Interview with Seattle Producer Eardrumz (2010)

Interview with Seattle Producer Eardrumz

I’ve been a fan of Eardrumz for awhile, first hearing his beats on some of my dude Gabriel Teodros’s material, and also on my man Replife’s album. Finally got to meet him last year for a hot second at Hidmo in Seattle, and am late in getting to get a few words from him up on Everydaybeats. Check out all his stuff at

ian: give us a little history – who you are, when you started, where you’re at, any of your favorite projects you’ve worked on.

eardrumz: My name is Geoff. With a “G.” Taurus. I produce/DJ under the moniker of EarDr.Umz or EarDr.Umz The MetroGnome. Originally from Monterey, California, currently based in Seattle, but born and raised on the west coast of these “United” States.

I’m 27 years old, and my earliest memory of music was when I was around 5 or 6, my mother would volunteer at a Jazz radio station in Monterey called KAZU. Years later, when I was around 15, and really starting to dig records and make beats, blasting stuff like Herbie Hancock’s “Headhunters” record or Bob James “Nautilus”, she would say “oh yea! you used to dance and dance to that song at KAZU!” Then my older brother and his boys would DJ their school’s parties on the weekends or whenever someone’s parents were away, and I basically inherited their equipment. Belt drive Lineartech turntables with a starter kit mixer that had 20 second push button samplers built in, looping my favorite movie themes, or sounds recorded off the radio. That’s basically how I started making beats. Didn’t really know what we were doing, but just having fun! Which eventually led to “borrowing” a pair of Technic 1200’s from a music store that will remain unnamed, and completly abusing records from my step dad or friends parent’s record collection. 4-track Tascam beats made with my Boss drum machine, and Sp 202 Dr. Sample, which I still use alot. As far as favorite projects, I barely made it past being born, so I feel pretty blessed to be here taking a part in every musical adventure thus far. If I had to pick though, I’m probably most proud of the first 45 that was released in Japan called “Recognize The Flav/Fall Asleep To A Jazz Tune” on the Tribe/Hydeout Label. (Rest In Peace Nujabes). Because that was ALL I could dream about at first, was hearing my shit ON WAX! So when that happened, I just thought “damn, what’s next?!”

ian: what’s the seattle scene like?

eardrumz: I like to think of Seattle as more of a community rather than a scene so to speak. The whole “scene” mentality reminds me why I attended high school as little as possible. The “cool kid” crowd. I mostly just try to stay busy doing my own thing, stepping out occasionally. I dunno. You got your egos, politics, closemindedness and passive aggressive types floating around, but for the most part, everyone is real supportive of each other. It’s dope. I don’t know if heads really realize how good we got it out here sometimes! There’s so much muscial talent out here, it blows my mind! Feels good to step back and admire whats going on in your backyard sometimes! We’ve been blessed to have some legendary artists lay the foundation for us doing it now. From Djs like Mr. Supreme, DV One, B-Mello, Nasty Nes on KCMU-Rap Attack, Vitamin D & Tribal Music, to the grunge shit, and the jazz cats, Ruby Bishop, Ray Charles migrated here and got his start 2 blocks from where I’m living at now, Quincy Jones, & of course Jimi (Hendrix) baby! Seattle and the Northwest has always been a pretty deep, rich, multi-flavored music haven. On any given night you can step out into the town, and catch some music. All across the board too. There’s some nice record spots too which keeps my feet planted here!

ian: i know you collaborated with some cats through the internet – how was this process? have you been able to make some dope music with cats who aren’t necessarily in the studio with you?

eardrumz: It’s not my most preferred way of working on a project with another artist, because nothing beats taking hold of that energy that is created during a session, but in this digi-day and age you gotta use the resources you have available. I have always been down to work with anyone who reaches out to me. We try not to let something like distance stop us! For example, the two albums I’ve been a part of with my brother DJ T-Bone Steak out in Japan, it was all in person. We met outside Amoeba records on Sunset in Los Angeles. I was living down there, would push tapes outside with my man Pro-Creation, and T-Bone Steak got denied permission to interview ?uestlove at an in-store performance, so he leaves the store only to run into us. Think he gave us $2 for a remix album we did. Hit us up the next day, we linked up, talked beats, records, music, hip-hop, etc. And even though we were from other sides of the moon, speaking different tongues, and not to sound too corny, but the language we shared was through music. Since that meeting, I’ve been to Japan twice, he came out to Seattle a few times, we’ve released two 7-inch records, a 12-inch, and two full-length albums. Could’ve easily just sent beats back and forth thru email or whatever, recorded various emcees on our own time, but instead we fly out, kick it, dig, build, and create the music in person! I’ve learned you have to do some filtering though. Because some dudes think that just because they got a beat tape or instrumental album you posted online, they feel that gives them the right to go ahead and record some bullshit to one or your beats and put it out there! On the flip side though, I have been able to collaborate with a few artists via online who are incredible! Cats like Rep Life, Maf Maddix, and even the cover photo for the “Vinyl Vixens” LP was contributed by an amazing photographer & model named Graciela Torres all from “meeting” online so to speak. So sometimes it works out!

ian: name a few of your favorite non-hiphop records

eardrumz: Oooooh! only a few?! haha. I could try and flex my crate digging muscles or getting super record nerd on you’s but I’m not, because it really doesn’t have to be a super rare one of a kind $500 promo or test pressing that was blessed by the Pope or something for me to dig it. It just has to be good music! Each record is almost like a memory for me, and theres a song or record for every particular setting, mood, or feeling. And all of those change for me on a regular basis but…. I love anything by Cymande, Isao Tomita, Cal Tjader, all the Moog records that cover Mozart & other composers, labels like Blue Note, Stax, Curtom, but lately, I can’t stop listening to the Motherlode record “When I Die.” The title track in particular is just so powerful, not just because of the recognizable loop. I don’t go digging to seek out records that so-and-so sampled, but it happens sometimes. The lyrics are deep on this one though man! Just hoping to make the people around you, proud of you when you pass on to the next? That’s pretty real to me. “Sunshowers” by Dr. Buzzard’s Original Savannah Band has always been a summer soundtrack joint for me, always lifts the clouds over my head. Because you never know what Seattle might have in store for you! Either sun or showers! or both. “Be Thankful For What You Got” originally done by William DeVaughn. Theres alot of really great renditions of this song, but the O.G. can’t be topped! Just be thankful for what you got, stand tall, stay humble, and keep diggin’ the scene with a gangster lean! Remember that!

