Matisyahu checks in with Scoop B Radio. Photo Credit: Rick Kern/WireImage

Matisyahu checks in with Brandon ‘Scoop B’ Robinson via Scoop B Radio. Press play below to listen! 

Jewish American reggae vocalist, beatboxer, and alternative rock musician, Matisyahu is pretty awesome.

While his “One Day” and “King Without A Crown” tracks have achieved critically acclaimed success, he’s currently enjoying his latest Undercurrent album, released in May.

So with the stage name being Matisyahu, ‘ya gotta wonder: what does one call him for short?

“People call me Matis unless I’m with my kids, then they call me Matis and the Yahus M is cool too, though that sounds nice,” Matisyahu told me on Scoop B Radio.

His stage name may be one thing, but his birth name is Matthew Paul Miller. “There are actually a lot of rappers with the initials, M.M.,’” he said.

“I’m Matthew Miller, Eminem is Marshall Mathers, there’s a lot of us! Next time you hear a white rapper, check out his initials because there’s a lot of M.M.”

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The post Scoop B: Grammy-nominated reggae artist Matisyahu says there are many white rappers like he and Eminem that have ‘M.M.’ as their initials appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Many still do not know the name Alkaline in the states, but in Jamaica he is the reigning media champ. Dancehall clashes, skin bleaching, & eyeball tattoos: all words used to describe the 20-year-old rapper. The international dance hall artist has created another infectious song. With well over a million views on YouTube in three weeks, there’s no doubt that Alkaline’s, “Fleek” is a smash hit.  The song includes a very enticing beat that is accompanied by his fluid rap & dancehall emcee abilities. His music is undeniably catchy.

Click play below to hear Alkaline’s song, “Fleek” :

To learn more about Alkaline, check out his Youtube, Twitter, and Soundcloud.

The post NEW MUSIC: Alkaline – “Fleek” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Catching up with UK artist Cadenza, the young producer known for turning classic samples on their heads gave us a deeper look into his versatile world and how he has his hands in a bit of everything. As a producer, DJ, manager and just overall orchestrator of connecting the right people musically, Cadenza is a man of many hats. From working with Busy Signal to Diplo to Ryan Leslie, this music man does not let genres define him nor bound his success.

Let’s talk a little about your musical background.

The first record I did probably would have been around 2011, which was called, “The Darkest Hype.” It was like a dancehall record, like an instrumental, which sampled the Lafayette Afro-Rock Band, which is that famous sample they use in the Wreckx-N-Effect “Rump Shaker” and all that stuff. Jay-Z’s used it. As I put that out, I started doing A&R scouting for that label that put it out called Dummy Magazine; they had a record label called Dummy Records. I worked for them for a while. I was at Universal, as well at the same time [for a publishing deal]. I was busy with my degree work and I liked making records on the side. I would go away for the summer and go to America and work with guys like Diplo over at Mad Decent and so I ended up putting out a record with him on his label. I did some stuff with Fool’s Gold [Records] and MixPak. All through that time, I was still studying; just putting out random singles, or whatever. When I finished University, I was in London and just started working. This year I’ve worked with TALA on her EP and the Kiko Bun stuff, which came through my label. That was the “How Many Times” record, which we did last year. Moving forward with Kiko, I’ve just been involved in his whole album, which he’s signed to Island [Records] now. We went to NY in January to record that and do the first single, “Where I’m From” out there with a band called The Frightnrs and another producer called Ticklah who produces that band, who are like a 5-piece reggae band from Brooklyn. I’ve just been working with loads of people who come through my studio like Stylo G, Busy Signal, other UK club producers…my life’s kind of all over the place so I’m probably not making much sense (laughs).

You’re the music man that brings the artists together; you produce the track and link people up. You’re the orchestrator. Do you take any pride in that or do you feel that just comes along with what you’re trying to accomplish?

Yeah, I find the right people, the right producers, the right singers, the right rappers; yeah, I kind of bring the right mix together. Obviously, production was something I started when I was a little bit younger, but it was never the main thing that interested me. I was never strictly just interested in just being a producer. I was as equally interested in A&R, scouting, that kind of stuff, as well as management. I manage this other guy called BMB Space Kid; he’s a guy we have on our label. He’s from Russia. I kind of always wanted to have my fingers in every side of it as I quite enjoy it and that means I never really get bored. Some days I’m in the studio producing or I’m DJing or going to a gig or I’m sorting out some stuff for BMB or whatever. So, everyday is always different. I’m never bored.

