Full Moon Festival took place this past weekend in NYC and it was F**KING. EPIC. The two-day festival took place on Governor’s Island and it featured sets from Pusha T, Lolawolf, SBTRKT, Santigold and so many more! Over 10,000 fans attended but the festival had such a chill vibe to it, that it didn’t feel congested or over crowded AT ALL. Of course the wonderful sun rays could have been the reason for that. Or maybe it could have been the delicious food or the drinks from Stoli and Heineken. Either way, it was amazing!

Saturday’s acts were Lolawolf, Pusha T, JIL, Dave Harrington, Moodymann, Black Coffee & SBTRKT. Sunday’s acts were Santigold, Baile, Marcus Marr, Kali Uchis, Allah-Las, Escort and Julio Bashmore. And all of them put on one heck of a show!

The tropical vibes at Governor’s Island were smooth and definitely a way to celebrate the summer almost coming to an end. Even the rain on Sunday couldn’t stop the crowd from having a good time. It was all love, fun times, positivity and great memories at Full Moon Festival.

Unfortunately, if you missed it, then you royally f**cked up. But learn from this and make sure to be there next year! In the meantime check out some photos and video from the festival below.

Photo by Luis Ruiz

Photo by Ray Neutron

Photo by Luis Ruiz

Photo by Dylan Johnson

Photo by Luis Ruiz

Photo by Luis Ruiz

Photo by Luis Ruiz

Photo by Luis Ruiz

Photo by Luis Ruiz

Photo by Luis Ruiz

Photo by Luis Ruiz

Photo by Luis Ruiz

Photo by Luis Ruiz

Photo by Luis Ruiz

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The post Full Moon Fest was the Last Festival You Should have Missed appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

SBTRKT hasn’t released music in nearly two years. His 2014 release of Wonder Where We Land arguably left enough power to fuel listeners for two years, featuring 21-tracks over two separate disk. The British producer has now returned back to the boards with a brand new single.

“Good Morning” features The-Dream and is a collaboration that will live on SBTRKT’s forthcoming album, Save Yourself. The song was premiered by Zane Lowe on Beats 1 Radio show earlier on Tuesday.

“This is my first song I’ve put out in nearly two years,” SBTRKT said. “It’s the first I’ve collaborated with an artist named The-Dream.”

The two found common-grounds over the SBTRKT-produced track. The production is eerie and goes through a lot of transitions before the ending. The song embodies the title, leaving as a nice cup of coffee song to begin your day.

“It’s something that came about last year, where I had the opportunity to work alongside him,” SBTRKT mentioned during his Zane Lowe interview. “We ended up writing a bunch of songs together.”

While “Good Morning” serves as the first single from his forthcoming Save Yourself album, we hope to get more collaborations from the two in the near future. For those who aren’t familiar with SBTRKT, it will be a loopy experience, as you listen to an experimental-based track from this guy.

Listen to “Good Morning” below.

The post SBTRKT Releases New Single ‘Good Morning’ Featuring The-Dream appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Odd Future subgroup The Jet Age of Tomorrow (composed of Matt Martians and Hal Williams) has released a free album for our listening pleasure. Featuring Earl Sweatshirt, Domo Genesis, Hodgy Beats, Mac Miller, Kilo Kish, SBTRKT, and more, the album is a wild journey through an eccentric soundscape. Download it here.

The post New (Free) Album: The Jet Age of Tomorrow – The Jellyfish Mentality appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

As A$AP neared an end, the crowd buzzed with discussion of where to head next and SBTRKT proved the overwhelming favorite. The duo of electro producers from London played without their masks, mixing and looping music on the spot, keeping the party alive. Bodies were moving without abandon as the beats and sounds forced the packed crowd into nonstop dancing. The one-two punch of A$AP-SBTRKT was only to be topped by the third charm: Snoop.

