'm trying to get more extraterrestrial with my music as far as how it sounds. I want it to sound like a nightmare and a dream at the same time. Also like fantasy meets real life and those two coexisting," is what he said when I recently sat down with him at his place for an intimate conversation about music, his bad habits and the state of Baltimore Club music. Shoutout to Dee, Keem (who shot the interview) and Deej for the impromptu questions. Watch it above and look out for more of these!

Follow Abdu on twitter: @AbduAli & listen to his mixtape, Push + Slay !  Subscribe to True Laurels on YouTube !

True Laurels Zine Release/ KAHLON Photos

If you were at The Crown in Baltimore this past Saturday to celebrate the birth of KAHLON/True Laurels zine launch, THANK YOU. We packed it out and danced all night. Shoutout to everyone that came to the table to buy a zine and chat it up with me. Big ups to Al Rogers, Abdu Ali, TT The Artist, David Revlon, Gurl Crush and Ponyo for giving a crazy show. If you didn't catch me at The Crown, the zine will be available to purchase online very soon and keep checking the site to see online features of those highlighted in the issue. Thanks to Jonathan Hanson and Abdu for the photos. Also peep the cover and Table of Contents for the zine!

What's OG Dutch Master Really Saying in His Blue Light District Mixtape?

With the way we’re processing and absorbing music right now, being a newcomer to the game can be a harsh life to choose; I mean, there’s millions (probably billions) of people uploading music to the site you’re using, everyday. There’s a good chance that it’ll all sound alike, more than likely sounding like the popular style of the moment. And what sucks the most is that some random person out of that pool of everyone sounding just like the hot dude on the radio will get discovered and signed. I see it. The music game can fuck an artist’s head up if they follow the fame route over making quality music. Seems that it can definitely be a floss-thin line to balance on.

OG Dutch Master comes to mind when I think about all of that. He’s a black, male rapper in his early-twenties and talks about smoking weed, drugs and guns. On the surface, that could be one of the hardest things to make it through, given the number of others who rap about that. There are millions of other guys in that category. But, on the flip-side, there are plenty of rappers who don’t have the same advantages as OG does; He’s from Baltimore, so with his understanding of Baltimore Club and close proximity to pioneers of the genre, he could be utilizing styles and sounds that no other rapper could do with organic ease. Second: No one has a voice like his. Most major-label rappers have the same faintly-nasal tone that Kanye and Drake have (Big Sean, J. Cole, Rockie Fresh, Travis Scott, on and on) but the stuffed-nose squawk of his is purely unique. Third: He’s from Baltimore. How many fairly well-known rappers can say that? None except Los and he’s not out here spitting narratives on the regular. If his content comes from a unique experience that only he can draw from, then who else can do that? No one, because it’s him. Join all that with some futuristic Baltimore-club tinged rap beats and now we’re talking; The pool of similar rappers would be dissolving. Where OG stands on the conform-to-popular-sounds/content or run-with-my-own-style conundrum is still in question with his latest project, Blue Light District.

Early on in the tape, a few lines set up the way I analyzed this project. In BLD’s second track, “Numb Or Dumb”, OG says these things: “Looking at these rappers, all them look the same. Promethazine and Molly, looking like some fiends.”,  “Too many rappers, not enough fans”, “Started in the kitchen, Pyrex vision” and  “Damn a nigga bored at the top, I feel lonely”. On the topic of being like everyone else, there isn’t much of a distinguishable quality in any of the music here. He may not be poppin’ the seal and doing Molly, but there’s plenty of other run-of-the-mill content to be had on this tape. Randomly guess when he’ll drop a drug or gun reference and you’ll probably be dead on, or at least just missing the mark. There are so many stories about the kid who had nowhere to turn but to sell drugs, who’s down for his friends that won’t hesitate to bust one for him. True or not, that story is like the standard in rap music and if there aren’t any profound twists and bends to the traditional way of telling that story, there’s no point in listening. Or peep the “two white girls” reference in “3 M’s”; How many rappers are talking about their white girl obsession in songs now? In “Paper” he’s riding foreign luxury cars. In “Done It All” he bought his girl a new Aston Martin, for being loyal (Personal Highlights from this song: 1) How weird and rewarding is it to hear someone rap a line about eBay in such a heartfelt track? 2) I dig the channeling of early-2000’s pop-R&B hook). Neither sounds likely and all of these things are typical in follow-the-formula rap songs—Something he pointed out in "Numb Or Dumb."