ian: non-musical influences?

eardrumz: I’ve always been a huge movie/film person. Especially directors like Orson Welles who was involved with whatever his vision was 100%, with very little compromising with the big wigs, reserving complete creative control. Cover art of albums really inspire me too. For example, the Martin Denny Exotica series records consistently featured this one particular model, who I later learned is named Sandy Warner. Her eyes alone inspired me to make the Vinyl Vixens record! My family, especially my uncles & brothers have played a huge role in who I am today. My lady, dueling magicians, chefs, people who asks questions, challenge authority, the ocean, authors, the daily life of cats, archeaologists, just skateboarding around the city, travelling, and seeing new places, meeting different people. All of that intrigues me and keeps me going, but I think you gotta be careful with influences though. The trick may be to stay above them rather than under. Seems a lotta folks blur the line between influence and straight up biting! So just do you!

ian: best donuts in seattle?

eardrumz: Donuts that you need an adaptor and play at 45rpm or actual pastries? Either way, just follow your nose! If we’re talking pastries, most people in Seattle will tell you Top Pot or Crispy Cream, but there’s a spot in the I.D. (International District) called “Sweet & Fresh” Bakery on 8th that keeps me alive with their apple strudel croissant. Its got frosting on it…that counts as a donut right?

ian: what do you think about the science of internet distro (free releases, bandcamp, etc)?

eardrumz: I definatly feel I came up during a transitional time but felt you still had to pay dues, work very hard at your craft, staying up all night practicing, drawing your mixtape/album covers, glueing your label to the 4-track tape, tagging your name with a Sharpie or whatever. Then post up at various spots, with a pack of D batteries and a box, letting the music do most of the talking. Just trying to be heard. Now, things almost move a little too fast for me at times. For example, I always dreamed of pressing my own wax, and by the time that came to fruition…people aren’t buying vinyl much anymore. It’s all QWERTY e-digging. Everyone is already moving onto Serato and other software tools, getting all their music online. You can reach a massive wider global audience without leaving your grandma’s basement, but I still love going into shops, talking, meeting, learning shit from the owner, building a repoire for the next time you come into the shop. I’m also still not where I wanna be on certain things artistically. Like the turntables and mastering record manipulation whether it’s through sampling or beat juggling, but yet I have nothing against software or staying up with the tools of the time. It’s dope to be able to make a beat then have doubles of it as a mp3 to rock at the venue that very same night! And I’ve had random people from the other side of the globe send messages or e-mails saying they are feeling the music. That is a crazy feeling, and makes you wanna keep sharing more. And the internet makes it pretty easy to do that. All you need is a modem, or a libary card.

ian: what’s the upcoming projects?

eardrumz: Well, I just wrapped one up with Droop Capone (Dr.Oop) of the bLAck Love R88rs. It’s called “The Grateful Dread” and features Rogue Venom, Aloe Blacc, Nucleus, and Jumbo Shrimp of Blackberry Jam. Straight gratitude vibrations! Droop and I linked up the first time he came through Seattle and performed with us at the best fuckin hip-hop night in Seattle, called Stop Biting. Tuesday nights at LOFI! Whatup to the 4th City/Stop Biting fam!! The next night I believe after the show, I met up with him again up on Broadway to pass him a beat tape. Never forget he was chilling on a beach cruiser bicycle when I got up there, talked for a sec, passed him my walkman with a beat tape inside and some headphones, he jumps on the bike, takes a ride up and down and around Broadway, returns a few moments later, and simply say’s “alright, let’s do it!” Kept in touch from there, sending monthly batches of beats, building on the songs, and here we are! I also produced the EP called “The Mission Of An MC” for the youngest but one of the sharpest members of the bLAck Love R88rs, named Nucleus. We are currently diving in head first with a new project, called “The Road Warriors” documenting Droop & Nucleus’ recent “Alive &…Well?” Canadian tour. It’s gonna be a trip to say the least! I also just released a EP with my Seattle collective Dirty Scientifix. DirSci is emcees ORB, Yze, and Mozes Lateef. I really want people to know that the crews have combined, and we are growing! Our latest remedy is entitled “The Ana-Doap EP” and it’s available online at We are testing the waters with that concoction right now until we feel the time is right to release the rest in the form of a LP. So keep your earballs peeled!

ian: anything else?

eardrumz: For any curious cats out there, please check out for alot more music and info! I got links from there to other various pages including Soundcloud and Podomatic where I post random beats that have been sitting or some mixtapes of stuff & things that fill the crates! Some free, some not, but mostly free. All you gotta spend or lend is some time, and your ears! Don’t be afraid to donate to your friendly neighborhood artist or musician and record stores. Most of us aren’t greedy money grubbing people. We’re just trying to share with our fellow Earthlings, and unfortunatly some of the tools to do so, require the need of that dirty green paper. Sometimes. That’s why I thanks above for DollaBins! ūüėČ

Thank you Ian & Everday Beats!!


Interview with DJ Center (2010)

DJ¬†Center’s new album, “Everything in Time,”¬†has been getting rave reviews all over the place – remaining highly popular on LA¬†radio and scoring a “91”¬†on Next Friday, April 16th, Center puts it down at his NYC¬†release party (info below – myself and several other djs are opening).

Center and I¬†go way back, from digging records, eating pizza in the Village, and checkin classic shows in the late 90s. It’s great to see him finally drop his long-awaited album – and watch people dig it. I thought I’d ask him a couple questions about the process and where he’s at right now.

ian:¬†i know you’re a tea connessiur. what’s your favorite and why? did you make a lot of tea in the lab while making the album?

dj center: Well, I do love a good cup of tea. Hands down the tea for me while making the LP was gun powder green tea. I’d mix some mint in with it for freshness. I’m not a coffee drinker. Something about the gun powder tea was giving me the necessary boost of energy I needed, without the nervousness that coffee can bring when drinking in large doses. Green tea is focus!

ian: if it was ’96 and you were pressing a 12-inch off the album, what songs would be on it? what would the cover look like?

dj center: If it were ‚Äô96. I‚Äôd probably be releasing the record I did with Oddisee¬† (‚ÄúLeave the City Outside‚ÄĚ) as a 12‚ÄĚ. It‚Äôd have a nice remix and a simple dope photo based cover, with a real clean label. Maybe ‚ÄúCenter‚Äôs Groove‚ÄĚ would be there as bonus, or maybe there‚Äôd be ‚ÄúThe Rain‚ÄĚ as an interlude in between tracks- I used to love beat interludes on independent 12‚ÄĚs. One of my favorites has to be the first Natural Resource 12‚ÄĚ from 1996. That interlude beat was so nice.

ian: when it was 96, what’s a classic record you copped doubles of at fat beats?

dj center: Natural Resource‚Äôs 12‚ÄĚ, the green label DJ Krush ‚ÄúMeiso‚ÄĚ 12‚ÄĚ w. ‚ÄúOnly The Strong Survive‚ÄĚ on the flip,¬† J-Live‚Äôs ‚ÄúBraggin‚Äô Writes‚ÄĚ w. the Spinna remix‚Ķthe list goes on. That was an incredible time for independent Hip Hop.

ian: now it’s 2010, age of serato. are there any cds / mp3s that you wish there was a vinyl version of? why or why not?

dj center: Yes, of course. Whenever I truly love a track, I crave the 12‚ÄĚ release. I‚Äôm about sound quality in music. I love well recorded joints that sound warm. Listening to vinyl was always like listening to music and having an imaginary fireplace going at the same time. You‚Äôd hear the slight vinyl crackle, like wood burning and the warmth from the sound of the wax made you feel good. I‚Äôll never stop loving and supporting the analog.

At the moment, I wish I had vinyl for Silhouette Brown‚Äôs ‚ÄúConstant Questions‚ÄĚ, Ocote Soul Sounds ‚ÄúVendende Saude Y Fe‚ÄĚ and Zaki Ibrahim‚Äôs ‚ÄúEclectica‚Ķ.‚ÄĚ EP.

ian: call out a favorite moment in making the album.

dj center: It’s hard to pick one moment because how each track came together was incredible in it’s own rite. But a special moment was connecting with Njimole from the Bay area. It was a blind date in the studio.  No expectations or egos and we had a ball in the session. By accident we left the window open while recording, but it was perfect. It was one of those bugged out Spring type days in late January. I feel like the weather was recorded onto that one.

ian: drop any shout outs, random facts or things people should know.

dj center: Shouts to for being OG purveyors of dopeness. I feel blessed to have been able to complete a full album project and have this time documented. Please listen to it as an album front to back. I hope the music provides therapy for you where ever you are. Enjoy it, we certainly did when making it. My movements-

All love.


Interview with Phraim (2009)

You probably have run into Phraim either on the internets or the blocks of the Chi. My man has been stackin up a nice catalog of beats and treats, and is set to release a couple projects in the near future. I finally got a (brief) chance to catch up with him for a little email interview, the first in a series of EdB interviews over the next few months.

You can check him out at

Ian: Give us some background on who Phraim is, both as a producer and person.

Phraim: In a pecan shell, I’m human beatbox by nature in so many ways. A
table banger that gradually shifted from pounding fist & knuckles, to
cupping hands & making the music with my mouth, to emceein, to digital
workshoppin audio, to pressing 16 pads. Uncle had me on the drums
early on. Whenever I’m around a piano/keyboard I want to sit down to
it. First born of seven. A slave to Ar-Rahman, but not to the rhythm.
A Chicagoan, born & raised. A scholar of higher ed. twice over. World
traveled learner. Daydreamer in order to counter the many nightmares.

Ian: Straight off the top, three inspirations in life, music, art, etc?

Phraim: I. The Greatness & Oneness of the Creator & His creation: And by
that I mean all aspects of creation, both good & bad. From nature to
emotion; I harness it all. Locations I’ve been to that are stored in
the memory banks, the most blissful moments & the biggest disasters.
It’s all relevant. II. Culture: The things I was raised on, vintage
stuff. Seriously, I was a cult-Star Wars fanatic since before I could
talk good. I think motion pictures, cartoons, all that, have weaved
themselves into my consciousness to the point of inseparation.
Dialogue with me is either cool or confusing as h-e-double. Either
way, it’s gotta be entertaining. It’s safe to say that I quote just as
much media as I do scholars & thinkers. III. Instrumentalists: and I
say that in reference to any & every artist that uses an object to
express themselves harmonically. I don’t care if it’s the spoons or
the MP, I have a hard time not hearing something that gets my gears to

Ian: What political issues in 2009 do you feel should be resonating more with folks around you?

Phraim: The fact that america continues to be a complex. From the prison to
the military. I think the media does a heck of a job putting the focus
on joblessness & other global issues. I personally don’t believe our
country will accomplish anything of greatness until it cleans its own

Ian: What music coming out right now is making you think, inspiring creativity?

Phraim: Aww man-seriously, Mr.Bey & co (i.e. Jay Electronica). The
“social-service emcees” & those who provide their soundtracks get the
salute from me. Last saw ’em both live on stage in TX. Personable
kats. And the innovation is like true renaissance material
representative of the art, you know? So, yeah-as far-as production,
MADLIB always & often. I’ve been bumpin’ EXILE joints too. Jay Stays
Paid was super-satisfying. Waiting for that OH-NO Ethiopium to drop.
And that’s just hip-hop. Zo! is a genius too. “Cal-troit” has the
sound right now…

Ian: Give us two records pre-1985 you’re bumpin right now.

Phraim: I keep Marvin’s “What’s Going On” nearby in these trying times.
Ohio Players’ “Honey” has been in strong rotation also.

Ian: You have a routine for making music? Things you do before sitting down at the beat machine?

Phraim: Sometimes there’s no method to it. I’ve found I work best on an
empty stomach, if that makes sense? Seriously, I’ll be at it for a
couple hours before I realize that I’m thirsty or hungry. I’m a
“nocturnal animal” too, which I think has a lot to do with a constant
relaxed tempo throughout my product, so late night sessions are

After a dig, I’ll spend a couple days listening to the finds in their
entirety. I haven’t one record that can’t yield a gem. I’ve got
in-studio samples of bands I worked with in the past that I revisit
often too. Things sound different when you go back to ’em months/years
later. Sometimes I might already hear a sample flipped in my head how
it ends up after sequence, other times it’s on the fly, in which case
drums come first. Regardless of whom or what incense is in the air.
It’s a must.

Ian: Any thoughts on the future of music distro? Plans on how you’ll be releasing your own product?

Phraim: I’m working with Gritty Goat on a digital/limited edition
hard-pressing of a collection of tracks. I know you gotta crawl before
you walk, and I’ve been looking for the best way for people to get
hold of actual physical copies of my things while making it easy for
those that care a little less about liner notes & artwork. I’m getting
back to touching the mic too, so I’m hoping to have venues be an
outlet in the near future. Might have to hustle the EL platform &
street corners too!

Ian: Tell us about Chicago.

Phraim: Man, the EL is a good transition into that. Foreal, Chi is
like…rust belt heaven. Slum beautiful place. Except for college, a
few years in Milwaukee, WI, & brief abroad excursions it’s been
home-sweet/sour-home. Taxes are, what 10.25%, which lets you know the
municipality is pretty crookish. Lake is a precious thing. To live
five minutes from a dope shoreline is priceless. Good source of calm.
Every culture is represented, though few agendas are pushed with the
gusto, but that’s kinda everywhere. The blues flourished there, we
invented house music, & it’s the land of musical culture clash.
Middleground. East, West, & South all influence the sound. We absorb &
release. Chicago is filled w/savvy  sometimes confused schitzophrenic
music makers, self included.

Ian: How much time u spend on the internet each day?

Far too much. I don’t even wanna tally that up. I seriously need to
cut back & be more productive, but I’m a fiend for knowledge, buttons,
lights, & whistles. What can I say?

Ian: What do we need to check from you? Upcoming releases?

Phraim: The Gritty Goat EP release is gonna be titled “Silver Lined.” It’s
been a long time coming. We’re gonna set a within 30-days on that.
There’s a LP w/a few artists I’ve worked with for a couple years that
is in the vault called “Open Admission.” It’s 60/40 instrumental to
vocal track right now. Before next spring on that one would make me a
happy man. Last but not least, I’m back in the studio with my ace of
over a decade, Dylan Thomas, working on an all-vocal tag team record.
50/50 on the production. We’re two tracks into it & it’s looking good.
We’re hoping to productively rush a quality release, so stay tuned for

Ian: Final comments?

Phraim: Support low-budget music makers, indie labels, local record
stores. Type heartfelt kind obscenities at me on twitter, myspace, and
my blogspot to get & keep product out. I need that “tuff love.”¬† I
sometimes feed off feedback. Finally, be as natural as you are
digital. Balance the real with the virtual. Love something a lot &
hold onto it tightly, but keep it safe.


Interview with Producer / DJ / Instrumentalist Mr. Dirty Hairy (2009)

Dirty Hairy and I¬†connected over the internets a few years ago, vibin on our similar tastes in old jazz records and classic 90s hiphop. Originally from Britain and now residing in Croatia, Dirty has been making crackin’ beats and spinning funk for a minute. Few producers I’ve come across anywhere, signed or unsigned, have perfected the jazzy 90s sound like Dirty (and his partner-in-crime, Ill Treats) in a non-corny, non-plastic way. The guy is a true musician. He’s also hilarious. I¬†asked him a few questions and got some great (long) answers, so this is going to be a two-part interview. The beginning is below. I’ll be posting links to his music and mixes soon as well.

DJ Ian Head (IH): my man, whats the word?

Dirty Hairy (DH): Mums the word¬†bro! Yo good to connect Ian, glad to checkin with you and open the door to cats connecting with me on the regular. I’m busy, building segregating the music that I construct into various projects and hoping to put some fresh sounds into the atmosphere for 2010. I’m not leaking too much on myspace these days, just archiving.

IH: talk about what inspired you to start doin this hiphop shit. did djing come first, record collecting, or production? or everything?

DH: Well, the ride took many twists and turns before settling into beats. I guess I started around 12, taking a huge interest in playing drums. My mum couldn’t afford to  help me  with buying a set, so I brought some drum sticks and used to set up my school books on my bed in the shape of a drum kit. Snare, toms, hi hat, crash, ride, and a large mutha fucking phone book for the kick drum under my foot.

I began (unknown to me then) studying the arrangements to whatever music I could get my hands on and teaching myself rhythm. Drumming to it loud from my stereo on the books. The school books got all fucked up and ripped from all the hits and teachers went mad! My father, was a casual record collector digging mostly reggae, and 70s rock and my mother was occasionally buying Soul records to add to his growing stack. We didn’t get a cd player in our house until like 1994.I just remember the turntable and that listening to the records was also quite a visual affair for a kid. Seeing it turn and being able to touch it yeah its nice. Once my mum guided me through some tone-arm etiquitte, I had the permission to operate the turntable at my own leisure.

I used to think it was Hilarious listening to shit like Booker T and the Mg’s on 45 and havin a little rub on the Paul Simon ‘Graceland ‘vocal parts..So I begged for gifts of music on many birthdays , and until the mid 90s , the format I got this music was in fact on vinyl. I guess I started off collecting. As time skipped by @ 13 I got me a paper round (1st legal job you can have in UK) , and starting buying my own records and cd’s. But like I say it was vinyl that I was always used to seeing¬† and handling as a kid so it became a mission to track things down on vinyl, anything that I was listening to, and that extended from Jazz through grunge, electonica, hip hop, early 90s rave, techno and drum and bass.

Many jobs, drugs, and woman later,( I had the drum set ) and started gigging regularly with funk, jazz groups around the South of England (after playing rock and punk became boring at college.) With the little money we made , and the salary for whatever bullshit job I was doing at the time, I started to add equipment around the drums and put together a little bedroom studio..  notably a 4 track cassette recorder, microphones, acoustic guitar, keyboard, bass guitar, drum machine (Yamaha RY8, and boss sampler) I got me some cheap soundlab turntables and a bandridge mixer, with them punch in buttons for the scratchin hehehe  (see Geoff Barrow on the Portishead DVD live in NYC using them to good effect) I took and still take drumming very seriously although I was self taught I was inspired by players  like Steve Gadd, Harvey Mason, and Bernard Purdie. Eventually  I got fed up of the politics of bands , people not turning up to rehearse and fucking about .The determination of self crept in and ideas that this equipment I was combining in my bedroom was enough instrumentation to be be really as wild as I could in recordings. It kinda pushed me unconsciously in to writing my own material and learning  to use the equipment and instruments I brought to a pretty good standard. I worked on my drum programming, (Trying to simulate grooves I could actually play on the kit) then sampling, multi tracking guitar and percussion sections , and throwing in keyboard parts, layering etc.. I involved live instrumentation for long time and sampled the news, documentaries and adverts from the tv in my bedroom.