How do you juggle all of that?

I find it all kind of falls into one, if I’m honest. Because I’m looking for new stuff by default, either for myself because I want to work with someone new so, I’m always looking for new stuff. That either mean I’ll have the opportunity to sign them to the label or just to work with them on something for me or for something for them. It all kinda just feeds into each other naturally. I’m just constantly looking so there will always be a right reason for me to be in contact with that person. It could be one of three things: to do something for them, something for me, or maybe if I really like it, help them put their record out.

You did production work on Ryan Leslie’s Black Mozart. How did you two link up?

In 2011, I was in NY and my friend was interning for him. I went to go meet my friend by Ryan’s apartment one night and Ryan came into the deli near where he lives and I said, “Hey, I want to send you some tracks.” He was like, “Cool.” I sent them to him and I got a message from him like, “Hey, come to Vienna and work on the album.” I looked up to him for ages. I use to watch all his YouTube videos of him making beats and stuff so, it was pretty cool to link with him and get to work.

What’s the reggae and dancehall scene like in the UK? 

There’s a big reggae and dancehall scene here; always has been. It’ll get played in the club. It’s always there, but these past few years, Stylo G’s probably been the main guy who’s championed UK dancehall. We haven’t really had a UK artist for that in a while. He walks the line perfectly: he can do big radio records and he can do real street, gully Jamaican records, as well. So, I think he’s a good artist. He’s flying the flag definitely…There’s not too many UK artists. Kiko is probably the next one that comes to mind, but there aren’t really a whole heap of UK-based dancehall or reggae artists that are successful or that are well-known, I would say. Unless they’re coming from Jamaica or America…Around where I live, there’s a big West Indian community, just always has been since the 50s when they all came over after the war. It’s strong…I’m half-Jamaican myself.

Your single, “Foundation” is being released in August in time for Carnival. 

Yeah, it’s going to come out internationally. It may even release a little bit earlier so, possibly even the end of July. It’ll be around that time. There was no intention behind it. It was a record I’ve been sitting on for a couple of years actually. I made the actual beat when I was 18. That’s like six or seven years now. I made it when I was in Jamaica and I just never did anything with it. When I finally set up my own studio in London, Stylo came around and voiced it. Straight away he was like, “Yeah, I like this. This will work.” It took ages of back-and-forth and eventually we got Busy on there and it all kind of came together. I feel like sending it out to people especially people in New York like Bobby Konders and Hot 97 is championing it. Even in Europe…because everyone knows that song. It’s the “Real Rock” riddim. Even if you don’t listen to reggae, you’ve probably heard that. It’s probably in the back of your mind somewhere, like in your subconscious. I think people will, hopefully, naturally take to it.

Will you be performing or attending at the Notting Hill Carnival in London this year?

Yeah, I probably will. Probably have a party for the label, which we’re trying to plan now. There’s always tons of stages all around the carnival route. I’ll be showing up, doing stuff with Kiko and Stylo and making sure the record is getting played out loud.

The “Foundation Mix” is a mash-up of hip hop, throwback classics, soulful house, and more. With so many different sounds, what’s the common theme for YOU?

I don’t know. Growing up my brother was always into dubstep and drum bass so, he would show me that side of music. He used to take me out to clubs with him…So, that was always like a big influence for me and I always liked the intensity of that music. Then, for me also, production wise I find myself when I was learning how to produce and making tracks, I use to enjoy making club music, but I maybe wasn’t that good at executing it well like how I heard people doing it. I always found I was better at more soulful, hip hop, and R&B edge kind of thing where I could find old samples. I had more of a talent for that type of tempo and that groove than I did for straight up club music. I like to kind of showcase that because I like to play the stuff I make then, I also want to play the more club stuff that I grew up on and still listen to now.

Do you have an album coming out soon? 

It’s not confirmed as of yet. I haven’t really started it as such. I have tracks that I’ve written. Yeah, there will be a longer length project coming out at the end or start of next year.