He made everyone wait an hour, but the crowd held strong, filling the entire main stage area. After endless debate throughout the day on whether he would perform as Snoop Dogg or Lion, everyone needed to see for themselves. And it was worth it. Snoop came out in stellar form, first performing all of his classics, then transforming into Snoop Lion for his most recent release. His finale was most memorable– the entire crowd of thousands singing the chorus to “Young, Wild and Free” in unison, creating an incredible sense of camaraderie that lasted the entire packed train ride home. On Saturday night, everyone caught the spirit.

A$AP Rocky

SBTRKT

Snoop Dogg Lion

Shouts out to Evenko for the pics

The post Exclusive Pictures from Osheaga Day 2: A$AP Rocky, SBTRKT and Snoop <del>Dogg</del> Lion appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Though he missed his flight from L.A. to NYC that would have landed him at 3 p.m. (rather than midnight) the day before this interview, Rockie Fresh was in good spirits as he awaited his performance at Hofstra University. This would be his last show before he hit Austin, TX the next day to perform for his third consecutive year at SXSW.

Rolling shallow with only his manager and a producer named LPeezy, the Chicago MC is a simply dressed 20-year-old whose focus cannot be underestimated. Though his music may suggest a more boisterous persona, Rockie is a level-headed artist who admits to being more of a movie-watcher than a club-goer.

Andrew, his manager, leaves and returns to the janitor-like office during the interview with boxes of California Pizza Kitchen for the constantly traveling trio. It is here that Rockie Fresh details the reception he’s gotten from his Driving 88 mixtape, the direction he’s taking with his career and his take on Chicago hip-hop.

In terms of music as a whole, what gap do you think Rockie Fresh fills in hip-hop?

I feel like I wanna take that road of providing guidance for my young generation. That’s one thing I respect about Jay-Z – he talked about his struggle and his life, but at the same time he talked about what he learned from it. In a way, that helped people coming up underneath him and his listeners [gain] guidance throughout their path of life. So with my music, I want to take that approach with it. I don’t think there’s a young artist that’s doing that right now. So that’s something I wanna do.

As far as Chicago hip-hop is concerned, what would you say differs you from Chicago MCs past and present?

Well, I come from the suburbs, so I talk about that side of the fence more than the street shit. But at the same time, I live that life too. I got a lot of friends in it. That influences my music as well, but it’s more so suburban driven and has more of a alternative rock influence along with the urban sound. That makes me different across the board.

How would you describe your fans?

Man, my fans are real diverse. I got a lot of female fans. I got a lot of rich kids. I got a lot of kids living in poverty, because I’ve experienced all sides of life. My dad – he was a foster child and he got job at the Chicago Board of Trade which allowed him to gain a good financial base. Because of that I had a real nice childhood. Some people would say I was spoiled, because I had a lot of Jordans and stuff like that when I was coming up. But then when I got to high school, [my dad] decided to start his own business. And with that, he took some major hits financially which kinda switched up the pace of my lifestyle, too. And now that I’m doing music I’m able to make my own earnings and it’s also a different type of struggle. So with that, I talk about a lot of different stuff and it ranges from a lot of different people, because I’ve been in all their shoes.

What was the reaction when your parents found out that you were gonna pursue this full force?

At first they really weren’t with it, but they didn’t knock me because I wasn’t doing well in school. So they knew that my passion wasn’t there. They definitely didn’t expect it to be in music. They support me to the fullest now and they get it more than ever. It’s something that we grew together with and it’s running smooth.

You’re independent as of right now, you’re 20 and you’ve become relatively successful – what would you say is your next step is?

For me, I really wanna show progression with everything released. Right now I’m working on a lot of new records that I feel are better than the stuff on Driving 88. I feel like it should always be that way, especially with me being as young as I am. I got a lot of growing to do, I’ve got a lot more life to experience. This is the my first tour that I’ve really headlined. With that being the situation, it’s just giving me a lot more stuff to talk about. I’ve seen different cities and things like that. It just gave me new inspiration. Definitely the music is going to mature, but then also the type of project that I’m gonna release next… I don’t wanna say it’s not gonna be a mixtape, but it’s definitely gonna be an upgrade from the things that I’ve already put out.

Do you think you’re going to ultimately stay independent?

The independent life has been real good to me right now. At the same time, we’re always looking to make improvements, so if the label comes with the right ingredients to take my situation to the next level and we can see eye-to-eye on some things, then that’s something I’ll consider. But until then I’m rocking with the independent label.

What’s one thing you think you hope to learn in the coming years? As far as wisdom is concerned – something that an older MC would know that you wouldn’t have experienced yet?

It’s really just being able to touch people and be able to take the good and the bad along with that. A lot of artists now, they make urban records, but when they make a pop record, people take it as them selling out. With me, I want to be able to touch all sides of the fence and then be able to make easy transitions with any sound that I choose. You take an artist like Lil’ Wayne or Jay or Kanye, who have made that transition real seamlessly – and that’s how I wanna steer my career as well.

And you’ve had great review with Driving 88. Is the reception what you anticipated?

It’s definitely what I hoped for. I wasn’t specifically sure that it was going to get that [reception], but that was something that we were working for, as far as getting that acclaim from people. People were happy with the tape. With the other side – a lot of people took a different vibe from me as an artist. They took me more as a moody dude instead of a lyricist. With Driving 88, we wanted to kill all of that and kill those stereotypes. I feel like we were successful with doing that and to get those ratings from different sites was a blessing and it just put the icing on the cake.

How long was the process to make the mixtape?

It was like a year. We went through a lot of trials and tribulations in making the project – from producers taking beats from me because they didn’t think the project was going to be as big as it was…to me being in L.A. for two months and then coming back to Chicago. And my mindset kinda changed as far as the vibe that I wanted for the project. It was definitely a process, but with that some great records came out in each stage of the process. It helped make the project what it is, so it was worth it.

What would you say is the worst criticism that you have ever gotten?

I don’t know, man. People say a lot of wild stuff. People say I sound like certain artists that I feel like I don’t sound like. Some people say that the music is just not lyrical at all. That’s really the wildest one to me when people say that the music isn’t lyrical because if you really listen to the lyrics and break it down, I’m really saying some stuff.

As far as emerging hip-hop heavyweights building (or rebuilding) their own labels such as Young Money, MMG, Bad Boy – do you ever feel like you would fit into any of those groups?

Yeah, I can definitely see myself. It’s because one thing that artists have in respect for other artists is that creative control. Also, for an artist to sign another artist, it’s mainly based off of the fact that they respect what the artist does already. So I feel like if one of those higher-ups was to show that love for me, it would be because they already know what I can do and they just wanna give me the platform to do it on that higher level. I definitely feel like I can fit in one of those circles if the situation presented itself.

Do you feel like Chicago has a distinct sound? Or do you think the artists always attempt to redefine it?

I feel like it has a distinct sound as far as the hunger and it shows in the music. If you take Kanye, Twista, Common, Lupe, even GLC and L.E.P. Bogus Boys– there’s a real strong feeling of soul in the music, but at the same time all of those dudes are different. And I feel like that’s one thing that’s part of Chicago music, too; learning how to reinvent the Chicago wheel every time one of us makes it. Speaking on a different part of the city or having a different sound that brings out the emotion of the city…I think there’s a hunger that we all have, but we put it out in a different way.

A$AP Rocky addressed the critics that said that he sounded too Houston and less Harlem– he said that he reps Harlem wholeheartedly, but he doesn’t let it confine him. Do you feel like you’re actively seeking to redefine the Chicago sound?

