HI$TO: On Breaking Out Of His Shell, Fighting Depression & Being Selected For Trillectro

Over the past two weeks, Baltimore-based DJ & producer HI$TO has been announced as an act on the region's go-to summer music festival Trillectro and released his first project of original music with Yung Spvce Cadet. In a Facebook post last month HISTO shared that he had a list of goals he wanted to accomplish over the next year and from what it looks like, his summer is starting off the right way. While he was getting ready for a new weekly party he and Abdu Ali started in Baltimore called Wet Wet Wednesdays, I linked up with him to talk about his newest accomplishments, the struggle to push through and how he broke out of his shell to pursue a career in music. 

Photo: Keem Griffey

Photo: Keem Griffey

You grew up between Houston and Baltimore. How was that?

HI$TO: I was born in Baltimore. When my parents split, I’d be back and forth between them while I was still here. Then I stayed in E. St Louis, Illinois for a little bit before I moved to Houston with my mother when I was eleven. As soon as I moved there I was turned onto Screw culture and southern music. It was that time when “Still Tippin’” was blowing up. I was like, “Damn. I moved to Houston at the right time!” It was fun being there while everything was hot. People were excited to be from Houston, you know? People were out there. I used to see a lot of rappers around town because I lived in Sugarland and Missouri City. A lot of my music got influenced by Screw. I used to get his tapes from the barbershop and listen to them at school. I was listening to Baltimore Club at the same time and people down there thought it was too crazy. They didn’t really understand. Now they’re bumping dubstep and Jersey Club after I was trying to let them know years ago. That’s really why I left. Nobody was feeling my shit.

Why do you think you gravitated more towards club music over screw music? Did you feel some kind of loyalty because you were born in Baltimore?

HI$TO: Yeah. When I moved to Houston I always loved Baltimore and I came every summer. I always felt like it was a big part of my heart. But I loved dubstep and EDM trap when they dropped too. I chopped and screwed some tracks too. I’m influenced by a lot.

When did you start making music?

HI$TO: When I was 12. I had this game called Magic Music Maker for Playstation 2 then I got my first laptop when I turned 14. I got Fruity Loops as soon as I got the laptop then I learned about Ableton from listening to Blaqstarr and Diplo. I eventually found a link to it and since then it’s been my program. Ableton has so many possibilities.

My pops was rapping and producing in the 90’s. He had a contract with Def Jam but didn’t go through with it because he felt like he’d be selling out.

What did you learn from his experiences?

HI$TO: I taught myself how to produce but my dad bought the Magic Music Maker game for himself and I would borrow it before I got it for myself. But my dad plays a big role in my music career right now. When I moved back here he taught me a lot about what to be prepared for on the business side. When I first moved here I was quiet and didn’t know how to talk to people to be honest. I’ve been living here for five years now and I’m much more outgoing. I didn’t like going anywhere at all. My pops saw that and just told me, “You’re talented but you need to work on the social side.”

A little while ago you got on Facebook and shared what a few of your goals were for the next year and playing a big festival was one of them. Now that you’re playing Trillectro next month, you knocked one of those out. How do you work towards goals? Do you give yourself a set schedule to go by?

HI$TO: I do what I feel. It’s not like, “It’s 1 o’clock, let me do this.” But when I was going for Trillectro I just started sending emails to a bunch of people that know about me. I found their emails and sent out some exclusive tracks. A little while later I got the offer. I have a lot more to do but I’m really proud of this. I’m planning out my set right now. I’ve been working on things for the past few days and I’m making new stuff for it. TT The Artist is gonna hype up my set. I’ve got a month so I’m being creative as possible.

Your debut EP, Yung Spvce Cadet just dropped. When you were putting it together, was there a defined sound you wanted to establish with it?

HI$TO: I knew I wanted to come out with an EP but didn’t know what the EP would be. I actually had a bunch of tracks ready to go but I had a falling out with some featured artists and a lot of them got scrapped. I’m on there rapping as Yung EBT. I really put my all into it. The only feature I have is TT. It’s funny because I’ve always written raps. In middle school I wanted to be a rapper honestly. But I wasn’t myself. I was rapping some gangsta shit because I was listening to a lot of Mobb Deep. The only reason I even put vocals on this project is because I had people around me telling me that they were feeling it.

What would you say is your biggest hurdle as an artist?

HI$TO: Really, staying up to date with what people like instead of playing what I like most of the time. I used to only DJ shit I like but then people started making requests for Gucci Mane, Future and other stuff. I would turn it down but then I got the idea to bring that music in with what I was already doing. People dance to it.