While this was happening , I was doing my best to adsorb all these new sounds coming out, mainly in hip hop, punk, grunge and new muiscal concepts arriving . I always found myself carefully watching the origins of hip hop in the form of resurfaced mid west and west coast funk, jazz from late 50s to early 80s. I was heavily influenced by my uncle¬† (a tenor sax player and still the cat with the freshest jazz wax I know). Ill Treats and I even tampered with¬† the underground grunge scene for a while when we first started working together @ 19 .. I’d take a riff , or concept in a structure in any music and see how I could adapt it to my own way , without being too blatent about where it came from.. I later applied that rule to sampling¬† when I brought an mpc in 1996/97. From about there, I¬† locked myself in my bedroom stopped playing the loops I was hooking up with live instruments, and studied vinyl and samples within it very intensely.

In the order, Collecting, producing, Dj’ing. I quit working with bands around 1998, and started dj’ing evenings of underground funk and hip hop in student bars around 1998/99 literally ramming it down peoples throats .. It took some adjusting in the delivery.

West coast hip hop seemed to get around more at the start of school, of course I rocked cassettes, of Ice Cubes Amerikkas most wanted, Funkdoobiest, and the Goats, No goats No glory … dope.. Then we switched to 2 live Crew, Sir Mix Alot, Chino Xl, de la ,Wu, and¬† what ever we could get our hands on..(HHC , a very important UK British hip hop magazine) became a life line for what was happening in the hip hop world It became like a competition to see who could get the new shit.. No internet then.. haha bucks and a format ,no bucks ? the best you could get was a dubbed copy. Mp3s, non existent in the real world.

I got inspired¬†by a few key things .Up to the age of 14, which I carried on through growth to this day. My mother would drive my brother and I around in the car to go and see relatives or go on some trip to the coast and we would all sing in the car. My mum , my brother and me. Normally , stuff¬† like UB40 , Paul Simon, some reggae tapes and also she’d let me have a little time to play my cassettes in the car that I had compiled from the radio stations, kiss fm, John Peel, Tim Westward with some hip hop, or grunge , de la, Mudhoney,or Rob Bass and Ez Rock. Also stuff I had recorded from vinyl, Nas, Frankie Cutless, Common¬†early albums. Inspiration also came from some compliments in the drumming days and early dj gigs from people I placed in high regard. So when I was coming up on the Dj’ing and production tip¬†that gave me the confidence to continue and¬† work hard at listening and thinking diffrently in my approach in music.

Also working with people that dont bullshit, or fuck around , when it comes to finishing , or deciding on something. That was inspiring.¬† Like, ‚Äúlets record a moment.‚ÄĚ Lets make a product’. You down? Yeah lets do it! When I work with someone who thinks the same or similar and I can adjust to their wave length, or them to mine Inspiring. Straight up. That can be a golden moment. Thats why Ill Treats and I became so close, we think the same .If I listen to a hip hop track , he could tell you , what I like about it , and vice versa. Treats and I inspired and pushed each other to¬† learn about what we could do with what the equipment we had and knowledge we took on, We where like musical sponges man looking everywhere to soak up the facts, the sounds, the techniques and acquire the music. In fact Treats and I where so open-minded and multi instrumentalled that we had stints of making, techno, drum and bass, and being inspired by groups like Fila Brazilia ,4hero,Daft punk, Cassius, just because we could make that music as good as the people that had records out. We just never had equipment to make it convincing¬† or the connections to get us in the studio. Ill Treats is definitely handy on the bass man.. Cats got the funk , and I still hold the groove nice on the kit.

IH: what was the scene in britain like where you were? what was dope about it, what was frustrating?

DH:¬†I’ve never been proud to be British, which is why I dont live there. Lets put that up¬† on the shelf right now for everyone to point and stare at. For reasons I’m not going into because some ‘proud lion’ might read this and try and murder me. But good music is good music , and in the UK , there where moments of decent hip hop.. Just shit distribution… For a long period there where cats¬† rapping in a US , accent which was just stupid ,very frustrating. Mike Skinner (Aka The Streets) was probably¬† the last part of that generation which is no wonder no fucker signed him for like 5 years or somethin.. after recording some 3 demos and no interest? Can you even imagine that? the Streets ‘IN AMERICAN’…. ? As soon as he switched back to English started talking about tripping over the dog, vomiting from too much vodka, smoking a fag at the bus stop and drinking a cuppa tea, people started having multiple orgasms and singing his songs at football matches in UK. That was an embarrassing time.

But a brief rescuing period saw The British hip hop label Low Life records(started by Braintax) do some really interesting things in UK hip hop and often featured the more frequent use and mention of MPC’S,SP’s,s950s and nice samples in the music. That was fun for about 4 or 5 years. Nice to see labels Bad Magic, and Jazzfudge¬†putting out some nice 12’s a bit too.. But its ALL that accent man. Yobby, lairy, hooligan like bullshit stolen, inherited ,adapted immigrated, London lingo.. All in the fucking accent ..If you ask 10 real fuckin hardcore British hip hop heads, dj’s ,fans about the state of British hip hop and what they think the majority will tell you .. WACK .Of course we should support our own hometurf, artists, musicans but if the message and music is dogshit why bother? dont feel obliged yo! your free to speak just like the rest of us.?