Have you put out an album before?

No.

Being that this would be your first LP, what exactly would you want it to say about you?

Definitely want it to have a classic, timeless feel to it. I don’t want it to be a snapshot of what’s happening right now because I feel like that can be quite disposable. You can be like, “Oh, this is cool now,” and then, you forget about it next month. I definitely want to draw for some more classic features that people wouldn’t expect. People from eras gone by and just bring them back in and also, people that I’ve grown to work with now that I have a good relationship with. Like Kiko, I would definitely have him on the album. I think that it would just be a case of me taking ideas that I have now, which I probably just made on my computer, but breaking them back down into the raw elements of a song. So, literally working them back to just a piano, writing a song around it, and just building it back up. That’s how I see myself doing it. Breaking ideas down and then, just building them back up again.

Do you feel like it’ll be as mashed up as the “Foundation Mix” or do you feel like you’re going to focus more on the whole reggae, dancehall type of feel?

No, it’ll be all over the place (laughs). I think it’ll make sense.

Yeah, because you’ll basically have no genre.

Exactly. That’s kind of what I want. I don’t really want to be like, “Oh, he makes reggae or he makes this.” I think that if you’re a producer you should be able to, in theory, make pretty much anything. You just have to know the right musicians to get the right people and bring it all together and you can do whatever you want. If you can envision a sound, you should be able to create it…I want to get people on a record that you really just wouldn’t expect. I want to get the most out-there collaborations and have people like, “How did he even get these people on this kind of record?” That’s how I want it to feel like.

What has been the most monumental moment in your career so far and what’s the biggest goal you have that you have yet to achieve?

Working with Ryan was definitely a big moment. Then, I think touring with Major Lazer was pretty special, as well just because it was completely out the blue. There was no preconceived plan, it was like, “Ok, come and do this,” and I went and did it. I never really played that much before. I DJ’ed, yeah. I used to DJ when I was at university, clubs and stuff like that, but only to 300 or 400 people. Then, suddenly I was at Roskilde [Festival] in Denmark and we were closing out the Arctic Monkeys and there were 80,000 people! It was surreal. It was an experience I’ve never had and don’t even know if I ever will again, just as me. So, that was really cool.

To learn more about Cadenza, check out his Instagram and Twitter, and Soundcloud.

Pre-order Cadenza’s new single “Foundation” featuring Stylo G and Busy Signal here.

The post RESPECT. Talks With UK Music Man Cadenza appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo by Trevor Sage-El

Shortly before midnight on April 1, DMV rapper Fat Trel dropped his newest mixtape, Gleesh. The eponymously-titled mixtape is Trel’s first release since signing to Maybach Music Group last November and a long-awaited one at that. It’s been almost eight months since the Slutty Boyz co-founder released his last mixtape, SDMG, and fans waited with bated breath to see what the Maybach rookie would come up with next. And Gleesh—thank the rap gods—does not disappoint. Trel still sounds like Trel, despite his upgrade from unsigned to signed artist. He still reps his hometown of D.C. and his love for the ladies hasn’t diminished in the least. Like SDMG, Gleesh is chock-full of guest artists with features from fellow Maybach signees Wale, Rockie Fresh, Tracy T, Stalley, and the man himself, Rick Ross. Trel’s iconic rough-around-the-edges, trunk rattling sound is still preserved in Gleesh, just with a little more polish and a little more pizzazz. Perhaps the The Washington City Paper put it best when they said, “Gleesh is like a new, upgraded model of the same vehicle.” RESPECT. talked with Fat Trel about the making of his latest mixtape and his relationships with fellow MMG artists. Read on below.

RESPECT.: Your newest mixtape, Gleesh, dropped yesterday. Have you gotten any feedback from fans or know how many times it’s been downloaded yet?

Fat Trel: I haven’t checked the stats recently. We dropped it at 11:35, so at about 12:35, we had 42,000. But other than that, I really ain’t too caught up on the stats, you know? I know my peoples was waiting. I know my fans was waiting. I know they wanted it, so I ain’t really caught up on the stats. We just gave the people what they wanted, you know?

Do you have a favorite song on it?

Of course. It’s “Rest In My Piece.” That’s my favorite song on there.

