This must be historic, I don’t believe Nardwuar has ever interviewed someone more than twice in his career.  So for this to happen a third time and to one of my favorite guys Curren$y is pretty dope.   Must be a run up to his latest release .  One of the running issues in this series has been Nardwuar’s mic handling and Curren$y goes right in on it.

These two are on my list of favorite young guys in hip hop right now.  Not with the fanfare of the other breaking artists byt they should be in line with those that are putting out consistent work with a dedicated fan base that will soon see them getting their just due. Sound FX hail out of Los Angeles, get to know them below.

@BJones21 / @Social8gency: Let’s get the preliminaries out the way, how long have you guys been at it?

@SoundFxMusic: We actually started making music way back in the 10th grade which is about 6 years ago.

@BJones21 / @Social8gency: What is your relationship; how’d you both link up?

@SoundFxMusic: We are really great friends first and for most before anything but we linked up playing basketball.

@BJones21: What was the first song that let you know you were interested in music?

@SoundFxMusic: We don’t really remember but we actually started off producing music and from there rapping came naturally. Now here we are.

@BJones21: What was the first hip hop track that inspired you to pen something down?

McFly: No one song inspired me but the album “Fly or Die” by N.E.R.D. really inspired my love for music and captivated my imagination.
DuPree: Everything about music inspired me from the way it moved people to the lifestyle. It wasn’t just one song in particular.

@BJones21: You have been releasing a steady flow of material in your short time together, what keeps you going? In light of not the instant fan fare and publicity that the Odd Futures & the ASAP Mobs of the world have seemingly garnered?

@SoundFxMusic: The one thing that keeps us going is the fact that people really seem to have an emotional connection with our music and they really listen to some of our songs religiously. Just knowing that our music has the power to help some one out of a bad situation or even get through the day is what keeps us going. We try to present our music in a way that the aesthetics of the visual representation coincide with the music.We also believe in what we do 100 percent and love our music so in essence we are doing what we love and we are doing it from the heart. We try not to let other artist success or failures affect our art or thought process. Of course being that hip hop is a culture built on competition we do watch these artists and learn from their business formulas but creatively we just do us and we feel like that will take us a long way.

@BJones21: What’s the type of success you’re looking for?

@SoundFxMusic: The type of success that gives us the power to control the music we put out and how we put it out. The type of success that allows us to perform at festivals and tour the world on a large or small scale, meeting new people & experiencing new cultures, while motivating and inspiring countless numbers of people with our music. The type of success that allows us to venture and expand our talents beyond the musical realm. The type of success that feels authentic, knowing that we didn’t have to change our selves, our morals, our ethics, our character, or our music, in order to achieve it.

@BJones21: One of the major things I was struck by when I first came across your material was the level of polish your work has. From the vocals to the production itself everything is very concise and thoughout. Speak on that if you can.

@SoundFxMusic: We are true professionals we always strive for perfection even though there is no such thing. We go out our way to bring the fans the best quality recordings within our indie budgets. The one thing that keeps us going is the fact that people really seem to have an emotional connection with our music It is much more than putting out a song to us it is more about capturing a moment and bringing the listener into our world and allowing them to experience some of our experiences. We meticulously go through every lyric and note in other to put create the best art. The professionalism in our work also lets the world know that we take what we do seriously which is vital in todays music industry where any one can record a song and think of them self as an artist. It also comes in handy when presenting our music to potential endorsers.

@BJones21: Another piece is that you guys have a clear visual style for your album/singles covers; toeing the space where abstraction and concision meet. What can you say about each cover and what you attempt to convey?

@SoundFxMusic: We are really big on art not just music but all the different types of art. We try to present our music in a way that the aesthetics of the visual representation coincide with the music. We really take the word “Art” to heart as we try to be as creative as possible a lot not just through the music but also through the visuals. A lot of other musicians don’t give their art works any thought and that is one thing that really annoy us about the hip hop genre. We try to provoke thought with our art works because even before a person listens to our music the first thing they see is the art.

