Trappadon sent this one over. G-Side sounds even more Pink Floyd when chopped and screwed.
Add this to the collection.
Trappadon sent this one over. G-Side sounds even more Pink Floyd when chopped and screwed.
Add this to the collection.
Ibland känns de sjukt bra att vara rap fan. De känns bra när solen skiner och de känns riktigt kul att 2 av Brytburken.se favorit clickar sammarbetar för andra gången…
Jag får väl i ärlighetens namn erkänna att jag aldrig har lyssnat för mycket på Deniro Farrar, men jag vet han har släppt minst en låt med vår gamle vän Shady Blaze tidigare. Herr Farrar är helt enkelt värd att kollas upp.
Där emot så är de första gången St 2 Lettaz (G-Side) arbetar med Shady Blaze från Green Ova kollektivet, men för er som minns så har ju Green Ova och ST kokat ihop skit vid ett tidigare tillfälle.
De kanske framstår som lite rörigt men de kan jag inte göra någonting åt. Hur som helst så har samtliga 3 herrar tillsammans med Ryan Hemsworth spelat in låten 43 Hours. Kolla själva vi på Brytburken fuxxar med de..
In case you missed it…
Jag gillar att Yung Clova släpper ett solo-tape nu, och att han döper det till Pablo Picasso.
Helt rätt. Gud välsigne G-Side och hela Slow Motion Soundz-familjen. Världen är er.
Inte lika förtjust i mängden autotune på första-singeln Murder. Det låter inte ens som det är Clova som rappar. Hoppas de lyckas dra ner på resten av tapet, men ändå behålla den här gatukänslan som beatet förmedlar. Det är ändå när de snackar street shit som G-Side är som bäst.
Great song that you might have missed. If not… it’s worth another spin.
G-Mane biting Nate Dogg so very tastefully, ST 2 Lettaz killing both his verse and the lo-fi camera work, Yung Clova rocking them De-Niro-in-Casino glasses, Mick Vegas laying down a very smooth and relaxed instrumental.
Finna blow three hard earned digital dollars on that Smoke Some Kill tape right now.
Alabama’s in this bitch… like a dog’s dick.
[soundcloud url="http://api.soundcloud.com/tracks/36944398" iframe="true" /]
Den här hade platsat på The Cohesive. Och det är ett ytterst gott betyg.
ST 2 Lettaz och Yung Clova drömmer sig bort i sina Spaceships (en metafor för både söderns bilkultur och den svarta poetiska traditionen kring moderskepp, gissar jag?) över en piano-baserad instrumental.
Tillsammans med Jeffro, Clams Casino, The Mechanix (… och vem mer?) är Block Beattaz de producenter som verkligen för rap framåt på en musikalisk nivå.
Om du missade vår intervju med honom så gör det en gång till.
“Have you noticed a difference in crowd response since when you dropped Cohesive?
ST 2 Lettaz: To me, the Cohesive album is a better album to perform. When we did our first album we were still studio artists, we had never really performed. The shows we did do in Alabama were not good venues for concerts, we were on shitty P.A. systems so we didn’t really know how to perform. The more we got on the road with Huntsville International and Starshipz And Rocketz we learned what worked and how to make songs that are better for performing. I think with Cohesive we have performed pretty much the whole damn album.
Yung Clova: On our first go around we might have had 50 people in the club. On the second go around we picked up more venues and we had more people in that spot.
When you think of hiphop you normally think… the Bronx and ciphers and what not. What were your first memories of hiphop in Alabama?
ST: It was what fed to us through videos and radio. There weren’t any ciphers going on my block. We’re from Alabama, so what we would get was whatever was on YO! MTV Raps or Rap City. And there was the bootleg man who would go around and sell tapes and CD’s out of his trunk. That’s where you would get the new shit. If it wasn’t from him you’d get it from some mom-and-pop shop. We used to go and buy CD’s because of what was on the cover. You didn’t know who it was or how dope it was but you’d just go ahead and take that chance.
YC: Or they had block parties… a lot of house parties… so a lot of people were playing music in their cars as they were driving through the neighborhood, so you might hear something that you like, and you’d be like, “Oh, that sounds dope”, and then you’d try to find it.
How did you start rapping?
ST: With me, I heard Ice Cream Man by Master P, I saw the video and heard it on the radio, and it hit me. I knew what I was gonna be for the rest of my life. I’d hear some guys on the corner freestyling or whatever, but I’d be off to the side in my own little world, just trying to hone my skills and get better.
YC: I started from my cousin, he freestyled all the time, playing around. And one day I just felt like taking it to another level.