France and UK were similar for a long time in that they believed that¬† their own domestic scenes were¬†where hip hop started and ended¬† and that is a very miseducated ¬† view.¬† French scene has always been dope¬† but¬† c’mon son ‘ get the fuck outta here with that shit ‘ (Ed lover)..
I’m a purist.. And maybe can be over opinionated at times.. but you asked so i’m telling! Hahah… Dopness ? well¬† peace to the biggest unsigned talent right now: Ill Treats,(Brighton) (OMC from Ill Tech is commin up,Brighton),Winchester(Pentalk)Jae Fresh(Brighton) Mac the Barber from Puma Strut record label (Brighton) Frank Costa (Brighton)(check’em all on¬† myspace …friggin starving artists) and of Course Mr Krum,(ex Eastside records) delivers- freshest mixtapes you’ll hear in the south of UK, and a very knowledgable cat in hip hop ..Oh respect to Dr Zygote (Guildford/London)…

Um dope moments for me? Brotherhood, early Herbaliser, Creators (first album sick production), Low life records for 1998 to 2004 releases, some nice 12’s and promo samplers kicking around. Lewis Parker first¬† coupla albums, Phi Life Cyper, first album, Funky DL’s production , the occasional Harry love beat, Zebra Traffic label in Brighton, early crew Aspects, (from Bristiol) but the rest of it is the most boring souless shit I ever heard, I think Britain invented, grime and dubstep too ? So i’m Sorry about that.

IH: you made the move out to croatia. now your myspace bio is written in another language. has it been a fresh, new beginning for you?

DH:¬†Croatia is a bit of secret in eastern Europe. A small country with only 4 million population(which is decreasing) Great culture, great people and a very strong independent nationaI was on a misson to track down Croatian relatives about 4 years ago, as I have a Croatian name and I am part Croatian through my grandfather. To cut a long story short, I met a solid lady married her and packed the studio up. I‚Äôve been studying the language here which is extremely technical. But I‚Äôm trying to encourage the good dj’s I met to get into production and flex the mpc’s as well as music fans to become dj’s. The scene for hip hop here is strong in numbers, but not so consistent in quality. For diggin money and sandwiches I teach English to business students, and make a little dj money. I currently reside in the city of Zagreb with my wife, and yes I have all the record spots on lock down, (shoutouts to¬† Tomislav at Freebird records, I‚Äôll pay that 500kn soon for the last stack, I promise heheh) Smaller countries tend to have more realism about their lives thus making it a mellow place to live. Since the slow demise of Communism here I have to say I’m in agreement with most Croats that take the opinion of the westernization wave coming this way, doesn‚Äôt¬†look to offer the better standard of life it boasts.

I traveled a decent amount and also lived in New Zealand for 2 years, it wasn’t hard to make that move as long as you stay positive and open in the mind to continue in what you love. It was just mad expensive shipping all of the vinyl and home studio out ha! It was a fresh start for like 3-6 months, but Croatia is my home now I feel comfortable amongst Croats and playing  out here. And I am lucky to have really great friends around me. They (Croatians) really are great people

IH: talk about the get down collective. what are yall up to?

DH:¬†TGDC, is really what I have been doing in the UK for most of my time as a dj. Once I figured I couldn‚Äôt ram indy hip hop down peoples throats, I started to go off on a deep funk mission around 1999 fascinated with Funk 45s, and owning most of the Jazzman records catalogue. It was more interesting to see peoples reaction playing out the original sampled version of a soul or funk track that was used in hip hop to give a friendly education in the form of fresh music, than dropping’ Smiff’n Wessun’ or ‘Freddie Foxx’ joints…Sometimes I would play the sampled version, then the og straight after and often I would get the nod, from listeners in the crowd. A little eye contact, kinda in a ‘oh yeah I see ‘ way.

I always got far more gigs in my life as dj spinning funk to be honest. I don‚Äôt really buy hip hop 12’s unless its super special, limited, or has a dope pella . So I have a lot¬†of them ‘smelly funk ‘type of records.
I met these cats in Zagreb, living in my neighborhood, spinning hip hop and really nice on the cuts. I said over a beer one time¬† ” wanna start a back to back to back to back dj crew then’ ? explained myself,¬† and BOOM. it just came up that way .. At the moment, its’ shifted in members¬†But its basically the start of a funk family in Croatia.. With the evenings and events we often have a graffiti writer with us painting or sketching behind us. The concept of Future Primitive from the scratch dvd was so interesting, that we felt a Croatian version needed to exist. Nothin like this goes on in Croatia, and no one spins that, Keb Darge, Cut Chemist, Florian Keller style funk. I got the records, I got the skills, so have these boys. It takes hard work, but its a project thats gunna come through in the near future, I have no doubt. There maybe a name change or sister collective that derives from TGDC. This really is the start, we have a good team and good people, connections and heads on board for real.

IH: what are the records like out there?

DH: Records in Croatia are fascinating to me, and if I’m lucky enough to get literature on the record sleeve, I ask my wife to translate it whilst I listen to the music. You have to watch out on the popular¬†RTB label (ex Yugoslavia/ Serbian, Belgrade label) Those pressings seem to be very very quiet and often too much bass (a bit like¬†Wu tang 36 chambers album..Remember that? I dont know anyone with a good vinyl pressing of that. I got 3 and they all sound like shit.)..Anyhow Yugoton label, have the best pressings in fidelity as do the late ‘Croatian records’ that stopped pressing vinyl sometime in the late 90s. I cant remember if it was Yugoton or Croatian records that sold their vinyl cutting machine(one of the finest and only ones in Europe) to someone like Austria or Switizerland.

Problem is record store owners here like most places know the deal with people collecting, stockpiling, sampling or spinning the lost older music. Especially that funk, and Jazz, we (as vinyl fanatics) researched from an era and now we wanna revive for our own audiences. So prices are fucking ridculous. In Croatia we have Slovenia, Hungry, Serbia, Bosnia & Hercegovina, boardering us, so pieces arrive from those countries and different artists show up making it interesting. It’s totally not unheard of to even meet the dude in a bar on the coast here, that played vibes on that jazz album you just dug out. Less like those smug 7” pervert dudes from Stones Throw records going through phone books and harassing¬†the widows of dead funk musicans. The price we pay for funk eh?.. Well. Smaller place, less diggers, easy pickings mate.

Records, in short, are great here, and although a little pricey at times, you can still find the 1 dollar treats.. You just gotta be clever and nice to the owners..

IH: lets get deeper with the records. what kinda diggin stories can you reveal?