SOUND FX ONLINE:

Bandcamp / Tumblr / Facebook

I will go on record as saying that cloudeater have been one of my favorite bands of the past year.  The two EPs they’ve released in their time together have been in constant rotation for me since I picked them up.  So of course I was pleasently surprised that a band that makes electronic rock as diverse and skilled as they still are on a largely independent get-down; I believe its only a matter of time til that changes. (A few have already taken notice)

@Social8gency / @BJones21: You guys have cultivated a sound that doesn’t have a sound quite yet it seems; is that intentional or more of just you guys as a young band going through creative growth?

@cloudeatermusic: It’s intentional. As a band, we have a very diverse range of styles and influences. This comes out when we start writing new music. We have ideas about the big picture and where we want the music to go. Each of us have a different way of developing these ideas. As a whole, we are trying to make something interesting. We want cloudeater to be an experience, not just well written songs. -Nolan [synth/fx]

@Social8gency / @BJones21: You guys for a while seemed to keep a rather mysterious image about you, I point to this image in particular; purposeful?

@cloudeatermusic: We are fully aware that the cloudeater sound is something different. Its uncharted territory. The mystery inspires people to dig deeper. -Nolan [synth/fx]

@Social8gency: When I first heard Sun & Sidearm EP, I was very struck by the difference between it and your previous effort, was that an intentional step? Sun & Sidearm had a very ethereal tone to it and felt like a journey of sorts where as Greatest Tragedy came rather straight forward about the conflicts inherent in love (artistic love or romantic).

@cloudeatermusic: Greatest Tragedy was an attempt to address aspects of love usually overlooked in popular music. Anxiety and despair that accompanies the excitement and warmth therein. The second ep was more of an early-release b-side to Sun and Sidearm. We stated in a teaser released earlier this year that the album serves to “document a process of thought with no perceivable end”. It is an attempt to answer the universal personal queries that fill our minds daily. -Sam [vox]

@Social8gency: Was there a point where concept clashed with what you wanted your identity to be as a band?

@cloudeatermusic: Because off the way the band started off, we didn’t have a concept to begin with, just music. Since the beginning we’ve been working towards uniting identity and concept. With the most recent music we’ve been writing its getting closer but it’ll always be a process. -Chris [drums]

@Social8gency: How did you guys come together as I understand it you all are from the south with a Chicago transplant in there for spice?

@cloudeatermusic: I (Nolan) used to DJ and make mixtapes. At the time, I was just getting to into audio engineering. I was looking for more people to collaborate with and decided that djing open mic nights was an easy way to meet new artists in Atlanta. One night a rock band came in without their lead singer. They asked Sam, one of the baristas (this event was at a coffee shop) to sing a cover song with them. His vocal delivery was impressive, so I introduced myself. We ran into each other at a few events around town after that. Sam heard some live remixing that I was doing at a show and asked me to come to one of his band practices. “We wanted it to feel like a man alone with his thoughts, when all else has proven fleeting.”

This band was the 11 piece group that I mentioned previously. I later found out that they needed a new guitar player. Dan, a friend of mine since elementary school, had recently moved back to Atlanta. When we decided to leave the cover band, a drummer was needed. Dan suggested Chris, who he met in his high school jazz band. None of us had ever really worked on music together before. Without these circumstances, most of us wouldn’t have even met each other. -Nolan [synth/fx]

@Social8gency: What does 2012 have in store for Cloudeater? Releases, tour dates, etc?

@cloudeatermusic: 2012 is going to be a big year for [e. Were planning shows outside of Atlanta. Since recording Sun and Sidearm we have been stockpiling demos for new material. We hope to start releasing some of these before the end of the year. -Nolan [synth/fx]

@Social8gency: Tracks like Hardly Wait, Love Don’t Live Here, Vampire, Decade, & The Dive feel very commercially viable and perfect for media consumption via tv/movie/ commercial, is that sort of recognition something you shy away form or are looking to embrace?