There are two songs where OG seems to approach things from the run-with-my-own style angle. “Knuckleheadz” is one of the better cuts as it uses the huge “Hey You Knuckleheadz” Baltimore Club mix. He rides the beat with ease, seems to genuinely have fun and he voice is amplified perfectly. On “Money Motivated” he’s at top form with a tireless verse even though most of it is popping off about selling drugs. Both the latter and “Knuckleheadz” have party speaker-ready production; They sound fun. From there, my focus shifted to the place from which OG is speaking on some of the project. A lot of this tape is OG rapping from above and not eye-level. Yeah sure that happens often from people like Jay-Z but when a 43-year-old, two-decade vet worth a few hundred-million dollars does it, it feels much more appropriate than a newcomer in his early twenties who’s trying to scratch the surface. Whether it’s him being lonely at the top or being friends with Danny Brown or being better than Los or people wanting to suck him off because he’s getting cash now...it all seems forced and gives way to a bigger issue that permeates the hip-hop scene in Baltimore.

There’s no need to give a backstory on Baltimore as a city. Shit’s rough, we all know this. But for whatever reason, that plight has not yet propelled one rapper to a breakthrough where that story can be told in an effective way. And because of that, rappers from Baltimore have a skewed view on what “making it” really is. There are two things the internet can do: 1) Serve as a platform for people sharing their art no matter their location. Ten years ago I probably wouldn’t have known about an underground rapper from Alabama while living on the East Coast. But now with a simple tag-search, I can do that with ease, which I love. 2) People learning about each other’s music and showing love on the internet can give artists a false sense of self. Being posted on some well known blogs and publications does help but that’s not where it should stop. More importantly, it’s far from an arrival to the world. Rappers in Baltimore get coverage and attention so seldomly that a post from a blog can really get their heads going. And to a certain extent, it should. Take the blog post, make connections, work even harder, then build a core fan base and you’ll probably end up on a bigger platform. Sure, from a local-perspective OG Dutch Master is doing some cool things but he isn’t selling out local shows and his fan-base isn’t fully established. So if he really plans on buying his girl an Aston Martin, he’s gonna have to start aiming a bit higher and not thinking he’s at a higher place than anyone in Baltimore. People lose interest so quickly in music now that it’s tricky to know where an artist stands until they put out an undeniably solid body of work. Blue Light District isn’t undeniably solid. It has no cohesive sound, the content can be found in an abundance of other rap songs and, not to forget, that weird transition into sleepy, furniture store music at the end of the outro, “Done It All”. Overall, it’s sloppy and that was the case with his debut project, Art Of War, earlier this year. So if he’s gonna make a huge cultural impact and be that Baltimore guy who makes it, OG has to graduate from being that local guy making only a bit of noise before overtly resting on his laurels.

Abdu Ali's Sophomore Introduction

A sophomore project is usually meant to build on the thing that made you special to listeners your first time around. But for Abdu Ali, he’s approaching things like he never released the fiery, untapped cry for independence that was his debut project, Invictos. “I was holding a lot in while recording Invictos,” he said to me recently as we chatted in my living room. “This time around I’ve been going ham with the vocals. I lost my voice a few times while recording the project. The flow and lyrics are much better now too. Like, I’m giving bars.” That project, Push + Slay is his new introduction—something he hasn’t let any close friends listen to and says is more of a rap project than the alternative Baltimore Club sounds he gave his first time around. “I listened to a lot of Tempa T and Bjork in the process of recording this and the result is a grungy, dark and punk sound,” he says while gazing off into space; it’s hard for him to hide his angst while we’re talking about the music he’s been keeping secret from everybody, but he isn’t withdrawn from discussing it.

Push + Slay’s leadoff “Bleed” isn’t foreign to the overall sound of Invictos: Ballroom crashes, uptempo drums, talking about conquering his past, with just enough Baltimore Club sounds to let you know where he’s coming from. But the evolution is in his delivery; other than the first song he ever released, “Banjee Musick”, he hasn’t been a rap mold, even though the influence has always been present. “Bleed” makes a point to knock down limitations, and that isn’t coincidental. “A lot of songs don’t sound alike on Push + Slay, but my vocal performance is what’s gonna be the dealbreaker,” he says. “Bleed is just straight up Baltimore. I can’t say that for the rest of the project. Me and James Nasty just vibe. Maybe it has something to do with us both being from Baltimore or us both having a lot of musical influences but he’s really good at incorporating different styles into Baltimore Club. I did the song in one take.”

Other than the music itself, a topic we couldn’t seem to escape was the presence, or absence, of his following. In other conversations we’ve had he’s been candid about his frustration with not getting the attention that he wants for his music—even though SPIN named Invictos one of the most slept on rap releases in 2013’s first quarter. But while on my couch, he seemed to have a better understanding of what needs to be done to get where he wants to be: “Until I’m working my hardest—like eating, sleeping and shitting out music and performance-hard—I have no room to complain,” is what he said while mentioning that he’s been taking notes from artists like Death Grips,  B L A C K I E, Bjork and whoever else that’s not afraid to be completely comfortable in their creativity, even if they seem insane in the process.”I need to work hard and focus on making the best shit I can make. Period.”

Watch the music video for “Bleed” and look out for Push + Slay, set to release on Friday, September 13th: