[Contemporary] hip-hop royalty. That’s what Skyzoo & Apollo Brown are if you’re just getting familiar. Perhaps the lead audience is already in tune with the two, so an extensive introduction will not be. Everyone has those artists that’ve gained their trust. You know, that blind trust thing where, at some point along the line, you’re one hundred percent invested in their careers and will purchase anything they release. You trust their craft. You value their material and their truth. That’s The Easy Truth, Sky and Apollo’s forthcoming collaborative full length record due out in four days (09/30) via Mello Music Group. Majority of true-school listeners will agree that the two of them have earned their trust. I mean, that’s our truth at least. Survey says we are not alone in this. While we’re on the subject, do Mello releases ever let you down? It’s a no-brainer.

Just to be clear, this is not another underwhelming album review to put you to sleep. It’s a quick look at the key components that make up the new album, in hopes that you get as excited as we are at RESPECT. for it.

2015’s Music For My Friends, which featured one of my favorite cuts of the year “Money Makes Us Happy,” is a notable bookmark. How about 2014’s Barrel Brothers with Torae? Wait, what about 2012’s A Dream Deferred? Are you noticing a pattern yet? Well not a pattern, more so a consistent flow of quality music, ranging in production and welcomed collaborators. Sky embodies what a true school, east coast emcee should sound like – specifically Brooklyn. Well I’m not here to say what you should and shouldn’t sound like, but if you value pertinent content, comprehensive lyrics and humility, taking notes could be helpful.

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The Easy Truth isn’t the first time we’re hearing collaborative music from the two. But it is the first full length body of work offered. Organic at that. I don’t want to get too into the recording process because Skyzoo cleared all of that up below in our interview. The collaboration just makes sense in 2016 – the year of amplified “mumble rappers,” percocet glorification and artists with a lack of respect for our culture’s timeline. If that’s what you prefer, that’s fine of course. This album here, however, is none of those. As far as honesty, this could be the richest Sky’s content has ever felt, or sounded. Invited guests include Conway, WESTSIDEGUNN, Patty Crash, Stalley and Joell Ortiz. A tasteful selection to say the least, leaving room for him and Apollo Brown to breathe and toss welcomed haymakers. The introduction, a few powerful words from Les Brown over Apollo’s signature and pleasantly dusty backdrop, sets the tone for the record – simply translated as, embrace life’s lessons and learn from them.

As for the production itself, The Easy Truth is another uncut dose for the Apollo Brown beat junkies. You have your reoccurring thick drums and bass. You have your soulful sampling (see “Jordans & A Gold Chain” and “The Flyest Essence”). He stays true to his sound, as expected. Last year in an interview it was mentioned that he is okay with being the artist that he is – not here to reinvent sound and recreate the wheel. He’s an artist rooted in boom-bap appreciation. So, he will most likely continue to create around what inspired him the most and what people love deeply about his production. Skyzoo sounds unstoppable over his canvas. Once again, it just makes sense. The three released singles leading up to 09/30 should give you a solid idea of what the whole record offers (if you missed them, we’ve attached a couple throughout this article for you).

It’s now press week for Sky and Apollo. They have a few busy days ahead, talking about and promoting The Easy Truth. I had the pleasure of stealing a few minutes of Skyzoo’s time to have a healthy conversation about the work ahead and other important topics for your reading pleasure. If you’re interested in the record all of your links will be below. Thank you, peace and love:

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RESPECT.: We want to thank you for your time. For the new fan that’s just discovering Skyzoo, what would you want them to know about you?

Syzoo: Well first off I appreciate you guys taking the time out to build with me. It’s definitely much appreciated seeing as you guys are such an accredited and esteemed publication. As far as for the new fans, I’m a writer above all else. I pride myself on what I write and being a lyricist. Being able to use words to tell stories with layers and meanings and connect on a variety of levels, that’s all part of the concoction for me. I’m from that cloth of caring for the writing, circa ’95 in a sense, without being or sounding dated. Lyricism and being relatable. Everything else supports that and helps keep it afloat.

R: The new record is an incredible body of work. You quite honestly make emceeing seem effortless. Does working with a quality producer like Apollo Brown help make that more possible? 

S: Thank you man, I appreciate that. I’m glad you dig it. Working with Apollo was dope because with him you’re dealing with someone who’s likeminded as far as how they see music and see their legacy playing out. Someone who cares about the same things when it comes to the art; longevity, integrity, authenticity, and the culture. Anytime I’ve worked with one sole producer it’s always been someone who’s craft I thoroughly respect and support, so connecting musically is easy when those things all line up. I pride myself on making it sound effortless regardless of the amount of work I put into my craft. Melo or Steph Curry may shoot 1,000 jumpers a day and put their entire beings on the line, but when the game is on, they make it seem like a breeze. That’s the key to potentially being great, so that’s what I strive for.

R: Less dreaming and more living, that’s the easy truth put simply. “Innocent Ambition” is notable, as ambitious content isn’t necessarily cool right now on a mainstream level. How important is uplifting content to you? You’re always full of good vibes and carry a positive aura, even when you’re painting something a bit more rugged.

S: The music is always supposed to do one of two things; you either escape through it or relate to it. My music is the type you relate to. We all have dreams and goals visions, and based on where you’re from and what you do, those can either become a reality or a “should’ve could’ve would’ve” story. I tell stories of heinous situations and highs and lows and sometimes lowers, and how those things can culminate into something you may have never imagined, be it better or worse.

R: Brooklyn specifically has been experiencing tremendous waves of gentrification. As a BK native and an artist we thought it’d be refreshing to have you weigh in on this reality there and how it may or may not affect you.

S: Well gentrification is something I touched on throughout the new project because it’s so prevalent in my neighborhood. I grew up in Brooklyn in an area where people didn’t really wanna come and visit or hang out or move to, yet we had this family vibe there, this unity and a culture of being in sync that made it all make sense. Now we have cafes and bars and yoga studios popping up around the corner from where my friends serve at, and more perspective tenants than ever, yet that unity and culture is fading fast. It’s as if those like myself who had to live in it when it was down are afforded the opportunity to enjoy it now that it’s up. The Barclay center, as great as it is and as much as myself and plenty of others enjoy it, was the start of the ending as far as old vs new Brooklyn and where we are as residents and what makes us matter. Now it’s as if we don’t matter. But my pops predicted years ago that the Barclays center would be the start of the ending. There’s tons to love about gentrification but there’s twice as much to worry about with it. There’s nothing wrong with the neighborhood becoming better and new neighbors moving in who look nothing like us day-one’rs, but when you tell us we can’t enjoy what the new folks are because we aren’t the new folks, when this was ours first, that’s when we have a problem. I recently saw some tweet: “don’t move to Brooklyn for the culture and then call 911 on the culture”. I thought that was incredible. Tweet of the year in my book.

R: Can we talk about the featured artists for a moment? It’s a pretty limited, tasteful selection. We are very excited to see WESTSIDEGUNN and Conway a part of as well. “Basquiat on the Draw” is ridiculous.

S: Feature wise I try to never over do it, I like to just add people who make sense. Everyone Apollo and I added make sense sonically, lyrically, and conceptually to their respective tracks. As far as Westside and Con, those guys are family to me, so anytime I have a lane to show some love I’m definitely gonna do so. And then with Joell and Stalley and Patty Crash, it just all came together how we saw it beforehand. The Patty feature meant a lot to me because I’m such a fan of her work with the roots, and I knew having that type of presence would be different for Apollo’s fanbase, which is dope.

R: I couldn’t wait to talk to you about the Stretch & Bob cut. Well done, and more importantly a beautiful amount of respect payed to a pinnacle part of our culture’s timeline. 

S: Thank you, I appreciate that. The idea came to me after seeing their doc, which was stellar. I was both excited and envious. Excited at what hip hop and done and what it’s capable of based on what Stretch and Bob proved, and then envious at not being born earlier so that I could’ve been on their show lol. Then I realized we live in an age where everything is on YouTube, so I figured why not cut up some old clips and make it sound as if I were on their show, and then get busy for 80+ bars? I had alotta fun with that one.

R: There’s obvious chemistry between you and Apollo, wether it was recorded together or not. But for the sake of conversation, was the record created together? 