@cloudeatermusic: We’re certainly interested in these kinds of opportunities. It couldn’t be for just anything though. It would have to be for something we’re comfortable with. I don’t know if we’d want our music associated with dog food for example. -Dan [gtr]

@Social8gency: Do those considerations come into play during your writing process?

@cloudeatermusic: No, never. -Dan [gtr]

@Social8gency: Have you been approached in that capacity up until this point?

@cloudeatermusic: We have, but nothing I can mention at this time. -Dan [gtr]

@Social8gency: Has there been label interest in your music?

@cloudeatermusic: There has been, but again nothing I can mention at this time. -Dan [gtr]

@Social8gency: My favorite track has to be a Sun & Sidearm which I always characterized as the inner monologue of some lone gunman or samurai? What was the song about for you guys?

@cloudeatermusic: For us there is no literal gunman. There is no samurai or sidearm. We used them as tools to give these thoughts voice. This was the first song written on the album and contained the strongest imagery of what we chose to release. We wanted it to feel like a man alone with his thoughts, when all else has proven fleeting. -Sam [vox]

Can’t wait to see what else Nardwuar has in the hard-drives from SXSW 2012. He’s already released on the masses his interviews with A$AP Rocky & the A$AP Mob and Action Bronson; today he drops his interview with one of the most creative & potentially crazy young MCs doing it right now in Danny Brown.

Nardwuar stays undefeated.

Tell me if you’ve heard this one before: A midget, The Outlaw, and Grieves walk into a club . . . Actually I’ll let Grieves tell it.

I caught up with Grieves via T-Mobile signal while he was out in Portland, a few days before the Rhymesayers Soundset Festival. We got into Together/Apart(released yesterday so pick it up, HERE), the process for the new album, and definitely a lot more. . . Oh yeah and that thing about the midget & The Outlaw.

@bjones21: I’m here chiming in for the phoner today.
@Grievesmusic: Yeah I’m into it. I was supposed to do another one before you guys, but they’re not as punctual as you are. You’re at 12:20pm on the dot.

BJ: HAHA yeah I just noticed that myself. Ya know we try to keep it together; make sure you guys get your shit done & same here.
G: I appreciate it more than you can possibly know.

BJ: Where you at right now?
G: I am in the basement of some college, in Portland.

BJ: You have a performance there then, headed to Soundset?
G: Nah I got a lady friend out here, and she goes to college and wanted me to sit in on her ideology class; and I told her I didn’t want to. So I went to Seattle’s Best and got a Chai Tea while she’s in class, and now I’m in some weird basement, while she has a meeting with her study group and i do my rap interviews.

BJ: Alright not bad, is she just a lady friend? Just handshakes and that’s all?
G: Yeah just a lady friend.

BJ: Let’s jump into the new album.
G: Yeah.

House of Blues Sunset and Tech N9ne; pretty epic shit right there.  When the opportunity to interview one of the most talented and intricate choppers in hip hop, you gotta do it.  We caught up with Tech before his performance at H.O.B.  to discuss the new album, new fans, and for him to do what he does best, chop.

Head over to Tech N9ne’s official page to see when he’ll be in your town & pick up his new album All 6s & 7s cuz you’re prob the only person on your block not bumping it right now.

by @bjones21 for @LP33

I came across Sagaki Keita’s work and thought it was some of the most amazingly psychedelic art I’d seen in some time.  The precision on the macro scale down to the seemingly haphazard and spontaneous nature of the micro is amazing.  I’m always a bit taken a back that he doesn’t lose his way when creating these pieces.

The interview was done via email.  Sagaki speaks little english and thus the text has some hiccups here and there.  I’ve kept it as is, with little alteration as not to misconstrue or misrepresent Mr. Keita’s words.

More of me @LP33

Other than looking drunk in the thumbnail preview this was a solid interview with the guys.