DH: Man I dunno diggin stories. Theres a few occasions. one that sticks out was I brought a reissue by¬† a group called the 3 Pieces (on some Donald Byrd production) in a city near London called Reading. It was the most extravagant purchase of the day at 10 pounds, amongst a coupla of 3 pound orange gatefold impulse bad boys.(btw ,Peace to DEV @ Soundmachine records) I only brought this record for dj’ing .Had no interest in sampling it and felt it had been visited before, but I’m open . Got home, huh? 2 records inside? it was a Jazz compilation, reissue, (not the album I thought I brought) but nice tracks, Coltrane, Nat king, Pharoah Sanders, Courtney Pine. I thought ok.. So I’m not desperate for that record and I aint gunna mention it on the next trip to the store. Ill just pick it up some other time.

Three Years later I’m in New Zealand digging in a flea market in Palmeston North(North Island) and I come across a mint OG copy, that someone clearly, brought over or ordered from USA and abandoned in this flea market. (This time I checked to see if the record was in the jacket. It was. Dope!) I Picked up the album for 1 dollar, checked the cat number, later.. all good, all sweet, and just the most incredible fidelity. Nice album nice find. I think Shadow flipped a break on there If you had found it first you would have flipped it too. But a real listenable lp.. That can be the coincidental side of diggin that makes it fun. I had many rare and great Jazz diggs in Snoopers Paradise in Brighton UK, coltrane mono pressings, obscure Italian jazz, trios..Snoopers are a place which definitely keep the wax on rotation. The goal is how cheap can it be ?,¬† I’m a huge trader of records these days so if the dig is planned I take some doubles and things to trade., I’m certainly not pre occupied with how big my collection is .. I got allot of records I’m not attached too so therefore I would rather loose them if I cant use them. I’d rather have 3000 dope records than 9000 ok ones.

I dont even like to call myself a digger , maybe a true school in the crates kinda guy but even that makes me sound like a dick. More a fanatic and collector. I mean I do that sample hunting stuff, and have for maybe 10 years but I dont make it the basis for buying records. I aint gotta boast about breaks, or that i’m ‘ fuckin deep in the dusty crates’ .. Fuck that.. The best beatmakers in the world dont have splashed all over their websites and myspace pages .. YO I’M DEEP IN THE CRATES SON, FINDING THAT DUSTY SHIT AND THE RARE BREAKS … fuck that shit .. Why you gotta talk about that?

The people that got that on the myspaces, twatters and Fistbook pages I’M THE DEEPEST DIGGER IN THE WORLD WITH THE FRESH BREAKS traveling with my handtrax, Seriously, man check em out? They aint doing nothin ! fo real..
Too much of this. Check it out:

”Yo Dirty, I got this dope break man, I know you aint heard it dog ‘! … Check it out man, fuckin rare shit¬† from 68¬† !!! no one got this !

”Cool man, you used it? , Looped it? hooked it up? spun it out ?

”Nah man i’m probably just gunna post it on my blog and let the world know how cool I am and deep in the crates I go”

DIRTY HAIRY: ”For real? why you got an MPC then bro? why are you into hip hop? you fucking looser, I’m out, hope your a manager at Burger King one day”

Anyway, I digress. I found some nice pieces during¬† my excavating, and if it hasn‚Äôt been used then I’m puttin on the MPC.., I dunno whether to list records I scored or leave it there ?.. I’ll leave it? I never pressure myself on a dig , I’m never specifically looking for samples. hats just one reason. You can spin it out live, sell it on if you already have a copy, enjoy it, learn from it or study it. Its all information, like a book.

IH: what is the food like in croatia?

DH: Really very good, the quality of meats, cheeses and breads alone, is pretty mindblowing. My wife’s family make their own sausages, and wine which is quite exceptional. Not many vegetarians here hahah..biiiiiiig meat eaters. They make crazy things with pastry and street bakeries that can run up until 12 at night. Google¬†these: ‘ Cevapi’ , Burek, Strukli, Mlinci, Kulen if your traveling to Croatia, or curious… All very good, They love soup before a meal, lunch at 12 and because of the stunning coastline, fish is pretty darn popular so you must get envolved. On Christmas eve, no one in Croatia should eat meat. Only fish.

Croatians are resourceful, there are markets with fresh fruit and veg literally everywhere man! They are big on homemade produce, like I said cheeses, wines, and love these herbal concoctions of their native drink rakia, the plum version a favourite of mine, Sljivovica. Get on it.

IH:¬†you’ve always been a true school cat. it’s 2009, and things are changing, good and bad. what are the fundamentals you strive to live by? or have you changed your outlook on certain stuff?

DH:¬†Sir thank you for that compliment. Very large, I apply the rules I live by, into music. Which are mainly honesty, expression, feel, and working with what I have. Also learning, and being open to change ‚Äďthrough growth..I dont get distracted trying to understand what I¬† want in life , I just make sure I deal first to things I dont want. To the industry of hip hop and the advancements it takes, (and regarding my Grab serato blog) I accepted the change on my outlook in technology thus, an obvious change in the sounds and, the general esthtetic of hip hop .. What bugs me is the fakers… For me the things in my life, that I really love, ya know ? really fuckin dig I just have to know about where they or it came from. I feel its because it gives me a greater understanding of why I like it and what it actually is or where it could go?.Whilst I dont need that as some form of closure but more for my own learning, I hate fake fuckers that jump into hip hop and start messing around with shit they dont care to educate themselves on .Too quickly they start posting up youtube videos and beats, saying shit like ” beats for sale” the hottest producer in UK, or whatever. Cats that dont even really know what it is that they are doing .. C’mon the fuck on .. If you dont respect, understand, educate and acknowledge¬†where something you love came from you dont deserve any success from¬†it. Your just another ‘I-need-to-associate-myself-with-a-style’¬†because I have no soul, mutha fuckin-cheater-funk-faking-waste of space and you belong in the trash bin with spunky tissues and banana skins. Get the fuck outta here. Of course hip hop is gunna change and has changed, the music is gunna sound different the clothes we wear, labels, videos, new hot emcees, and dope producers. Thats what growth and change is, but why have the rules for respect and regard within our culture changed? I grew up, fairly well adapted, to adjust and progress in myself as well as staying balanced and realistic within my musical moves. I love change ‘ but the old things, still have that honesty man” .. Are we still all being honest here? I just feel like, technology, not just in music in everything makes us lazy and the concept is snow balling. Remember when we had no remote controls for our TV sets? We had to get our asses off the couch to switch channel? You see, it started small. Look where we are now. I can order a pizza off my cell phone for fuck sake¬† and I dont have to talk to anyone.