S: We did the LP together in Detroit. Apollo was very adamant on us recording it together, so I took a trip to Detroit for about a week and rocked out. He sent me about 40 beats to pick from, I turned those into about 15, and then he asked if 2/3 days would be good for us to record all the music, since he assumed I’d been writing to the beats over the prior months. I said “nah, book a week, I gotta write em once I land”. He got nervous because everyone he’s ever worked with writes way ahead of time and then binge records in a day or two. I write everything on the spot, no matter what the project is, a quick verse or a full LP, I pen on the spot. So Apollo was a little nervous of me thinking I only needed a week and assumed I’d need three, but once I got the Detroit I did all 14 songs in six days. He couldn’t believe I’d pulled it off. He was like “I’ve never worked with anyone who writes as fast and is still efficient as you”. I’ve been writing everything on the spot since about 2009/2010.

Skyzoo

Instagram | Twitter | Official Page

Apollo Brown

Instagram | Twitter

Mello Music Group

Instagram | Twitter | SoundCloud | BandCamp | Official Page

‘The Easy Truth’ 

BandCamp | iTunes | Amazon | Vinyl | Cd | UGHH | Fat Beats

The post Skyzoo On Gentrification, Writing Process & New LP With Apollo Brown appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

shot by @andalilo

“I want it to be known, through my music and action, that vulnerability is inspiring. Being a real human being means so much more than being the façade you’ve run with your entire life.“

I’ve been marinating in Lando Chill‘s artwork for weeks. I finally let go of the steering wheel and let something much bigger than me lead the direction of this piece. Why was it this challenging to pin down a direction for readers? Damn you, art. You’re reading weeks of beautiful struggle, a pleasantly frustrating process of assembling a telescope pointed at and tapping into my souls wiring. Something like that.

This year Mello Music Group announced Lando Chill, Lance Alan, as their latest signee. I shouldn’t have to give a crash course on Mello Music Group, but perhaps you’re a new listener. They are contemporary hip-hop’s life jacket. Put a hypothetical blindfold on and choose any one of Mello’s artists. Though the talent ranges tremendously, you’re guaranteed satisfaction in one way or another. Or, can atleast agree that it’s all quality and commendable music. Anyone with good taste shall co-sign.

Relocated to Tuscan, Arizona, Lance was born and raised in Chicago. 24 years young with a seasoned soul. Tender in a sense. Growing up in a house with instruments at hand and a mother who would nurture him under the greats while active in local choir direction, this would lead anyone’s introduction to music the right way if utilized. They would sing and play “name that instrument” together often. Whether he told us that or not, traces of older soulful and rhythmic influences are evident.

He described his sound as, “..imagine funk, folk, classical music, with 2005–2010 hip hop, and then you’ll get me.” Even with such a descriptive statement, I still find it challenging to pin down the sound. Maybe some things are better left mysterious, without definition – that’s fine. Afterall, this is art. I do, however, notice influence from Kid Cudi – which he is quick to agree on and is a fan of. Some of the best creations were left without explanation, leaving nothing but its aesthetic finalization for the earth to interpret. God I sound like such a hippy.

Let me put the gray areas of description down for a second and talk about what can be hoaned in on. How am I left feeling during and after listening to a Lando Chill record? Emotions are generally easy to identify as humans. It’s easy to talk about how we feel, right? It feels good and it feels right. Melancholic or uplifting, head nodding or still. It all ends up simply grouped into the “this just feels good” side of the field. Mello Music Group has a nack for finding some of the most transparent, vulnerable recording artists on the map. It’s certainly an element lacking in today’s oversaturated, cursive pool of rap music. But it’s here, right now – enjoy it.

Believe it or not, newjacks, your visual demonstrations reflect your music carreer. A quality roll-out of music videos is highly notable with Lance. You probably notice a lot of these new artists posting “it was a movie” followed by underwhelming camera emojis and red “100’s” when captioning their current video shoots. Lance’s videos are actually short films, theatrical snippets perhaps. They’re given thought, time and demonstrate quality direction. “Coroner” for example is layered. If you watched it on mute and hadn’t heard the record yet, you would have an entirely different experience. I could even see “Coroner” and “Save Me” looped, muted and projected on a white wall in a quiet, prim art gallery downtown. This brings me back to noting Lando Chill’s art. He is an artist, not limited to a recording artist. We sprinkled a couple videos throughout the article for you.