PREVIOUSLY -
Things To Do In LA When You’re Brock Jones: New Boyz – “Backseat ft. Dev & The Cataracs” Behind The Scenes

I caught with one of the young guns in music video directing, SMKA affiliated Dustin Chambers, and all around top notch dude.  One of the guys that I’m expecting to see a lot from this guy in the future so good to drop into Dustin Chambers & The SMKA Experience.

Was directing always where you felt you wanted to be?

Yes and no. When I was a kid, I really wanted to be a director, then in college I wanted to be a documentary photographer, and at this point I do about 50% video and 50% photojournalism. They’re two very different types of storytelling, though I find that my documentary photo style seeps into my music videos quite often. I’ve always connected less with directing narratives and more about creating rhythmic visuals.

Where are you originally from?

Atlanta, GA.

Has your hometown/how you grew up affected your outlook on filmmaking at all?

I grew up in a very visually literate family; my mom is a painter and my dad is an advertising photographer, so I was always around it. As I got older we would pick apart commercials and photos as we saw them in passing, so I really learned what a successful visual was, what an unsuccessful visual was, and most importantly, what elements made them each that way.

Who inspired you to get into the field?

It’s hard to say. I of course have my favorite directors, but in terms of music video, I really got into it when I got iMovie in Junior High or maybe even earlier. My first video was some stuff I filmed at a July 4 parade in a friend’s neighborhood; I cut it to Born In The U.S.A. by Bruce Springsteen, and it was really magical to discover the power of making a cut as a beat in the song hit. Great editing is still the most important thing to me. Also, a huge inspiration in music video editing is a little movie called Interstella 5555, an anime set to Daft Punk’s album Discovery. It’s unbelievable. Every single movement, flash, cut, blink, etc. syncs with the beats of the album.

What has been your greatest tragedy and triumph in the business thus far?

Hmm, tragedy? I generally avoid tragedy at all cost. I guess as I still feel like I’m starting out, budgets are very low, and there’s no money to rent lighting equipment. This is fine, fortunately cameras these days allow to shoot in very low light while still looking pretty damn great, but it’s definitely a crutch. Directors, including myself, aren’t learning to light their scenes, and I feel that’s really crucial to the next level. So. That’s relative tragedy.

Triumph. I guess being lucky enough to be affiliated with and respected by SMKA. They’ve definitely got a huge movement going on in Atlanta and I wouldn’t be anywhere near it without them. If you’re trying to learn how to come up in the game as an artist, producer, or manager, watch them, they’re smart and tasteful.

I’m also very thankful that Aleon Craft was the first artist I got to work with extensively.  It meant a lot to fall in with someone who was willing to have fun, be weird, and try stuff that most rappers wouldn’t.  Don’t get me wrong, Craft has got swag, but he’s not afraid to let his guard down and be human.  I’m tired of rappers trying to fit into that tired old bling mold.  It’s not about that anymore.

Favorite 5 movies & why?

This is always tough. Excuse most of these answers being based on the visual aspect of movies:

City of God – For all reasons good movies are good. Cinematography is gorgeous, but the kicker is the editing. Just watching the opening scene, from the sharpening of the knife to chasing the chicken in the alley, it’s all perfectly executed.

Indiana Jones and The Raiders of the Lost Ark – Childhood favorite. Like all older Spielberg, the cinematography is epic and unlike most movies today, it’s all real! No shitty green screen and CGI backdrops.

Barton Fink – I’m a Coen Brother fanatic. This is a weirder one, but all the performances are great.

Chicago – What? A musical? Yes, a musical. I love this every time I see it. Great actors, great music, great choreography. I like most anything that feels like a really long music video.

Spirited Away – Hayao Miyazaki is in another world.

Favorite 5 albums/songs & why?

“Babylon” – OutKast – Ultimately my favorite OutKast song. The humming on the beat. Big Boi’s coming-of-age verse. Incredibly relaxing.

