Rockie Fresh makes the leap to the national hip-hop scene

January 29, 2013 8:20PMRockie Fresh
Words By Jake Krzeczowski
 Photo: Allen Daniel
Video: Bryan Lamb
More and more hip-hop artists have made the jump recently from Chicago to the national scene, with Lil’ Durk and Lil’ Reese signing major-label deals and Chief Keef releasing his debut album.

That trend doesn’t seem like it will ease up anytime soon, either.

For instance, local artist Rockie Fresh, who signed to Rick Ross’ Maybach Music Group last July, will join talented up-and-comer Chance the Rapper for an all-ages show Saturday at the Bottom Lounge to celebrate Rockie Fresh’s “Electric Highway” release, his first on a major label.

“The main difference with this project was that I had the resources to craft it the way I wanted to,” Rockie Fresh said. “It’s always real important for me to do stuff here in Chicago because this is where my true fans and true friends and family are, so I’m always glad to be back.”

Returning after shows in New York and Colorado, Rockie Fresh tapped 19-year-old wunderkind Chance the Rapper to join him onstage at the Bottom Lounge.

These two artists are increasingly becoming the face of the local hip-hop movement. Both recently played sold-out shows at Metro.

“I think me being considered at the forefront of all of this kind of makes sense,” Rockie Fresh said. “We all need different outlooks on different parts of the city, which makes Chicago so great because you have myself, Chance and Chief Keef all talking about the same city from different lights.”

The two artists’ styles differ from what has become the “norm” for Chicago hip-hop; they incorporate creative instrumentation and samples with thoughtful and sometimes poetic lyrics.

“Me and Rockie have known each other for a [while],” said Chance, whose “10 Day” debut mixtape was picked as one of the top 10 free music releases of 2012 by the site forbes.com. “Just to be in a class of artists that are young, mostly black, successful kids is dope to be a part of — there’s really a big fan base right now.”

photo(2)All proceeds from the show will be donated to the Juvenile Diabetes Research Foundation to help fund research on Type 1 diabetes.

“When we heard about the benefit side of the show, we were really excited because we haven’t played any benefits yet this year,” Chance said. “I have a cousin that suffers from juvenile diabetes and a lot of older relatives that have Type 2 or Type 1. It’s just always dope to give back in any situation.”

The Bottom Lounge show is shaping up to be a glimpse of what’s to come from the Windy City.

“Right now, me and Chance are both buzzing both in and out of the city and getting a lot of attention,” Rockie Fresh said. “I think it’s important for the unity of the city for us to do something together like this.”

Jake Krzeczowski is a locally based free-lance writer. Follow him on Twitter @jakekrez.

Action Bronson, a Queens rapper on the rise, likes flavors of Chicago

BY JAKE KRZECZOWSKI January 24, 2013 8:30PM

Originally Appeared for Chicago Sun-Times

Arian Asllani knows a quality product when he sees one.

The rap artist, better known as Action Bronson, learned to keep a keen eye on quality control while working as a flame-gourmet chef in New York City.

The Flushing, Queens, MC arrives in Chicago on Sunday at Reggie’s for a 21-and-up show at Reggie’s — a make-up

date for a show late last month that was postponed.

“I had to cancel my previous show at Reggie’s because I had so many shows prior that I totally lost my voice,” Bronson said. “I wanted to make sure I gave Chicago the best performance because I actually love coming to Chicago.”

That love has manifested itself in much of Bronson’s work, which features collaboration with the city’s own Chance the Rapper, ProbCause, Macie Stewart and Rockie Fresh, to name a few.

Having grown up in Queens, “Bronsolini” feels a connection to the Windy City, drawing parallels to his own neck of the woods.

“Chicago has a real pride and blue-collar feel,” said Bronson, 29. “That’s the kind of guy I am, and I was brought up that way.”

Pulling from what he knows, Action Bronson’s music is a cacophony of subjects, from food to women, that he discusses with the ease of a man enjoying a lazy conversation.