What have been your biggest hurdles as a person?

HI$TO: Aside from the music it’s just getting myself together personally. I’m trying to get my own spot and all that. I mean, I’m cool, but I’m not where I want to be right now. I don’t really talk to people about this but I went through a whole depression period this year. Just thinking stuff like “Damn, what am I really doing with myself right now?” and, “Is this music shit really for me?” It took some people to really lift me up and remind me of the things I have accomplished.

Do you think that depression was from what you expected of yourself or were you comparing yourself to others?

HI$TO: It wasn’t really comparing myself to other people, it was just like “I’m this age. I don’t have a house, a car.” I did have a car but it fucked up on me. It’s really from people placing standards on age and what you should be doing. But I had to remind myself that I’d rather get my shit together and do things right. I had to tell myself that I am cool. I’ve done things other people haven’t. I’m not in a bunch of school debt. I don’t have a house with nothing else to do.

Would you say that those feelings you had are common amongst artists you come across? How do you think artists can help each other not have to endure that pain alone?

HI$TO: Yeah, there are people who have no one to vent to. I didn’t know how to express the feelings I had inside but I found the right people who could motivate me. They understood what I was going through but it took me to understand what was in front of me and how I could go past that. If you feel it, you’re good. Even if you’re not eating right away. When I posted the Trillectro line-up, UNIIQU3 hit me up. Nadus hit me up. They told me to keep it going and that meant a lot to me because they’re traveling the world right now. It shows me that in a year from now I can be cool. It’s not impossible. The few times I’ve been around DJ Sliink and Dirty South Joe was really motivating to me too. I feel like it’s gonna all unfold soon.

What do you hope people get out of your work?

HI$TO: My remixes get thousands of plays over two weeks and my originals barely get plays over time. I didn’t understand. I just want people to understand the originals. All I’m doing is flipping other people’s shit but I’m putting real emotion into the original stuff. But at the end of the day, I just want people to go for what they want. People didn’t think I’d be outgoing at all. I was really in the house all the time, playing video games and just in my own little world. People would make fun of me. My senior year of high school in Houston, I went to see Madlib and was like damn. Then I went to Mad Decent Block Party in Philly the same summer and decided that I needed to be on the East Coast. My mom had plans for me to go to college in Houston but I just couldn’t. My family down there was mad at me for like a year. Once last summer hit and they saw that I had a plan and was getting featured on Complex and other sites, they got it. I want people to just go for what they want. Even if it’s not music. Break out of your shell. Do you.

Pick 'Em Up: Blastah, Imaabs & Sugar Shane

Blastah- Give It Up To Me

I constantly have my ears open for unique productions of club music and "Give It Up To Me" grabbed my attention immediately.  Located in Lisbon, Portugal, Blastah seems to have created his own personal blend of Baltimore and Jersey club in this track.  A classic club beat drives the track while blasting gun shots, bed squeaks, and chopped up vocals accentuate its every unique twist and turn.  "Give It Up To Me" has a comforting way of feeling very familiar while feeling so brand new and rejuvenating all at the same time.

Imaabs- Grafito

"Grafito" is a whole different monster here.  It feels very dark and industrial as an ominous whirring and sounds of "machinery" add intriguing textures to the production.  Imaabs, of Santiago, Chile, seems to thrive in mystery and darkness here as he blends warehouse techno with the hyperactive stylings of Jersey club music.  Techno is usually pretty hit-or-miss for me but I'm so impressed with the way Imaabs expertly integrates that signature bass you'll only hear in Jersey.  If you're feelin' this style, you can hear more on Trax Couture World Series Vol. 2.

Sugar Shane- Kill That Bitch (Promnite Remix)

Sugar Shane's "Kill Da Bitch" in its original form is already a certified club banger, but Promnite's remix elevated the track to critical mass.  If Sugar Shane's stinkeye and super sass in "Kill Da Bitch" wasn't enough of a beatdown, New York-based producer Promnite kicked the joint into overdrive.  "Kill The Bitch" takes on a future club sound at light speed with hints of vogue, heart-pounding bass, and a pitched-down chant that urges you to "go for the kill".