shot by @loljeffweber

‘For Mark, Your Son‘, Lance’s forthcoming debut – interesting title, even if you’re unfamiliar with the album’s theme. It’s a 12-track dedication to his father who passed on when he was just three. Mark is the backbone of the record. Mark propelled the creation and direction. Lance is here to carry on his legacy, and we’re certain he is guiding his son’s every step, both inside and outside of the studio sessions. He describes it, “I wouldn’t necessarily say his life was what influenced the album, but his lack of life, or lack of opportunity to continue to live his; was the inspiration.” You can almost feel his spirit on record – once again noting Lance’s transparency and ability to narrate such emotions both directly and indirectly. It’s a refreshing and powerful approach that we believe so far is translating beautifully. “Save Me” is a more direct example of his father’s influence, which finds Lance slightly resentful at God for taking him away from us. Is he resentful? Or is he just being factual? Either way, he’s shedding layers and growing publicly – allowing listeners to mourn alongside. It’s a vulnerable position, which I believe is when you’re most susceptible to grow and connect with other humans. He does it well.

If the album sounds anything like the four released singles (“Proud” being the latest), we are all in for a treat this year. Nonetheless, highlight August 12th on your calendar after you read this.

I had the pleasure of exchanging dialogue with Lando Chill, which you can read below. Peace and love:

RESPECT.: Tell us a little bit about your father Mark and how he may have inspired the new album.

I wouldn’t necessarily say his life was what influenced the album, but his lack of life, or lack of opportunity to continue to live his; was the inspiration. Part of me wishes that weren’t the case, because instead of having an album to call my own, I’d have the past 20 odd years with my father. Which to me is a dope ass trade off. But that isn’t the case, so one has to make whatever they want out of the lemons that life grew for you to enjoy. Lemonade CAN taste good, right? But yeah, ‘For Mark, Your Son’ is everything he’s missed since he passed when I was 3; a letter to the dead from the living per say, & it was needed. For him and me.

RESPECT.: Unfathomable events occur daily that can make us question God’s existence. After hearing “Save Me” it’s evident that you’re resentful, which is understood of course. Some things are impossible to wrap our heads around.

Especially since we’re charged to find our own answers in a sea of silence that is faith. I was extremely resentful, & to a certain degree I still am. Holding on to grudges is my secret power, & I’m reeeeal good at it. But I’ve grown up. I’ve lived and loved and lost. I know now that asking for answers isn’t going to get one anywhere; that it’s up to us to find solace within chaos. Does that mean I’m not spiritual? Not at all. But the hierarchy; the political structure, the hypocrisy modern religion has created due to human influence hasn’t gotten us anywhere. To me anyway.

RESPECT.: On “Coroner” you write “..where everybody boasts through internet posts, a blue check mark means you’re better than most // the words of the fallen get forgotten, if it ain’t on the screen than homie it ain’t poppin””. Well said. Can you elaborate on the short attention spans and the need for validation a bit more?

It’s not only a need for validation, but it’s the constant need to be connected. You see, that constant need for connection has created this idea that everything should and can be instantaneous; & this ideology that technology has afforded us / we created is what drives popular culture. It isn’t the actual art or story, but the NEXT original piece or sound; the NEXT big story or hit; that has us forgetting what is real. What is real is the now. What is real is what positive effect you can have on something or someone. There’s a façade we like to create in order to control the “controllable” aspects of our lives. Faceboook, Instagram… they allow us to curate our existence in a way that only shows our highlights, never giving the whole side of the coin; because to us failure is bad and so is pain. But there is inspiration in the bad as well as the good. The struggle is what keeps us “real”. That blue check mark doesn’t care where you’ve come from or where you’re going. It’s a piece of written code set within a program. We have to remember this.

RESPECT.: You were picked up by Mello Music Group, which is excellent news. Were you listening to any Mello Music Group artists or releases prior to getting picked up by them? I feel like that’s all I listen to anymore – the talent is endless and the releases are consistent.

Haha, yes and no. I had peeped Oddisee a while back, & I had seen Apollo Brown & Red Pill on various rap blogs like 2Dopeboyz & HotNewHipHop, but other than that, nahhhhh. I was in a world of jazz & folk rock for the longest in college; interspersed with the newest rap release my roommate at the time, Alan Drake would show me. But you couldn’t be more on point. The talent level on the label is incredible, beyond anything I’ve ever been apart of. I’m just thankful, and humbled to be next to real OG’s in this game.