Action-BronsonThat relatable nature has vaulted him into rarefied air in the three years he’s been solely focusing on hip-hop.

At the beginning of 2012, Bronson released the critically acclaimed “Blue Chips” with producer Party Supplies and followed that with his year-end mixtape “Rare Chandeliers,” produced by the Alchemist.

This year should see at least one new project from the Warner Bros./VICE signee.

“It’s all about timing right now and making sure each thing gets its proper light,” said Bronson. “The album right now is the most important and it needs the most amount of light, but the fans will dictate what I do next.”

Of course, as a connoisseur of fine dining, the rapper/chef is eager to hit many of Chicago’s famed restaurants and lists the Blackbird Diner as a favorite spot. Bronson also weighed in on the great pizza debate — thin crust or deep dish?

“They’re both great things,” said Bronson. “New York-style pizza is built for the way we live, thin and easy to eat, whereas Chicago-style pizza is that hearty, stick-to-your-ribs kind of Midwestern food. They can’t really be compared.”

Regardless of what he’s eating, Bronson has his voice and seems poised to produce a top-notch experience for those in attendance at Reggie’s.

“My foot is gently in the pool and I want to be diving perfectly with no splashes into the water from 30 feet up,” he said. “Right now my toes are just twinkling in the water. I haven’t even scratched the surface yet.”

Jake Krzeczowski is a locally based free-lance writer.

[Interview] RH First Look: The GTW

words by Jake Krzeczowski

Originally Appeared for Ruby Hornet

It’s hard to miss James King when he enters a room. When I first met him he was wearing green fatigue pants tightly tucked into black combat boots and topped off by a patchwork bomber jacket. King, better known as The GTW (Greater Than Wealth), explains that his dress reflects his art, taking from many different scenes and cultures around Chicago and abroad to create a sound and attitude that is wholly his own. The sound he dubs “Chigerian” is a nod to the Nigerian heritage his immigrant parents bestowed on him since he was an infant.

The rapper/singer/producer embodies the collage of influences in everything he does, calling it a “random” mix of everything from art to music and life. His music is a sort of new-age 90′s R&B with tribal twinges and a mix of down-tempo house with carefully crafted electronic undertones. His most recent project, 4814 with producer Beng Feng showed a flexibility to adapt and assimilate his tone and sound to a different production, something the 22-year old artist prides himself on. The GTW is a big Manchester United fan and has a keen eye on the european electronic scene and 4814 garnered him a write-up in the UK newspaperThe Guardian before he had much of any press here at home. With a video for his song “Cravings” on the way and upcoming projects with Beng Feng and others in the works, expect to see plenty more headlines on The GTW in 2013. I was able to catch up with the multi-talented artist just before his show January 25 at The Temple Head Gallery in Humboldt Park.

The GTW's parents grew up in Nigeria
The GTW’s parents grew up in Nigeria

RubyHornet: Tell me about the various influences you employ in your music and what is Chigerian?

GTW: It’s good to build up other people. First you have to start off making the music that you like, but it’s cool to build other people up. Being into other cultures, not just the music but what actually makes the pain, what makes them sing the way they do, what makes them make the types of beats they make and that’s why I’m into so many different cultures. I really like Brazillian jazz music, I’m into house music, I’m into trap and soul and to understand all of these different influences you have to understand the cultures.  Just reading a lot or watching documentaries, and I know I have a little bit of every culture with me but more specifically with Chigerian, just being born in Chicago and having parents that are actually from Nigeria and having gone there it actually shaped my mindset. So the whole Chigerian thing is not only Chicago, it’s pretty much anyone who lives in the city with a world influence.

RubyHornet: How many times have you been to Nigeria?