Pick 'Em Up: James Nasty, HI$TO & Debonair Samir

What up, y'all!  It's Stoop Girl here bringing ya the dopest club music I can find on The World Wide Internet.  I usually try to keep it really weird and favor artists who thrive in the dark corners of the mainstream, but this week I wanted to show some love to our locals here in Baltimore.  Very underrated at times, Baltimore producers are still fighting tooth-and-nail to put our city on the map.  But having been all over the place and back again, these guys you'll hear below have a worldwide perspective on club music.  They've really got a lot to offer for the future of club music and we're lucky to claim them as our neighbors here in Baltimore.

James Nasty - "Good Perereca"

What originally attracted me James Nasty's productions was a very apparent love for old school club music—classic breakbeats, what! what! chants, and lots of booty talk.  But lately, he's really been looking at club music from a worldwide lens - a perspective that club music has desperately needed to launch it out of Baltimore and into the speakers of the rest of the world.

"Good Perereca", released via Enchufada's Upper Cuts project, is everything that's great about global club music: Brazilian percussion, samples of frog croaks, and that familiar club sound to keep it grounded.  It sounds amazingly exotic right from the start—the perfect soundtrack to a hot and sweaty night in the club.  I know y'all are gonna act like some wild animals when this shit gets played in the club.

HI$TO- Where Dat Pussy At?

HI$TO flirts with hip-hop and bass music of all kinds so his approach to club music always feels like a well-rounded and complete composition. This track is some nasty shit and if it weren't for all the bed squeaks, sex moans, and a general future vibe to it, "Where Dat Pussy At" would take me back to the days of old school club music.  And all that shit was hella freaky too.  Let ya freak flag fly with this one.

Debonair Samir - "Drunk"

When was the last time you heard some new sounds coming from Debonair Samir?!  I think the club scene might be ready to hear some new music from the pioneers again.  I really dig Samir's manipulation of the classic Baltimore club horns on "Drunk"; they sound a bit warped and when I really think about it, that's probably what it sounds like when you're drunk and wildin' out in the club.  Do ya thang.  Anyway, I'm more excited to see what Samir's up to in the lab in 2015 and we'll all find out in March when his Whatever EP drops.

Pick 'Em Up: Mighty Mark, Lucid & DJ Tuco

What up!  It's stoopgirl and I'm back for another week of Pick 'Em Up!  I really hope you heard something new from the tracks in the very first post from last week.  This week we're traveling the world with club music and we're starting right in our very own backyard.

Juicy J - Low (Mighty Mark & DJ K-Spin Remix

I just can't get over all the vibes Mighty Mark and DJ K-Spin are incorporating in this brooding club remix of Juicy J's "Low".  It boasts a hyperactive breakbeat but a dark, future club vibe to it that makes it sound really complex.  Baltimore residents Mighty Mark and DJ K-Spin sample only the essential parts of Juicy J's "Low" to make this more of an original production instead of a run-of-the-mill remix.  "My beat low/My bass low/I ride low/She go low," pitched down so low that you can't help but to sport a serious stank face.  They even cut into a sample of Ludacris' "How Low Can You Go" to bring the whole theme full circle and make this track one that the ladies won't be able to resist in the club.

DJ Tuco - "Sweet Talk"

Upon my first listen of "Sweet Talk", I totally thought the producer was gonna be some old head from Baltimore with a really solid appreciation of both Baltimore club music and R&B.  I was so, so, so wrong here.  DJ Tuco kicked off his career in London, explored the world, and then set up shop in Prague.  So yeah, some producer in Czech Republic is making Baltimore club music and it's fucking classic.  Sampling one of my not-so-guilty-pleasures, "Heard It All Before" by Sunshine Anderson, DJ Tuco embraces the classic breakbeat of Baltimore club but goes heavy with the synths, bringing it right back to 2014.  I love how many audiences "Sweet Talk" could potentially appeal to: club heads, dance music fans, and ladies who are mad at their boyfriends.  I think it's a win-win situation for everybody on this dance floor tonight.

Lucid - "Heartagram"

I'm not usually a huge fan of festival tunes but I found "Heartagram" by Lucid to be especially intriguing when I heard its nod to the high energy and rapid pace of Jersey club music.  The Melbourne-based producer has created quite a niche for himself within big room dance music and exactly how he melded the two genres together on "Heartagram" has a unique way of meeting both genres right down the middle - making Jersey feel a little bigger and a festival feel a little more intimate.  I'm actually curious if Lucid found any inspiration from his label-mate and proud New Jersey resident, Nadus, for this track (both artists are members of the Belgian-based record label, Pelican Fly).  "Heartagram" is the title-track for an EP that Lucid released last week, so if you're into this kind of sound, feel free to check out the other three tracks.