RESPECT.: In a short amount of time I’ve gathered that you are an open book. Would you say your vulnerability and transparency are beneficial to the world?

I’d really like to think so. I feel as though the façade I spoke about earlier is this ‘modern day shield’ we tend to, in order to walk throughout the different facets of society without feeling “less than”. There’s a status quo; a fine line that was made for us to walk, that doesn’t allow for true expression. It stunts the growth of the people, young and old, & shepherds us into boxes with glass ceilings that never break. I want it to be known, through my music and action, that vulnerability is inspiring. Being a real human being means so much more than being the façade you’ve run with your entire life. It’s the only way, as a world, we can start to heal the wounds our social and economic divides inflicted upon the oppressed people of this world.

RESPECT.: Your last few records offer a range of sound. Do you think you found your sound yet, or are you in an experimental stage?

Haha maaaaan… I don’t think I have a sound honestly. I have a voice; a message. It’ll always ring true through whatever genre they put me in, or whatever sound they say I have. I want to bring the feeling, the emotion, the power back to black music. We’re seeing in with Kendrick and Janelle Monae… it can’t just stop with them. So long story short, I’ll always be experimenting.

Lando Chill:

Instagram | Facebook | Twitter | SoundCloud | BandCamp

Mello Music Group:

Instagram | Facebook | Twitter | Official Site

Pre-Order ‘For Mark, Your Son‘:

CD | Vinyl | Digital

The post Lando Chill: A Restoration of Sincerity appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

We’re told that acceptance and knowledge of self are crucial. To acknowledge our shortcomings, flaws and wrongdoings in order to live a somewhat serene and decent life. Red Pill‘s awareness is rather acute, one of his biggest attractions even. ‘Instictive Drowning‘, his forthcoming sophomore record, is a continuation of internal and external struggles – a new collection of seeking self identity and reaching at faith.

It’s continued depression, trudging the happy road to destiny. It’s being the new kid in middle school coping with death. It’s handling fear. It’s accepting your privilege as a white male. It’s feeling uncomfortable in your own skin. It’s a real self analysis from a blue collared, big hearted artist. Recent health issues seem to have arose due to “self medicating” as well. This is reality. If you’re familiar with Red Pill’s catalogue you will agree that this is not surprising, but this time around there’s another layer of rawness that’s clear. It’s what he is good at and why people cherish his artwork. Hip-hop doesn’t offer this level of [honesty] and self awareness too often on a mainstream level.

Themeatically ‘Instinctive Drowning‘ is an ode to Chris’ great grandmother Mabel. More so, the records are inspired by her and her granddaugher Jody’s personal struggles. The title track however finds Chris reliving his mother’s passing and his outrage towards this deadly disease we call alcoholism. It’s spinning out of control in a sense, with his grip getting looser by the year. There’s sure signs of hope throughout the record, but it’s few and far between. It’s a precious 10-track voyage through the mind and thoughts of Red Pill – relatable to many on multiple levels.

Aesthetically there’s something appealing about him and Ill Poetic‘s experimental take here. It’s new for Chris. He describes it as a psychedelic rock album. There’s a record for every ear in this body of work. “F*ck Your Ambition“, the first released single, and “Club Privelage” are more up-beat. “Club Privilege” is basically a brolic, drunken stooper. Almost like, let’s forget about the bullshit and go have a good time. 2015’s “Rum & Coke” seems to have received a follow-up with “Gin & Tonic” – brighter hook, a darker set of lyrics and a play off of 12-step programs. Again, indirectly suggesting he sees a light at the end of this stale tunnel.

This record is a concrete follow-up to his Mello Music Group debut ‘Look What This World Did to Us‘. It offers identical perspective, but a completely different arrangement of sound and palette. That’s all we want – an artist willing to provide slight variations and jump into different playing fields while remaining rooted and true to self. Or not. Maybe you’re the strictly mid-90’s Dj Premier kind of guy who shut the door on PRhyme or Torii Wolf. That’s fine. But Red Pill is still early enough in his career to where you don’t have to be entirely pinned down to one particular sound. Take ‘Ugly Heroes‘, ‘Look What This World Did to Us‘ and ‘Instinctive Drowning‘. One boom-bap and heavy drummed, one jazzy and the latest atmospheric and a bit textural. Also, almost no features will be found except P.O.S. – on the newly released single “F*ck Your Ambition” which is available to stream below.