ST: We had a mutual friend who stayed on us. He was older than us and the rapper on the block, who had actually put out CD’s. I heard about Clova and he heard about me and we just linked up one day after school.
YC: He’d always bring us together and be like: “Let me hear what y’all got”.
ST: When we went to college we started to throw our own parties. We performed, because there was nobody that was gonna throw a show and pay us for it. That’s where we learned the skills of performing, doing it ourselves and performing.
Tell us about the song Blackout.
ST: The day we were set to come to Europe our state was hit with over a hundred tornadoes. It’s the worst natural disaster to ever hit our state. We were fortunate to still make it out, our flight still got delayed, we missed Bergen, Norway. But we were fortunate enough to make it out.
YC: My flight actually got canceled. As I was going up, everything was black, no lights on, no gas stores, nothing. The tornado had torn up one of the cities I was going through really bad. All the cars were thrown to side of the road for all long as you could see. Luckily I made it home. As soon as I made it home the ligths came on in my house.
ST: His city, Athens, is maybe 15 minutes down the road, they had lights. But the biggest city, Huntsville, had no lights for a week. So everybody was going to the nearby bigger cities, but a lot of people were stuck. I was stuck in Amsterdam and heard what was going on, and it was so heavy in our hearts. When we finally came to Oslo a day or so late and got settled we made the song about it. Over 300 people died, a lot of friends lost their houses. It was a learning experience. It let us know that our family can provide, whatever the circumstance is. The only thing we could do is make a record about it. We put it out, it’s free for download, but if you want to donate, you can donate money and that goes to the Red Cross. And when we come back we’re gonna help people to rebuild and clean up.
With that song Aura, do you use the term in a religious way?
ST: Nah… it really wasn’t religious. We all pretty much know what the aura is. It’s you, your inner glow, what you give off if you feel a motherfucker when you walk up to him. Another way to say swag. Swag! Swag! (*everybody starts laughing*) That was even before Lil B and I don’t know how the hell he resurrected the word swag. It died and he resurrected that bitch. We were just trying to find an alternative. I mean the song has that Outkast, divine sense to it. I’m not so much religious, but very spiritual.
YC: I consider myself a Christian. In my city, Athens, where I’m from, it’s so small, and there’s a church on every corner.
ST: It’s what you would call the Bible belt, where they still pretty much base their laws and society around the Bible. It’s a huge part of our upbringing. I was a very religious person, but the more I educated myself on the world and things around me, religion seemed to be more politics and business oriented.
YC: It aint that, it’s the preachers. They’re turning it into a job. They use preaching to make money now. It’s all about money back home now.
Many people would think that the Christian community in the South is extremely conservative. Do you think they are more so than other parts of the country?
ST: Not so much. We clung on to religion as hope, because we were oppressed for so long. Especially being in Alabama. That was pretty much our only equalizer. The fact that we had God and that there was a heaven after this. That’s what they use if for, whereas more of the white Christians use it more as a way to control the people. It’s more politics.
What would you say were the biggest difference between you and New York.
ST: The 808. We make our music more for cars.
YC: One thing with New York – they walk around with iPods and what not. Can’t put too much bass in them.
ST: In the South you don’t walk anywhere. Atlanta make their music more oriented for clubs than for the car culture, but then you have places like Alabama, Tennessee, Mississippi and Texas, and a little bit of Florida; they pretty much make it for the cars, some shit you can ride and vibe out to.
When you rap, whose footsteps do you feel you are following in?
ST: With the way we formatted our company and our business plan, we feel like we’re trailblazers. Nobody came from Alabama and did what we did. Even those that took the major route, they didn’t do what we did as far as coming to Europe and making a name here. Musically, we have the basic forefathers, like UGK. Outkast and Organized Noise inspired us doing a producer and rapper combo. But we tried to break away from all of that.”
Why did you choose to call it Back $ellin Crack?
I chose that title because that was the mentality. I had a line on a song where i say “five dollar Bandcamp, I’m back selling crack“, it motivated me like, damn for real. It’s not me saying I’m back walking around grinding, it’s saying I’m charging for this dope shit I’m finna whip up.
Hustling is a common topic in rap… do you think you approach it differently than other rappers?
Everybody approach it differently, except the ones that come and go. Grinding gotta be top three shit that people make songs bout.
How was the process of making B$C from idea to Bandcamp?
It started as just this is my next project then it got crazy hyped up after i put the pre-tape out. The pre-tape was just collection of songs sitting around, so in November, December i started working with DJ Ambush and went in. We did a lot of construction on it that I never did on any past tape, worked with new producers just to give it a new feel.