GTW: I’ve been to Nigeria once. It was cool, kind of a culture shock because as soon as I got there I’m hot and sweating  and the airport wasn’t really up to par so as soon as I walk in when I’m 10 years old I see a rat running around and I was used to everything being super clean. I was really prissy, really spoiled as a kid so when people were running for our bags to help us I was like ‘whoa, what’s going on?’ Just the culture too, the culture there is really go out and get it as opposed to having something handed to you. It’s really like go out and get it and very forceful and that’s kind of what I really learned. I lived there for six months and I came out a man, being 10 years old. It was a good experience and I’d really like to go back.

RubyHornet: What affect did that have on your life or your music?

GTW: It really did change my life at that time because I learned to appreciate everything a little bit more. Years later, ten years later, I can’t say it affected me as much so because I was only there for six months, but I still remember what I learned. Maybe if I stayed there a little longer now it would have a bigger impact and I would make better decision (laughs).

RubyHornet: Do you feel as though your experiences or interests in other cultures sets you apart?

GTW: I feel everybody has their own culture, everyone. I’m not any more cultured than anyone else is. It’s cool just to live in Chicago and have parents from Nigeria. It helps me look at things differently and allows me a different outlook on life. There was that whole Nigerian culture that was going on not only in Nigeria but around the world. I’m not only wrapped up in Nigerian politics, I like to look around and see what’s going on in like the Middle East and other places. I like hearing good news, I like hearing bad news around the world. It helps me find inspiration elsewhere.I can be from a country in the middle of the diaspora and be inspired by a country on the southern tip of South America. Here I’m inspired by Texas, Houston and whatever little scenes they have going on down there. Musically I can get inspired by really anything, including local culture.

Whether it be clothes, music or everyday actions, The GTW embodies his music
Whether it be clothes, music or everyday actions, The GTW embodies his music

RubyHornet: Tell me about your style, it is very eclectic both musically and day to day.

GTW: I’m just like, really random. I believe that with music I’m inspired aesthetically first so that when I look at a picture I’ll tend to write off of that image and I feel if you make a certain type of music you don’t need to ask me what kind of music I make. You can tell, it’s easy to say ‘I make this.’ Everyone’s left lane, everyone’s doing their own thing. If I look at you, can I really tell that you’re making the kind of art you believe in? It doesn’t have to be wild or crazy.

I’m not really into fashion at all, I’m just really random with it. I feel like aesthetically I like to connect with my audio, my music. When I go out I just grab random stuff like pants I like. My whole sound I’m working on now, like tribal bass, is really inspired by a lot of tropical bass music, shit like that, mixing it in with Hip Hop, sinking soul music. That’s kind of like my style, it’s really traditional and still I’m wrapped up in the internet. You’ll see a lot of visual influence with anything I do, not just style but aesthetic or design work, anything I do.

RubyHornet: As someone who does everything from producing to singing and rapping, how important is it to you to be well-versed in many different aspects?

GTW: It’s important, but it’s fun doing anything because I don’t have all the money in the world to pay people to do this and that and don’t really have anything to offer anyone, so all I have is time and I can learn to do what other people do and create my own vision and have my hand in everything, it’s fun. It’s hard but like, what’re you doing it for? Experimenting is fun with me. I’m not the best at everything. Like, I may not out sing some people but I may know how to say a couple catchy notes. Or maybe I can’t out-rap anyone but I can say some simple, everyday things that may connect to someone.

RubyHornet: How grateful are you to be a part of this rising music scene in Chicago?

GTW: It’s a beautiful thing to be a part of. I’m really grateful because I’ve gotten to work with cats in the soul scene, artists in the Hip Hop scene and artists from all different scenes and every scene is progressing in their own lane. I may not know it but there will be soul artists you’ve never heard of touring or an experimental artist touring or a Hip Hop artist on the street; all kinds of people you wouldn’t really know what they’re doing unless you’re connected to it. As far as music, it’s really beneficial and inspires me to make the best music I can make. I can make the kind of music I want to make here in Chicago and succeed with it internationally. It’s really given me hope that this is a great city to be from and you don’t really have to worry about rent.

RubyHornet: What is your motivation with music, what gets you out of bed and working everyday?