That’s one of my favorite songs, too.

Oh, really? Wow.

Is there a story behind how that song came about?

Yeah. I actually was done recording for Gleesh, to be honest. I was recording in LA and I just had some extra sessions on my hands, just bullshitting around and I found out that one of my friends was murdered in March, like around March the 25th, I think. And then the next day another friend was murdered, so I lost two friends back to back and I was kind of hurt, you know? And I felt like I just wanted to touch bases on that and I made the song. And then after I made it, I was like, ‘Yo, it’s gotta go on the tape,’ so it stayed.

I noticed that, as usual, you’ve got a lot of featured artists on this tape. You’ve done that with all your other mixtapes, but this time a lot of the featured artists are other Maybach signees. Was that a voluntary decision?

It was my decision. I just wanted to work with the home team and get used to brushing shoulders with my co-workers, or with my teammates, as you would call it. And that’s what made me go with those features.

Since being signed, do you think that your music has changed or been influenced in any way?

I think its definitely changed. I’m seeing a lot more. I bought my first home and I’m talking about a lot of different things. It’s still the same subjects, same content. I still want to reach the same people. I still talk about the same things, the same struggle. But, yeah, I think it’s changed. It has to change. Everything elevates. If I elevate, my music elevates. Plus, this is what? My sixth tape? So after awhile, you got to talk about what’s real. You got to talk about what’s going on. I got new problems, now. Just because I landed in money, don’t mean I’m not still stressing and going through old things.

Has it been hard to keep a connection with D.C. and the DMV area now that you’ve signed to Maybach?

Naw, naw. Not at all. I’m very in-tune with the D.C. streets and I know what’s happening. So it’s not hard at all. I am D.C. no matter where I go. And at the end of the day, after all the shows, after all the tours, after all the interviews, you’ve got to go home, you know what I mean? When I go home it’s always a breath of fresh air. I’m always in-tune with what D.C. got going on.

Where did you produce the bulk of Gleesh?

Actually, the bulk of Gleesh was produced in Miami and California.

You did a remix with Rick Ross of “Shoot,” which was originally on SDMG. How did you decide to do the remix?

I just wanted to bring Ross back to that element. I feel like after listening to Mastermind, he’s definitely in a new bracket and in a new wave of the entertainment world. I just wanted him to snap back down to reality because he’s doing well—it’s the number one album in the world—but at the same time, he just signed a nigga that’s still in the streets, that’s still moving around and still getting it how he lives. So I just wanted to bring him to my world. I could have put him on any song, but that’s why I chose “Shoot.”

Do you have plans to remix any other songs from previous mixtapes?

Yeah, of course I do. I love my music, old and new, so I definitely have plans to remix some old records.

Why weren’t there any features from Meek Mill on Gleesh?

I’m a believer in the timing is right. I’m a believer in the right timing and I’m a firm believer that you can’t rush a good thing. And with Meek, it just so happened that the whole time I was working on this tape, Meek Mill was working on his album. But we definitely have plans to get in the studio. He just had his thing going on and I didn’t want to intervene. He was waiting for me to send him a song to do a verse on, but I ain’t want it that way. Like, I want us to get in the studio together and make something monumental, so that’s why you didn’t see Meek Mill on that tape.

And now my question about the cover art for Gleesh. Where’d you get the idea for it and what’s the message you’re trying to get across?

The message I was trying to get across, to be honest, was that I got a sense of humor. Bernie Mac is my favorite comedian and I love to laugh. I love laughing. Laughing cures the soul, if you ask me. I wasn’t really trying to make a statement towards the show—I’ve never watched one episode of ‘Glee.’ The music on the tape has nothing to do with the show. It’s just Gleesh been my name for years, long before that show came. So when it came about and it worked its way up to being number one, I was just like, ‘Whoa. That’s what I’m trying to do.’ My graphic designer just sent it. I never even thought about it, he just sent it to my phone and I was like, ‘Yo, we gotta run with this.’

I know you’ve been hustling for a long time, but recently it seems like you’ve been grinding more than usual—so much so that you were practically falling asleep in a recent video interview you did. Has your grind been a lot more intense recently?