Grizzly Bear – Yellow House – A great album to put on and tune out. One summer I listened to this and played Earthbound, my favorite SNES game as a child, a whole lot. Now when I hear it I see little flashes of the 16-bit characters walking about. Maybe that’s bad?

Pixies – Doolittle – Nonstop jams.

The Roots – Phrenology – This was my first Roots album, lots of high school memories attached to it.

The Beatles – Rubber Soul – My childhood jam. I listened to a lot of Elton John, Bruce Springsteen, and Beatles when I was little thanks to my pops.

Where do you believe your strengths are in this game?

My strengths…I’d say my strengths in terms of video is editing. I can polish a turd pretty well. In terms of “the game”, probably just practicing good business. Communicating well with others.

To up and coming directors what advice can you give them about focus, how to get into the industry, etc?

I’d say practice like hell. I know I keep going back to the editing bit, but it’s so important. Filmmaking is relatively very very cheap these days; you can be a one-man studio. It’s what I do. To be able to edit in Final Cut efficiently, so you can translate what you have in your head to your sequence as easily as possible, is imperative. This will also teach what works in terms of flow and what doesn’t. Find people to make free videos for so you can keep practicing. Setup a website with WordPress or whatever you want that showcases only your content. Be a nice guy, people like nice people. Call people back, respond to emails quickly. Reach out to people you want to work with, more likely than not, they’ll be down for at least a beer.

What are the craziest moments you’ve had on set?

I can’t say there have been really crazy moments on set. Shooting Aleon Craft’s video for “Sunday” was just a crazy two days of driving around in a Bronco. We would find ourselves in someone’s neighborhood, pick them up, drive around for a take or two, then move on. It was a blast. There was a moment when I was like, wait, is this my career I’m carrying out right now?

Where do you see your future leading you?  What is the endgame for Dustin Chambers?

I honestly have no idea. I have a lot of very different things going on. I’ve come to the realization that I’ll eventually have to choose a path and stick with it, but for now I’m just working really hard and having a lot of fun.

You’ve had a diverse clientele (Nat Geo, Adult Swim, @SMKA, etc) what do each of them bring to the table for you which made them appealing and vice versa?

I mean, they’re all really great companies. Most importantly they bring new experience from which I learn a whole lot. I feel like I’m generally winging it and hoping for the best.

You’ve done a lot of work with SMKA, how’d that relationship come together?

I was in high school with all three original member of SMKA(shout out to Paideia), though they were all a couple years older than me, so I never really knew them well. When they dropped SMKA Experiment Vol. 1 during my senior year of college, I was amazed by it. I couldn’t believe I semi-knew the people involved with it. I decided they’d be great to work with once I got out of school, so I shot Mike an email saying that I’d like to do photo or video with them and nearly a year later he called about doing the first Aleon Craft viral, “Strange“. It’s been love ever since.

How would you describe your style?

My video style is colorful and clean I think. A little heavy handed on the editing. They look like they were made on the spot, but are executed well. I’ve found myself using whip cutaways a lot, you can see a lot of them in Kyle Lucas’ Funeral video. Something about handholding the 5D makes it such an easy and effective camera move, especially when you do it at the right time.

What’s the equipment you most cherish?

I gotta say the Canon 5D Mark II. I just wouldn’t be able to make anything without it. No photos, no videos. It’s an expensive little box that my career depends on.

For this one I linked up with the outspoken Killer Mike, growing up in Atlanta he was one of the names I always loved. Not saying I’m some street dude, but I appreciate the craft on the mic and he was one of the first out of the A’ doing it and doing it with intelligence and speaking to real issues.

For this one I met up with the homie Spree Wilson back in October, definitely one of the artists you need to be looking out for: just so fresh and eclectic. He’s been working with a myriad of top names over the past year and just dropped a fantastic project The Never Ending Now, cop that immediately.

Definitely give it your full attention; Jay Sean and me, there’s not much else you need to know.