GTW: The fact that I just want to live better of course. I just really want have fun right now making music and I just want people to hear it because there will be down times I’ll have in my life, I wouldn’t say suicidal, but I’ll be down and listen to certain songs and I just want to be that artist that people are like “Oh, I love this artist because I was down and listened to his music.” I want to connect to people. I feel like now that’s how you solidify yourself. There’s a lot of artists so if you don’t connect people are looking for the next thing. I want to come with what I have to offer and have fun but at the same time I want to connect with people.

A slow and steady climb wins for Trampled by Turtles

By Jake Krzeczowski January 23, 2013 1:56PM

Originally Appeared for Chicago Sun-Times

Updated: January 23, 2013 2:06PM

In an age when a kid in a YouTube video can become a star overnight, Trampled by Turtles’ steady climb to popularity is a refreshing reminder of the days when artists were judged on the quality of their music.

In today’s music world, “making it” has become relative as the Internet and conglomeration of digital music have made it harder than ever to gauge the path for success.

If ticket sales still count, the folk/bluegrass band Trampled by Turtles, who play a sold out show Thursday at the Vic, may have found a measuring stick.

Trampled By Turtles has steadily risen up the charts
Trampled By Turtles has steadily risen up the charts

The band’s steady rise has been as much a surprise to the members as anyone else.

“So far. the tour has gone way past our expectation,” said Ryan Young, who plays the fiddle and lends back-up vocals. “Just about every show we’ve played has been sold out and some are selling out in advance, which is incredible. So far, so good.”

So good, indeed. The Duluth, Minn., band got its unusual name from a collaborative brainstorming session in which band members chose a moniker “they didn’t totally hate.”

That was in 2003. Since then, slow and steady has won the race for Trampled by Turtles by remaining consistent and knowing what fits the band’s sound.

The band really burst onto the national landscape with its 2010 release, “Palomino.”

“We just did the same thing, or didn’t do anything particularly different when ‘Palomino’ came out,” Young said. “That one did better than our previous work and we didn’t change much with our latest release, ‘Stars and Satellites,’ but that did even better than ‘Palomino.’ ”

With 2012 in the rearview, the band has no plans to stop any time soon, with festival dates peppering its schedule, with the Telluride Bluegrass Festival in Colorado on June 20-23 circled in particular.

If nothing else, Trampled by Turtles won’t be caught off-guard in front of the sold out crowd at the Vic.

“There’s a lot of good acoustic music acts out there that don’t get as much recognition as we do and I can’t really say why,” Young said. “I think it’s something in our songs that really resonates with people; we’re definitely excited to bring that to our fans in Chicago.”

Jake Krzeczowski is a free-lance writer. Follow him on Twitter: @jakekrez.

Emancipator [interview] talks new album, ‘Dusk til Dawn,’ and US tour

Date: Jan 21, 2013 (Monday)

By: Jake Krzeczowski

The idea of a “model” in the music industry is all but gone. Some still traverse the traditional route, but for many contemporary artists there are many more options. No one knows this better than Doug Appling, better known as electronic wunderkind Emancipator.

EmancipatorBefore hitting it big in the States, Emancipator became a phenom overseas—most notably in Japan—at the age of nineteen riding a wave of eagerness for his unique blend of instrumentation that includes rousing performances on the violin by Illya Goldberg. The young artist moved to and performed in Japan, keeping a keen eye on what was happening back in the states before taking North America by storm in late 2009 and early 2010.

TheUntz.com was able to catch up with the Emancipator before his January 19 date at the Bottom Lounge in Chicago.

How’s touring life?

The tour’s going great; we just had our first date at Canopy Club in Champaign, and we’re just excited for the next five weeks—and I’m excited at least to be bringing this new album out on tour.

Anything new in store for the tour and live performance?

I have these songs that I’ve been working on all winter that I can wait to share with everyone, and there’s new production with a new video rig which is pretty dope. They bought us a projector last month to make these triangle panels.