IH: how important do you feel are records to hiphop?

DH:¬†Referencing my ‘Grab serato’ blog once again I mentioned that records are the music catalyst, the driving instrument for Hip Hop. How important are they? more important than emcees if you ask me… If records had never been invented,¬†there wouldnt be any hip hop. No Vinyl ‚ÄďNo Hip Hop. If you call yourself a hip hop producer¬†and you aint packing some wax? your nothing …. Producers dont have to sample wax EVERY time, but remember there is still music out there that isnt on the net, or cd?¬† only wax. And if someone finds it and puts it onto the internet. Thanks, thanks a bunch for yet again makin it easier for inexperienced diggers. So think twice. go on. take a risk go find it, hold it¬†smell it, read the cover, find albums by the musicians on the lp’s .Thats hip hop right there.

IH:¬†what’s the status of dirty treats these days?

DH:¬†Dirty Treats is like an audio adventure. Treats has a bunch of stuff we did, I have a bunch of stuff we¬†did. We‚Äôre both nesting on about 15 tracks, we had a deal lined up people interested, distribution and stuff like that, big emcees hitting us up We had enough for an LP that would have made people involved in UK hip hop alone shit themselves..Due to financial crisis on my part, jobless for 2 months +¬†some expensive living conditions and complications, our stressful jobs and expenses over ran the¬†work rate and we put it in storage. Let it be known, its absolutely nothing personal for the record. I know alotta cats talking shit on myspace or whatever. Treats has always been and always will be my best friend. We pushed each other so hard to get to where we’re at and we talk every few weeks (since I’ve been living in Croatia). The shit we got, is not comparable to any other UK hip hop..Its tooo dope (And believe me, we’re very humble non ego driven chaps!!) we studied what we’re up against. We decided that we should take time out to live and be good boyfriends, husbands to our significant others. Also because we’re making no¬†money from it (yet) we needed breathing space. DirtyTreats, will have an official released at some point. (probably there wont be prior notice, it will just arrive, in peoples faces and you’ll email us for the vinyl because its fresh, organic and honest hip hop). It comprises of an evolution of friendship, experience, ability and skill. Theres a Dollabin remix thats gunna shock folks, we got tucked away and some bits with some solid wordsmiths we connected with via the old space.. But fear not . We both got a lot to say musically, and he’s my brother. I‚Äôm the reason he owns an Mpc, and he’s the reason I own an s950.Its all love. Sorry the status? Metaphorically docked in the harbour of beats, marinating in the meat locker, -Or on hold.

IH: anything else?

DH:¬†Well firstly Ian, thanks a bunch for all your dope monthly mixtapes. I’ve played them at parties, put people onto the dolla, spread the word and I believe that your music, demonstrates some real wisdom and abilty in the crates, with samples and beats. I know you flex the software route in your music, but you are the freshest for your set up. I can hear that not much gets past you in hip hop. Also the connection you have with Math feels like a brothahood through the Dolla tracks..Your using technology to your advantage, (its here for¬†all of us of course) but you implement experience and knowledge of hip hop and records in your approach. I really Fucking Dig it. Also thanks for all of the music¬†you have put out to the world, Styles you Cant afford, Pieces, Reborn Soul, One more Crate and all the digi singles.

Secondly thank you to anyone that I worked with musically, and for everyone everywhere that gave me a listen on the music weather you thought it was dope or dogshit. If your reading this and thinkin Dirty Hairy sounds like an ok geezer. Thanks a bunch¬†your right. I aint that bad. Respect someone for speaking their mind rather than whether you agree with it or not..I’m always trying to develop on beats because I love it yo!I hope if you hate it one day I’m sure I’ll have at least one beat you dig !
And one final word on MP3’s and downloading. A big fuck you to everyone downloading albums music and movies and not paying shit EVERYDAY. Remember this, whilst your walking around in your mundane lives moaning and groaning and about not being able to get this, and get that,¬†because¬†its tooo fucking expensive,” and awww! I cant afford it and I’d shouldnt have to pay?” FUCK YOU. Music shouldnt be free unless the artist specifically wants it to be for exposure. Ok? Perhaps because they aint signed and its promo..On that level, fine. Give it away. Do what you have to.

Maybe if we concentrated on signing decent artists and put some money into distribution, your hard drives wouldnt be filled up with 50% bullshit music you never listen to and dont even fucking understand. Please . If it makes you feel better call yourself a music fan, but you aint shit You dont understand music. Music is a luxury, like food and clothes.. You pay for food right ? If you want it, pay for it? No one gives me free clothes, food, or an internet connection. Why should music be any different. ? Its you, the corporate record labels, and the concent you feel technology has given you that is fuckin up not just the Hip Hop scene, but the music industry. Go clean a toilet.

shout outs to people you need to check on myspace or the internet period all these cats, work hard make good music and keep me inspired and stay true: Brassik (UK South),Ill Treats,(The Freshest-UK, Brighton)Dj Chill (the illest -Croatia, ZG)Dj Big Sale(The Biggest-Croatia,ZG,) Edo Maajka(Croatia),Drumatic,(Philidelphia)Need Not Worry(Rhode Island),Frank Costa(UK Brighton),OMC-(Brighton UK)So Called Musicans,(Seattle)Ear Drumz the Metrognome(seattle),Mac the Barber(Puma Strut),Mr Krum(UK South),I,Nat Lover,Jenkins,IllySpillaz and  DJ 2040(New Zealand)Praverb The Wyse(Virginia)Lakai the useless(Arizona),Charade the red comet(Arizona),Parable Paul(Arizona),Glad2mecha,(Arizona)The Clurk(Colorado)Salmon River Project and Dusty Rhodes(Oregon)El Chavo(Spain)Dj Keor (France),Mike Cutler & Psuedo Intelectuals(Buffalo,NYC)Flam & Staffro/Recluse Crew(Finland)Feelstyle(Samoa)Low Budget(Australia)
And of course the mighty DOLLABIN!

Peas D