 

 

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Pick 'Em Up w/ Stoop Girl

I remember being in middle school, listening to 92Q, and recording Baltimore Club classics onto cassettes from artists like Rod Lee, Ms. Tony, and of course Scottie B.  I was a half-white/half-Panamanian girl living in the suburbs while all my friends were bumpin' Backstreet Boys and Linkin Park so of course I was the fucking oddball in the crew.  And it's not that I wasn't interested in that kind of music, but it's always been Baltimore club that has stuck by me even when I went through weird musical phases of my life, like that one time in high school I was really into trance music and that other time I couldn't stop listening to ska.  UGH.  For me, Baltimore club music was never a phase.  It's one of the only genres of music that consistently moved me.  I just have a pure, unwavering love for club music of all shapes, sizes, and wavelengths.  

So, hey, I'm Casey (also known as @stoopgirl on Twitter) and welcome to a brand new series on True Laurels, "Pick Em Up", that will explore all avenues of club music.  When I'm not here kickin' it with Lawrence and his truly exceptional zine, you can find me over at my own blog,Cool Breezy.  Anyway, let's go: 

Swagson- Bring It Back Up

Lately, I’ve been trying to tackle the question of whether an artist has to physically reside in the city of Baltimore to make proper Baltimore club music.  Are they truly capable of translating the very tangible aggression of these city streets into gritty, raunchy club music?  The answer remains inconclusive, but Baltimore club music can feel very exclusive sometimes.  However, I discovered an incredible exception to the rule with Swagson’s “Bring It Back Up”.  I mean, wow.  The horns are blowin’, our signature what!s are expertly sprinkled within, and engaging vocals from Baltimore’s very own Rye Rye are sampled masterfully from her hit, “Shake It To The Ground”.  

Would you even believe me if I told you that Swagson is based out of Germany?  Apparently Swagson is a part of a crew called REALMSIX, an anonymous collective of producers making electronic club music from every corner of the world.  But I swear I can hear this shit bumpin’ right out of the cracks of the sidewalks on North Ave.  So, believe it, man.  I’m 100% fucking with it.  So maybe you gotta be from Baltimore to make authentic club music; maybe you don’t.  I’ll let you decide.

Kilbourne- Jellybeans

This one will rattle the damn bones out of your skin.  You should really prepare yourself for “Jellybeans” from Kilbourne’s latest EP, Satisfaction.  In typical Jersey club fashion, “Jellybeans” borders daringly on sensory overload with alarming sirens, repetitive what!s, and gunshots galore – but I love every second of it.  For me, “Jellybeans” stands out amongst a lot of other Jersey club that tends to become a blur after a while.  It sounds clean, not distorted, and I can pick out every intricate sound within the production.  And it’s fucking fast – music that is bound to move every wallflower out onto the dance floor in the club.  Fresh off the Motivational Tour with Baltimore’s own Abdu Ali and Schwarz, Kilbourne is definitely someone you wanna keep up with.

DJ Juwan- Dance Sing

It’s back to basics with DJ Juwan.  To be honest, I don’t know too much about this guy.  I heard he’s from Baltimore and he’s only like, fifteen years old.  But I’ve never seen an actual picture of his face so who really knows.  It’s very mysterious to me.  But what I do know is that he has fully embraced the classic sound of Baltimore club music.  For real though, his productions sound like they were made back in the 90s during the heyday of Baltimore club music.  Case in point here with “Dance Sing” in which DJ Juwan structures the song around the classic Baltimore club break beat and introduces a vocal sample every now and again.  (By the way – does anybody know where this sample comes from?  I know Cajmere used it in “Do Dat Dance” from 1991’s Underground Goodies Vol. II, but it’s killing me not to know more).  Anyway, it’s very minimal and that’s what I love about it.  Today, it’s very easy to get carried away with an abundance of samples and textures in music but sometimes it’s the simple beats that get us moving.