We had the pleasure of talking with Red Pill about the new record. We hope you gain insight and connect in one way or another – peace and love:

RESPECT.: It’s always a pleasure catching up with you. Tell us about your great grandmother Mabel on the cover, and your mother Jody if you wish.

Same with you man. So, I didn’t know my great grandmother, she died in her forties after dealing with her own battles with alcoholism. From what I know, my great grandfather wasn’t the best husband to her. He owned a big company back then called Angott Distributing, which was the main distributor for Wurlitzer jukeboxes throughout most of the Midwest. They made a ton of money, but he was apparently a jerk to her. She was known in the industry as a great hostess for these big music industry parties they’d throw. She drank a lot and dealt with her demons like a lot of people in family do. But that’s really all I know of her.

As for my Mom, her life was much different. She grew up with money and was really comfortable but my immediate family with her, my Dad and brothers, we struggled with money a lot. You never know what drives someone to drinking, or substance abuse for that matter. It seems like a lot of times there may not be a reason at all. But a lot of people in my family point to a particular time as when my Mom’s path might have changed. When she was in her teens, she was really close with her aunt. Her aunt also struggled with mental illness and eventually killed herself. My mom was devastated. As she got into her twenties the drinking really picked up. I watched it my whole life and eventually she ended up passing away from health issues related to her alcoholism when she was 45, in 2007.

RESPECT.: ‘Instinctive Drowning’, sonically a new effort that we think fans will have to open their minds up to. How did working with Ill Poetic entirely come about?

I had met Ill Poetic awhile back in Lansing, MI at a show. Probably 2009 or so. We kind of kept up on each others careers and followed each other on Twitter and Facebook, but never worked on anything. After I finished “Look What This World Did to Us” I was trying to think of who to work with and my engineer, Charlie Beans, suggested I hit Ill Po up for beats. I did and I was cool with what he sent but it didn’t fit what I was looking for. Ill Po is originally from Ohio, but he moved to San Diego recently, which happened to be the first stop on the Murs tour I opened up for last year. He came out and we talked about what I was thinking. I had no intention of having him produce the whole record, but eventually he kept sending more beats and I was pretty blown away at the sound. After about 5 or 6 beats I decided I wanted him to produce the whole project. It’s definitely a different sound for me and for people who have come to know me through Ugly Heroes, it might not be for them. But I hope they come in with an open mind that this record is really an experience.

RESPECT.: Every release is exposing your issues with alcoholism more than the last, ‘Instinctive Drowning’ seeming the most intense. A beautifully painful continuation as far as content. 

Yeah, man. I think on the last album, as ridiculous as it might sound, I was more lighthearted about my issues. I’ve always been the type of person that laughs at myself, self-deprecates, makes light of my problems. This one the humor is gone. I wanted to take it more seriously. And for me, being heavy through music is all I’ve known. It’s how my brain is wired to create. So people kind of get this highlight reel of shitty moments over the course of two to three years, but there’s plenty in between those moments that I just don’t know how to tackle creatively yet. Like I just don’t think I’d be good at making a happy song haha. But I hope this record will be important for people who struggle with mental illness and substance abuse.

RESPECT.: You’re bleek, hyper-honest in a sense – regardless what type of production you’re working over. If only you could give an eighth of your realness to these brainwashed, radio rap figures. 

That’s really kind of what I wanted to do with this album. Like, I have no problem with the actual sound on the radio. I like the beats, I like the melodies for the most part. It’s pretty undeniable. But I think what’s missing at the mainstream level is just rawness. No one is talking about shit anymore other than Kendrick and Beyonce really. Even in rock, like everything right now is really bland as far as lyrics (again at the mainstream). I wanted to tackle some really tough and honest issues, whether religion or war or race or my own personal problems and try to make some really great sounding music as well. Rap feels like it’s in it’s 80s glam-rock, hair band era. Everything is drugs and girls and over the top outfits. I’d like to see raps grunge moment. When some really powerful, heavy music kind of takes over and captivates people.

RESPECT.: Are you and Mello Music Group happy with the record?