It has. I’m taking a lot more flights and I’m getting a lot less sleep. I apologize to that person for falling asleep. I don’t know why they posted it, but I guess the point of posting it was to show the struggle. A lot of people see us having fun. A lot of people see us performing. A lot of people see us shopping and celebrating in the club. But you don’t see my manager trying to get me out of bed every morning. Man, that’s a struggle, for real. So my grind has definitely changed. I’m a hard worker. I want to be the best and, to be the best, you’ve got to beat the best. While they sleep, you’ve got to be up working, so that’s what I do. And unfortunately, it just takes a toll on you. I think that when you’re passionate, sometimes you’ve got to push yourself to that limit. You’ve got to let the world know that this is how good I feel about my music and this is how hard I’m gonna grind.

What’s your relationship like with Wale these days? I know you guys have been through a lot and he shows up on “In My Bag,” so does that mean things are little less chilly between you two?

As far as our relationship, that’s my bro. That’s big bro. He changed my life. So all praise due to him. We knew each other for years, grinding on the scene as artists from the DMV. We’d been working real hard at what we do before the bright lights and all that came, so the relationship was squared away. We’ve got a lot more music to be released, too, to be honest. We’ve got a lot of music. Wale’s real specific about what’s being put out with his name on it, so that’s why I couldn’t go crazy and put a lot of Wale records on it because he likes to save it. Everything’s much more special to him. Me, I just look at it like free crack. Like, let’s just make some more free crack for them. But he got different plans for it.

Earlier today you tweeted: “Ross just called with some good news.” Care to share what that good news is?

He was just talking about a tour situation that could possibly be coming up. I definitely want to surprise you, so you have to stay tuned for me to break that news, but I’m gonna break it soon, as soon as its official. Like the day that it’s official, I’m gonna break it. It’s real big though.

I know that you’ve had some shitty things happen to you in the past, like when you were dropped from Board of Administration and no one told you or when you were cheated by your ex-manager. Is trust still always in the back of your mind? Has it been an issue with Maybach Music Group?

No, not at all. I stayed independent this long for a reason. I turned down X amount of deals this long for a reason. I feel comfortable about the situation we chose with Maybach Music Group. So now that we’re here, that’s not an issue. We’re only about working. What we got set in stone is already set, so we’re just building and making a legacy now. All the paperwork and all that stuff, that’s small beans compared to what we got planned.

A few years ago in an interview, you were talking about how shocked you were to learn that you had such wide-ranging fans and supporters. One of the examples you gave were the white guys in Ohio who were getting “Slutty Boyz” tattooed on their legs. Have you had any more discoveries about who your fans are and where they’re from?

Of course. I get a lot of followers from South Africa. A lot of followers from Canada and Nova Scotia. There’s Slutty Boyz in Europe. There’s Slutty Boyz in Paris. There’s Slutty Boyz in Turkey. There’s Slutty Boyz in Greece. There’s Slutty Boyz in Rome. Everyday it’s a new surprise and I love it, man. We started this on the corner in D.C., you feel me? Just bored, talking. And look at it now. It’s crazy. So everyday I’m finding out about the new fans. A white man just walked up to me in Manhattan, late thirties, early forties, and he walked up to me and told me I was the man. So you know, everyday it’s a new surprise.

You once said you thought you had more female supporters than male supporters. Do you still think that?

Yeah, no question. The Slutty Boyz lifestyle has definitely, fortunately, brung in more women supporters than male supporters. But, you know, that’s the lane we wanted to go with. Everybody knows niggas they follow the women anyways. Whatever the women listen to, that’s what the niggas are gonna be listening to if they’re not already. I definitely pride myself in having more female supporters than male supporters. Who wouldn’t want it that way?

One of my favorite songs from your previous mixtape, SDMG, was the reggae-inspired song, “The Latest,” which coincidentally featured Magazeen who’s also signed to Maybach Music Group. So I was just wondering how that song came about because it’s so different from the type of music you usually make.