I definitely feel like I’m redefining more than just the Chicago sound, but music in general. With my background and the way I came up with the alternative/rock influence – I really don’t feel like anyone has done that in rap with the urban. Just even with the groups that have reached out to me, such as Good Charlotte and Fall Out Boy and SBTRKT – those are people that are beyond rap music, they’re ahead of the musical curve, period. And that’s why people are fans of them. So for me to have that edge and be able to hit them up and ask ‘Yo, what’s the new sound?’ and being able to add that to rap music, I feel like it gives me the one-up in general.

What’s your relationship with SBTRKT? I’ve only heard the self-titled album, and it was super wild. How tight are you guys?

We don’t have a “big” relationship, but I sampled one of their records for the mixtape and a lot of times with the samples it rubs people the wrong way. But they showed a lot of love for my records – I found out that they liked it because they posted in on their Twitter. They said that they were fans of the project.

For SXSW you’re performing on stages sponsored by RubyHornet, MTV2’s Suckafree and VIBE. Do you have any plans besides performing?

Really, I’m just there to perform. I respect the performing aspect of the festival, but I’m not into going to see a lot of people perform. It’s not my thing. If there’s some artists that wanna link, I’d be down with that.

How many times have you performed at SXSW?

I’ve done it the last three years. I probably did 10 shows in the last two years. And this will be my third year there, I got five shows. So that’s like 15 total.

So we’re here at Hofstra now. On your schedule it says you’re performing at Howard on March 27th. When you’re performing at universities, do you ever feel like you’re missing out on the college experience?

Not at all, man. Honestly, I just really didn’t like school when I was in school. So for me to just pay visits … that’s the pace for me, especially when you get paid to pay visits. I remember going on college tours in high school and it was cool, but this is like going on a college tour where people are looking forward for you to stop by. I wouldn’t trade it.

Do you ever feel overwhelmed performing for festivals and colleges?

Nah, not really. When I do get that rare feeling of getting overwhelmed, it’s more so when I’m creating music and that’s because I take it so serious. I wanna make sure I say the right things and put the right message out there. And sometimes the way that I’m feeling may not line up with what needs to be put out from me. Outside of that, performing is super fun for me. I haven’t reached that point as an artist where I’m overwhelmed. It’s all about creating fans and giving the fans something that they’re proud to be a part of and with a performance you really get that platform to do that. So I love it.

You were on Asher Roth’s Pabst & Jazz on “Insurance.” How was that experience?

They sent the record to me, actually. I was out in L.A. over the summer and the producers, Blended Babies (who have some records on my mixtape), they were like ‘Yo, Asher fucks with you.’ And I was like ‘Alright, that’s cool. We need to do a record.’ Then they were like, ‘if you record something, we’ll have him get on it.’ And the Blended Babies are dudes that I respect and I trust their word, but on that situation I was like ‘Ehh, I don’t know if Asher is really gonna get on it.’ So I did a record with one verse, I don’t even know if he’s heard it or whatever. I was chilling at the crib and I got a text message that read ‘Yo, I need you to do this verse in less than 24 hours. Asher wants you on this new project.’ So, I went in the studio, laid a verse and that’s how it went down.

I read that you were on your debate team in high school.

Definitely.

How has that helped at all, as far as your career is concerned?

It helped a lot, because that was one thing that I was passionate about in school. I actually was really successful on the debate team. I won my school at least four trophies in one year. It was fun, man. And with that, it just helped me get my point across in a professional way. That’s something I wanted to take into the music. So, I don’t have to be this in-your-face dude for you to respect what I’m saying. And it gave me a lot of knowledge on certain political things that I wouldn’t even have known about if I didn’t have to study that paperwork for the debates.

Do you know how far your music reaches, geographically-speaking?

I have no clue. I get tweets from all over the place – from Africa, Denmark. Crazy places. But because I never been overseas before, I don’t know how strong that base is, but I would love to see real soon, though.

What are you currently working on right now?

Just new music, man. We really found a sound that we’re comfortable with, with Driving 88. So it’s about continually taking that to the next level. So we’re just working on new records and trying to push some boundaries and give the people some fresh shit.