You’re known for a really lush stage show. How much live instrumentation goes into one of your performances?

These shows feature me and Illya playing onstage, I’m not bringing any instruments myself but we’ll still have some musical surprises for you guys.

Your sound has matured and evolved so much over the course of your very short career. What was your process in developing your unique sound?

Well I spent a lot of time as a new producer just on trial and error so I just remember playing a song and creating loops from scratch, that’s kind of how I made my signature sound and I try to teach myself all along the way. It’s kind of funny because I consider myself an electronic musician but a lot of people may hear my music and don’t think it’s electronic music because it doesn’t necessarily mesh with what’s popular. I arrived here because I had this background in classical music and folk music which unfortunately don’t feature a lot of drums. At some point I fell in love with the drum kit and started playing it and eventually meshed these two styles into one.

What is that classical music background of which you spoke?

Violin was the first instrument when I was four and I played that for eight years before I got more into drums and guitar, bass and other instruments too. Currently in my studio I have a synth, bunch of guitars, mandolin, banjo, kalimba, flute; just a lot of instruments to record and sample and produce them electronically. That’s kind of how I get my unique sound, I like to take acoustic instruments and lend them to electronic production.

Can you tell us about your experiences in Japan?

I think it was great to be able to get that experience early on. For my career, I have a good foundation going to be able to let this music grow. It was really thrilling to be able to dive right in to a place like Japan, halfway across the world and have a following there so it’s been an inspiration and a motivation all along the way.

How much did that experience prepare you for America?

It’s funny, my first show in Japan was at the Rolling Stone Cafe and I thought that was a big deal for me at the time and at the same time my first show in the US was opening for Bonobo’s live band at one of the biggest venues in Portland so even here I kind of feel like I dove right in. I see the arenas getting better so I think I’m just constantly growing and adapting to what the situation is. I don’t feel like I’ve made it but at the same time I don’t feel like I’ve learned everything I can and I’m not bored of it yet so it’s still fresh.

Where do you see yourself fitting into the larger framework of electronic music?

It depends on where you think it’s at right now; it’s a lot of different places. I think it’s getting so popular that people are beginning to discern between the genres moreso, not like ten years ago when you said you made beats people assumed you meant techno, people actually know about this stuff. I think it’s going to come around full circle and you’re going to start seeing more fusion bands of electronica mixed with instruments which has been popular in our scene for awhile but I think you’ll see more and more of that.

For those who have never experience a live Emancipator show, what can they expect?

It’s all about setting the vibe for this kind of music; expect some dope beats I guess. It’s not too in your face, we just try to keep it clean and evoke some emotions.

Any big plans for 2013?

A year from now I’d like to be moving in a positive way with my music, just like this year but hopefully with a lot of new material under my belt. We’re looking forward to getting on the festival scene and whatnot, it should be a good year.

Behind Yaneisha Franklin’s smile is the gritty hip-hop of Sasha Go Hard

By JAKE KRZECZOWSKI January 10, 2013 8:03PM

Originally Appeared for Chicago Sun Times
 
 If her stage name were not evidence enough, Yaneisha Franklin, better known as Chicago hip-hop artist Sasha Go Hard, doesn’t take this music thing lightly.

Her music mirrors that mentality and largely reflects her life.

With acts like Chief Keef and Lil’ Reese bringing the hip-hop spotlight to Chicago, the city has become known for a style of rapping known as “drill.” The subgenre, which is rife with sputtering snares, uptempo rhymes and the sounds of gunshots in the background, has been largely dominated by men.

Enter Sasha Go Hard. At first glance. the petite 20-year-old Hyde Park native may not look like she fits the part of a “drill rapper,” but her disarming smile offsets a gritty demeanor..

While many have benefitted from the spotlight focused on the city, Sasha Go Hard has managed to build her name elsewhere on the strength of a well-received performance at the 2012 MTV Sucker Free Chicago event, where she showcased her mixtape “Do You Know Who I Am?” That led to a set at the CMJ Music Marathon in New York City in October. She will perform Friday at the Hotel Victor Lounge.