When I was little, when I was about maybe 10 or 11, my mom used to date a Jamaican, who was later murdered in the streets of D.C. So I always knew about that Jamaican lifestyle, that reggae lifestyle–the music, the dreadlocks, the food (of course), the slang, the lingo, the way they dress. And I was always intrigued by it. Growing up a young black American, it was that fantasy. You wanted to go to Jamaica and meet a plug and go crazy. So when it came to that, me and Magazeen got a lot of records. He works just as fast as me and that’s me honestly speaking. So as far as that kind of music, me and Magazeen got a lot of those reggae-inspired records in our emails just sitting there and waiting to be released. Shout out to Magazeen, too.

Other than Jamaican and reggae-inspired songs, do you have plans to make any other crossover songs in the future?

Yeah, of course. I’m a music lover, not just hip-hop and R&B. I’m always down to try new things, I just believe that everything happens for a reason, so I want it to happen at the right time. I don’t want to rush a pop record if it’s not meant for me to have a pop record. If I reach the level where it’s like, ‘Yo, I think you need to do a pop record,’ then I’ll run with it. But everything happens for a reason and you can’t rush a good thing. So in due time, I’ll be switching up the lot.

This is random, but I’m just really curious: how long have you had your dreads?

[Laughs.] I’ve had them for about seven years now, maybe eight.

And no plans to cut them I bet, right?

No, not at all. Not at all. Not ever. Nothing in life could make me cut my hair.

You’ve talked before about how you feel the hip-hop industry overlooks a lot of emcees and artists coming out of the DMV. Do you still feel this way?

Of course. That’s a true statement. I don’t know why, but it’s true. Unfortunately, we’re just not a place that produces a lot of rappers or produces a lot of producers. But it is what it is and we’re working on it as a city, as a congregation. I’ve got a few releases of artists that I want to share that come from my city, so I’m real big on that. We’re working on it.

And do you think your come-up will help future emcees coming out of the DMV?

Yeah, I hope so. I think it’s already helping. But like I said, everyday I hope more and more artists shed light on D.C.

Last we heard, your daughter was singing in a talent show and your son was getting fitted in a North Face outfit. How are they doing?

She sings and she acts and she’s doing good. I actually just saw her teacher the other day and she told me that she’s a straight ‘A’ student, listens in class, first one to line up, first one to have her book out. It’s crazy because I was not that kind of student, but I’m glad my daughter is. And my son is an angel, which is crazy. Both of my kids, they’re the opposite of me. They’re not bad at all. My son don’t curse. He don’t hit people for no reason or throw toys. He cleans up, he talks nice. It’s crazy. He’s the opposite of me but they’re doing great, they’re doing wonderful.

What’s going on with your record label, Da Company 1135?

Da Company 1135, yeah, that’s my dream. That’s my baby. I’ve got to hold onto that because I believe in it more than anybody else, so DC 1135 is definitely still in effect.

Got any future plans or talks of a debut album coming out?

Naw, we’re not even focused on a debut album. We’re just focused on Gleesh. That’s the main priority. I’m a rookie right now to the team, so my number one priority is sitting back and listening and learning and watching Meek do his thing, watching Wale do his thing, watching Rockie, watching Stalley and most of all, watching Ross. Just sit back and learn and wait for my number to be called. I’m coming off the bench and I’m dropping bench points, but we’re working hard to get that starting position, you already know.

The post Interview: Fat Trel Talks Gleesh, MMG appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

“911“, a combination of hip hop, r&b, and reggae fusion, was originally recorded under the roof of NYC famous “Hit Factory” in 2000. The song, which samples from Eddie Brickwell and the New Bohemians‘ “What I Am”, depicts two star-crossed lovers whose love and desire to be together are undermined, time and time again, by the dark lifestyles they live in the inner city. The track earned Wyclef Jean and Mary J Blige a Grammy nomination and a place in everyone’s memories as one of the best hip hop duets to come out at the turn of the millennium. Don’t forget about it.

The post RESPECT. Your Elders: Wyclef Jean x Mary J Blige – “911” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Major Lazer has put out a real treat for all you reggae, dancehall fans. While they’re gearing up for London’s Notting Hill Carnival, the group releases a 62-track mix filled with some of the best names in reggae like Movado, Vybz Kartel and Mr. Vegas. The mix is hosted by Walshy Fire andwill definitely put you in the carnival spirit.

The post New Music: Major Lazer Presents <em>Carnival Mix 2012 </em> appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.