What’s your current state on hip-hop and its newcomers, its culture and its criticism?

Honestly, I feel like hip-hop is in a good place. There’s a lot of new artists that are making some real original music. I really feel like there’s a lot of biting going on with relevant artists. You take an artist like 2 Chainz who’s very relevant right now. So when somebody uses his type of sound, it’s real obvious. But outside of that, the fact that a 2 Chainz is relevant right now and is making the trap sound that he’s making – that’s a dope thing for hip-hop. Or Somebody like A$AP Rocky who’s bringing back that Houston vibe, you have to respect that. I feel like it’s a good place for a new up and coming artist to make some noise.

Do you have an aspiration to be on the XXL Freshman cover?

Honestly, I really don’t care either way. If they ask me to be on the cover, that’s something that I would do definitely. If not, that’s not gonna change my mindset about XXL or my music career.

What is Rockie Fresh doing outside of making music and performing music?

Just watching movies and chilling with my homies. I really like being inspired by real life. And I take the music so serious right now because I still am in a stage where I can completely fall off. Also, there are places in the world where people have no clue who I am. With that, I eat, sleep and breathe the music thinking that everything that I do is somewhat involved with that, even when I’m not actually recording. So outside of making music, I’m trying to get inspired to make music.

What would you say your biggest goal is in 2012?

I definitely wanna start working on my first album. My biggest goal, period, in music, is to have a #1 rap album. I wanna work and build my fan-base and my music to the point where people can make that happen for me.

The post Exclusive Interview: One-on-One with Chicago’s Rockie Fresh appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

BBC’s Radio 1 ended the summer with a bang, débuting the Essential Mixes of both Jamie xx and James Blake — two of the biggest names in the U.K.’s burgeoning electronic scene that has arisen in the ashes of dubstep’s high frequency flight to the U.S.  The one thing that both epic sets had in common?  Drake.

That’s right.  Drizzy phones in a drop for Jamie at around 7:49: “Yo, what’s going on man, this is Drizzy Drake and you are now listening to the Essential Mix with my brother Jamie xx.  That’s OVO family right there, man.  Big up, London.  Big up the whole U.K.  And till I’m back, take care.”  Fitting, considering Aubrey logged studio time with Jamie while in London this winter.  He told the BBC: “The praises I’ll sing most is definitely The xx and Jamie, and we’re working on Take Care [Drake’s second album] together. Jamie is probably one of the most exciting producers I’ve ever heard.”  In an interview with New York, Jamie elaborated on how the collab came about: “He played me some of his stuff, and I played him some of my stuff I made for him. And he was loving it. So he took some of those away to do stuff over. I might be working with him by the end of this week, or might be coming back to work with him in a few days in Toronto. He’s ridiculously busy.”

At Noah “40” Shebib’s home studio in Toronto, where Drake primarily records, Rolling Stone described the scene: “exposed brick, low lighting, plenty of high-grade weed and virtually no decoration aside from a vinyl copy of U.K. dubstep crooner James Blake’s debut on a windowsill.”  Then there’s the aptly titled “James Drake,” a full-length unofficial mash-up of the two gloomy crooners.  On James Blake’s Essential Mix, at around 13 minutes in, he drops a version of “Up All Night” drowned in moody ambient music, uncredited in the track list.

Not to mention Drake’s studio and stage time with Florence from Florence and the Machine, or his sampling of Jai Paul’s brilliant “BTSU” for “Dreams Money Can Buy,” or his infectious remix of SBTRKT’s “Wildfire.”

I reckon Drake fancies himself the hip-hop version of these Englishmen, with his infinite sadness and such.  Looks like “Take Care” will be taking a trip across the Atlantic, and I’m excited to hear the results.

The post Post Post-Dubstep: Drake’s Infatuation with the U.K. – Jamie xx, James Blake, et al. appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.