Around October I was getting beats from Da Vette Boyz. If you listen to the pre-tape you can hear Count Stacks. I really wanted to do the whole tape with them, but they wouldn’t get the beat files to me. Without the beat files you can’t do much with the beat, and how I was doing this project it just wasn’t gonna work. By the time money wasn’t a issue. It was no response back, so I went a whole new direction with the tape.
YS really snapped on this tape. Who is this producer?
He’s been working for a long time, a producer out of Fresno. He go in. Y’all will definitely see more and more of him as time progresses.
Where did you record B$C? It wasn’t no wardrobe session, right?
Haha man, it’s recorded at the nest, DJ Ambush’ studio. He’s good peoples, knows damn near any rapper you could think of. I did I Smoke Cause I Dont Care About Death in my room engineering it myself so to finally have someone to do it for me felt really good. Even if I gotta pay em. Wish i was getting paid to do it back then.
It’s the most time taken with this tape. I made ISBIDCAD in a week flat, minus Kissin On My Syrup which had older tracks. I put real life Squadda dollars into this project which is new on this level.
Since we’ve last talked, you’ve made music with G-Side, Danny Brown, ASAP Rocky. Any other artists you looking to work with?
Whoever on the same shit. Just got back to do this interview from our first in-person studio session with G-Side & Davinci from Fillmore, SF today.
How did you hook up with G-Side?
That happened through a company named Yours Truly. They got us in the lab together before we had our first show with em. They’re cool peoples too, been seeing their name ever since Internet started fucking with us. They got bars, could really rap.
Do you have more shows coming up?
Too many, catch us December 21st in SF performing with Davinci & G-Side, opening for Danny Brown & Kid Sister in L.A sometime in January… y’all gotta look it up.
How did you hook up with the ASAP fam?
Crazy thing is he hit me right before he took the world over so I’d say God’s blessing and the way we live our life.
What went through your mind when arriving in New York?
Mann I was cool until we passed up Lefrak City on the highway, but the streets & projects was above us so I’m looking up going crazy like nigga “LEFRAK”… Queens! If I had twitter on phone at that time I’d got on it earlier. I fasho bragged that night.
Did you record Down in the studio together with Danny Brown? How was it meeting up with him in real life?
Naa, I had Down all the way done with just me rapping, and I sent it off. It comes back and I’m like damn i gotta rearrange the song, so I put Shady on it too. We met Danny Brown like three, four months back at Fader Fort. We was backstage sipping, sitting down then Danny Brown pops up out of nowhere, pretty lil white girl with him. That nigga’s really cool, I fuck wit his whole demeanor. Shit got crazy when ASAP Rocky was performing, a fight broke out and shit, everybody scrambling and shit, so we go back to the backstage area to get our other shoes and this nigga Danny Brown still in last place we left him with the bitch haha. Didn’t even know what was going on.
Even though many of your beats are very mellow, you seem to be very energetic when rapping live. What tricks do you have for putting on a good show?
Couldn’t tell you, besides alcohol and smoke will slow you down, but being sober will make you be fake energetic – if you’re anything like me.
I didn’t last a month but it made me see it’s easy to stay clean in daytime. I get a lot of work done and am super energetic sober. I don’t think people want that.
Like other Greenova releases there was a lot of variation in ideas and sounds on B$C – you ever feel like making more of a strictly conceptual album?
Already ahead of you, Main Attrakionz Bossalinis & Foolyiones, the album coming in a few months thats about as close to conceptual we gonna get.
What else are you planning for the future?
A hectic year living life. Introducing the fam to y’all, which I’ll focus on doing with my last solo of this year.
All chapters of Greenova?
Them plus some, thats what I’m saying. Robbie Rob was here meeting Kreayshawn’s manager today. February should be next month you hear from all them again, minus maybe Shady Blaze, who might drop before hand.
Do you have any relation to Livewire, HD, or any other Bay Area rappers outside the Greenova fam?Besides seeing these niggas and seeing bitches i know in they videos, nah. Nobody is blood relative to any rappers out here besides Mondre, Clyde Carson is his cousin. And my cousin’s dad is Seagram from East Oakland who died in the 90s.
Will you put out your music and present yourselves to the world differently in any way this year?
Yea, in a bigger way. Clearer visions, looking like money.
At what moment did you think: “this rap shit is really working out”?
When I started making stuff happen with the money it brought. Every time I needed something and could get it easily I started being thankful of the path I chose for real.
As you’re getting more famous, what are some traps and pitfalls that you’re watching out for?
My family, period, just their safety.