Do Your Fucking Homework: Some Baltimore Club Obscurities Worth Searching Out

From True Laurels Volume 4:

DJ Precise, Precise and the Boys (Master Mind, 1992)

From that club-but-not-quite-club era where the "Bmore" blueprint was just beginning to be sketched out and local producers were mostly making nice lil' DJ tool-type tracks to creatively fill the void left by the slow burn dissolution of hip-house, which for some weird reason, didn't quite go out of style around these parts. As a result, there was a demand for goofy party time synthesizers and brass knuckle drums combos like this. Precise's "Get 'Em" is the one of obvious note on this 12 inch, because it's got a platonic "Think" break, but the most interesting thing here is "En Mochen": cheapo synth beeps, party music pulses competing with a trickier take on "Think" and oh man, a lo-fi, chipmunk'd sample from Michael Jackson's "Human Nature" that beat Nas and Large Professor to the punch on the super subtle almost subliminal atmospheric MJ sample flip tip. Raps on the other side, including Marty Cash's "I Don't Think You Gonna Make," featured on Secret Weapon Dave's recent mix, "A Different Kind of Dope: 90's Baltimore Random Rap Mix Vol. 1."

Miss Tony, "Bitch Track II - Yes!" off Frank Ski's Club Trax - Volume 3 (Deco Records, 1993)

So yeah, in 1993 Miss Tony recorded a house-influenced sequel to "Bitch Track" that features Tony declaring, "Yes I am gay, no I'm not ashamed," and telling the military to kiss his ass (President Clinton's "don't ask, don't tell" policy was put into practice the same year this was recorded). While doing research for my recent article for the Baltimore City Paper, "Miss Tony Stands Alone," on the life of Miss Tony, I learned from Frank Ski that this record was courted by Luther Campbell who wanted to put it out on his label Luke Records (Frank Ski being the obvious Miami/Baltimore connection here) and make a video and all, which totally makes sense: this was made in the early '90s when urban-skewing music could court controversy and actually cash out on that controversy. It is easy to conjure up an alternate reality where "Bitch Track II - Yes!" became the early '90s version of a meme and put Tony in the weird position of like, arguing with hateful homophobes on the Donahue show or maybe even becoming RuPaul famous!

*not available online*

DJ Ice featuring Ms. Nick, "Oh Baby Oh" (Iceland Records, 1997)

A weird one powered by some erotic-ish panting (echoes of Scottie B and Equalizer's "All About Pussy" from 1991), a few snippets of Basement Boys-like house horns, and almost industrial drums that invoke Underground Resistance-ish techno. Somewhere in the accidentally Detroit din, there is DJ Ice and Ms. Nick doing some in-the-club, sup' girl, sup' boy talk and a mid-song seduction breakdown that's genuinely kind of sweet: "Baby I want you so bad/ Girl I want to tap that ass...I give you everything that thing needs/ I'll make you my one and only." Then the XXX clips return, bringing the temporarily sweet song back into bonerland, which is how it should be. If Prince around the time of Diamonds and Pearls tried to make a club record, it would've probably sounded stupidly funky like this.

Krazy B, Pop Club EP (Unruly Records, 2000)

This record is not exactly an obscurity at all, but it isn't talked about much, and for some reason, it is one of the most easily available club records if you go digging around these parts. It's from somebody named Krazy B and Unruly put it out (and if the relative abundance of copies still around are any indication, they pushed it rather hard) and it's from 2001, which is a pretty interesting between-time for club: right after most the clubs closed in the late '90s killing club's hey-day and right before the yes notable, though heavily mythologized teen scene/hipster love moment that popped up in just a couple of years. This record's a good and strange, though, especially "Pop Club," which deviates from the flip-a-rap-song or resurrect an old club classic formula to deliver something that's New Jersey Nervous Records edgy with some Thomas Bangalter "Club Soda" fizzle and some synth-horn corn that trippily changes thanks to constant fidgeting with filters and effects. Four and a half transcendently monotonous minutes.

-Brandon Soderberg: @notrivia

Scottie B: Baltimore Club 101

Photo: Keem Griffey

Photo: Keem Griffey

If you’ve listened to any Baltimore Club music, then chances are you’ve come across something that Scottie B has touched. A DJ, producer and label owner within the genre, Scottie has been a part of club culture since its infancy in the late 80’s and was one of the first to bridge the gap between outsiders wanting to gain insight and locals who wanted to keep it for themselves. His label, Unruly Records—which he co-owns with DJ Shawn Caesar—has released music from K-Swift, Miss Tony, Rod Lee, among others, and he still keeps a tight grip on what younger artists in the city are doing with club music. Recently, I got to kick it with Scottie at his crib to watch the NBA playoffs and to get a full lecture on how club music started from house parties to being sought after by Diplo and M.I.A to fading out in the city it was spawned. Here’s our convo:


True Laurels: What drew people into club music when you started out?

Scottie B: It was a hybrid of a lot of different music. House was big everywhere in the late ‘80’s. Even the hip-hop spots.