I was really scared to take the record to Mello. For better or worse, I think some people see Mello as like a guardian of a certain sound in hip hop. Which really isn’t fair, because there’s a lot of progressive and alternative shit happening with the label. What I think Mello is more than a guardian of a particular sound, is that we’re championing honest, thoughtful music. I hope that’s not pretentious, but to get back to the question: Mello and I are super happy for the record. We have our concerns; it’s a risky album. But Mike called it “the album of a lifetime”, meaning my lifetime. This record is very important to me and Mello is standing behind it happily. We’re excited and nervous for it to drop.

RESPECT.: It’s safe to say that your story telling abilities are notable. The new album’s title track cuts through the heart.

The new album’s title track cuts through the heart: It’s the hardest song I’ve ever written. Not because of it being like technically difficult, and not even because I was scared of saying what I said, but because I was and still am worried about what family and friends will think. I’ve said before that on my previous work, I was worried what strangers would think of me. I’m more worried about what people around me will think when they hear it. But it’s important for me to put that shit into music. I’ve never been scared of an album being released before, but this one scares me.

RESPECT.: We’re all excited for the album to be released. It’s going to help a lot of people, really. What do you want fans to know about this body of work?

I think a few things: 1.) Like I said, come into it with an open mind. I sound like a dinosaur, but I really, really do care about making albums that aren’t designed for the songs, but making songs that are designed for an album. Every piece of this was purposeful, every song was written so that it would flow into the next one. I want people to throw on their headphones, press play and just let it run. I want people to hear the first guitar part on “The New Normal” and then 45 minutes or whatever later hear the final harps on “Jeffrey Star”. It’s a different sound, but it’s still me. 2.) I want people to know that I’m alright. Again, this is a highlight reel of bad moments. This isn’t me every day. And 3.) That if you’ve ever struggled with mental illness or addiction, I hope this record helps you out.

Incase you missed his Mello Music Group debut, we’ve attached the full album stream below. It’s highly recommended if you haven’t, just saying:

Red Pill:

Twitter | Facebook | Instagram

Mello Music Group:

Twitter | Facebook | Instagram | Website

Pre-Order ‘Instinctive Drowning‘:

CD | Vinyl | Digital

The post Instinctive Drowning: A Verbal Dissection With Red Pill appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

There are many areas that are making hip-hop proud currently – “DMV” being one on the list. For those unfamiliar, it’s the area where Washington, D.C., Maryland and Virginia mesh, which naturally developed the now-universal byname. With its rather central location along the east coast, it’s safe and evident to say that musicians by way of the DMV area draw influences from above and below – and it’s something beautiful. It’s a bit tough to pinpoint a sound or specific influence as a whole when you hear it.

To name a few from surrounding pinpoints, do recall Wale, Pharrell, Clipse, Oddisee (as well as a good portion of Mello Music Group recording artists), Missy Elliot, Skillz, D’Angelo and many more. We’d say that’s quite a beautiful hybrid of artists, right?

Tef Wesley gave us the original “Gametime” treatment last year (2015), having released a video for it as well. Fast forwarding a year later to now Tef decided to round up fellow partners in rhyme Jered Sanders and Cane to paint the triumphant, guitar riffed, heavy drummed Grussle canvas. Grussle is an electrifying beatsmith, always paying homage to the traditional, neck snapping and atmospheric boom-bap-esque sound that we all love and want more of. DMV’s Dj Ragz (of the Jazz Addixx) brought his sharpest Ginsu knives to the table, per-usual. Do be alarmed. This joint is potent.

Lets not turn this into a long, exhausting review. Enjoy the record and be sure to keep up with the fellas as 2016 unfolds. Peace and love.

Tef Wesley | Jered Sanders | Cane | Dj Ragz | Grussle

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Pre-Order “Day Drunk” EP on iTunes & Double Rainbow Splatter Vinyl

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Constantly on the road, it’s very fitting for Mello Music Group producer/emcee Oddisee to make a video to the aptly titled single, “Belong To The World.” On the track, Oddisee spits about the perils of growing up and not quite fitting in through his journey to feel at one with the world, while shunning politics, fame and all arbitrary labels. Directed by Zack Kashkett.

“Belong To The World” is off Oddisee’s recent album, The Good Fight, which features Grammy nominated singer Maimouna Youssef, DC vocalist Nick Hakim, Gary Clarke Jr. and Tranqill.

The post New Video: Oddisee – “Belong To The World” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.