Was there always a concerted effort into making Baltimore club music an original sound?

SB: We weren’t trying to make a separate sound but we were trying to make music that would fit into the parties that we were playing. We had an idea of what worked but we weren’t thinking outside of the box. It was really small-minded. We thought on weekly terms. Like what we could play at our next gig.

What were clubs like before Baltimore Club started to pop off?

SB: Even before club was poppin’, in a hip-hop club they would play all house music. It was no Baltimore Club but it was fast music the whole night. Hip-hop faded out in clubs here in like 1990. A little later, me and Shawn Caesar started going to New York and they were playing hip-hop in the clubs—something we had been stopped doing. It was back and forth with new and old. Around the time “Scenario” was out and black college kids were into Native Tongues. We looked at each other and said, “We gotta do this.” People were going crazy.

With no internet, was it difficult for you to get new records broken?

SB: I was on the top list for club DJ’s and mixtape DJ’s and producers. I always had access because I would make something hot. I was selling a shit load of mixtapes. This was when the customer was more into being a part of something. That’s why it took off. People looked at club music as theirs. A lot of the music was shouting out neighborhoods and if you mentioned someone in a song, it was a good chance that your listener knew who that person was. There was a lot of ground support.

Describe the atmosphere of the clubs back then when Baltimore Club was at its height.

SB: Back then, the black clubs that played club music were 16 and up. Hammerjacks, Godfrey’s, O’Zone. The music was fresh and people came out specifically for that music. That’s what sparked the clubs having nights for younger people. Older people would party with younger people because the scene was so vibrant. You had 23-25 year-olds partying with younger kids in spots without alcohol because it was that hot. It was about dancing all night. You planned on sweating. That time is gone. The scene drives itself now and back then the music drove it.

When did you notice other cities starting to take note of the club scene and music?

SB: You would always get dudes coming into the record store from DC or somewhere nearby to grab a specific record but around ‘94 we started hearing they were bootlegging our shit in Philly. So we went up there and it was true. That was really hurting us in such a small market. We started getting cool with the record stores to find out who was doing it.

Do you think that Baltimore’s pride in local music has gone down with club music’s presence diminishing?

SB: It’s different for kids now because back then it was Miss Tony grabbing the mic shouting out people’s hoods over house music. Then he changed it to something a bit harder that was an actual song. It was able to be ingested. There was always a conflict between rappers in the city versus people within the club culture. Back then, the club music dude was also the DJ so rap dudes would say, “they’re not playing my shit because it’s not club.” But it was honestly because nobody was asking for it. I think that’s the same case with local music now. People aren’t asking for it.

Why do you think so?

SB: A lot of young kids are making music because they’re trying to get on the radio and trying to blow up instead of wanting to make good music. You can feel that.

People like Rod Lee, Blaqstarr, Miss Tony and K-Swift were all Identifiable club figures when I was growing up and I don’t see that anymore. Why don’t they exist?

SB: People don’t realize that in the early ‘90’s 16 year-olds and 30 year-olds were listening to the same club music. When K Swift and Blaqstarr took off, club music had become a younger music. Most people over 21 (except maybe hipsters) didn’t wanna hear it. Maybe not because of them individually but it was the sound. It became a big dance contest music. It got smaller when K Swift came around. When it was big with her, it was big with kids.

Does the lack of mentorship from your generation play a role as well?

SB: That’s what it’s always gonna be. At the same time, the younger crowd ain’t gonna understand an older dude flipping “Follow Me”. That’s not slick to them. The main reason club was so impressive is that it took old house music that people recognized and it flipped the track. But if you have no connection to the root, it’s not gonna stick for you. It’s not really a knock from either side. It’s like when they bring Jordans back out with all these crazy colorways. An older dude is most likely not gonna wear them because it doesn’t suit him. They’re made for now. It’s the same with the music.

How do you feel about Diplo’s involvement in club culture?

SB: It’s funny. At first, people were like “Oh, they really like our shit”. Then when he started to make it and get credit, it changed to, “They didn’t even give us…” Give you what? You were alright with them getting it at first but you get mad when natural progression happens? If people start liking something, they’ll start emulating it. Just like Baltimore Club emulated something that came before it. We took some other shit and we flipped it. People like to start the history when it benefits them. It’s not linear. It goes in a circle. It’s no year to when it’ll change. Music is like a kaleidoscope. It’s the same shit inside of there and you can spin it a million times and get a million outcomes but the elements in there never change.

Follow Scottie B on Twitter- @scottieBmore