“I’ve really been able to build a solid following out East, and it’s always so much fun to go to New York,” she said. “It’s crazy, though, because every time I leave Chicago, it’s just so good to come back and feel the love.”

IMG_9651As one of only a few female hip-hop artists to emerge from Chicago with a national following, Sasha Go Hard is also blazing a trail for young women like herself to pursue their artistic dreams.

“Every day I think about it, I feel really blessed because I’m not the only one who’s doing this but I’m getting the attention I deserve,” she said. “It’s just me being who I am, which I think shows others out there that it is possible to be successful in hip-hop as woman.”

Last year was big for Sasha Go Hard, with two critically acclaimed mixtapes, as well as co-signs from the likes of Azealia Banks, Trinidad James and Rockie Fresh, and a collaboration with Electronic guru Diplo.

She is now preparing to drop her latest project, “Round 3,” in February. The project features production from Absolut P, Block, Diplo and Chicago’s own Tony Roche, and is hosted by fellow local DJ Victoriouz.

If the past year is any indication, Sasha Go Hard doesn’t look to soften her approach any time soon.

“One thing in music I’ve learned so far is that you can be on and then off very quickly, so I just want to make sure the music I put out is consistent,” she said. “‘Round 3’ is going to be crazy, and I’m excited to have people rocking with me. I’m ready.”

 

Jake Krzeczowski is a locally based free-lance writer. Follow him on Twitter: @jakekrez.

Hip-hop artist evolves, finds wider audience

By Jake Krzeczowski January 9, 2013 5:42PM

Originally Appeared for Chicago Sun-Times
 
 For Clinton Sandifer, life is all about doing what makes him happy.

That he’s best known as Chicago hip-hop artist ShowYouSuck is beside the point. A former student at the School of the Art Institute of Chicago, Sandifer, 27, is evolving into a new-age renaissance man by finding many ways to bring his voice to a larger audience.

Along with his music career, he also helps run a tattoo shop, Code of Conduct, and an art gallery, Artpentry, both in Pilsen. Along with all that, he is also the face behind his own fashion label, Slurpcult. It’s all part of a dynamic persona that Sandifer projects to the world.

“I want you to be a fan of me before the music, the relationship is stronger that way,” he said. “If this messed up tomorrow, I can go back to working at a skate shop or art gallery. It allows me to make my music freely, there’s no desperation, music isn’t my last resort.”

To celebrate the release of the final part of his trilogy “One Man Pizza Party” titled “Rest in Pizza,” he will perform Saturday with Chicago-based artists St. Millie and Warhound at the Bottom Lounge.

The lineup reflects the album, which features a blend of hip-hop and rock. To be sure, Warhound and St. Millie are widely different acts. The former is a suburban hardcore rock quintet while the latter is part of the Treated Crew hip-hop collective (along with ShowYouSuck), who delivers thoughtful, poetic lyrics.

As Sandifer explains it, the way the show is set up mirrors the way he began his career performing in and around

Chicago hip-hop artist ShowYouSuck (akClintSandifer)

Chicago.

“I started out playing hardcore shows with bands in the suburbs,” he said. “That was the first scene that really embraced me musically, and I’ve only really been doing shows with rappers for the past couple of years. I wanted to put together a show that I would have wanted to see when I was a teenager, I never had a chance to see a show like this before.”

His music draws on many influences, from punk and indie rock to soul. All are easily seen in his high-energy live act.

“A lot of my stage presence I got from watching other bands play,” he said. “People who are into different music don’t always mix together, and that’s what I want to do with this lineup.”

He’s ready to put his three-part, yearlong project to bed and continue to follow a path of creative freedom and genre-bending that has vaulted him to the forefront of Chicago hip-hop.

“I’m just really working freely right now,” he said. “Just recording and getting in with a lot of different producers and people, but I’m really happy with the way this project was received and excited to keep it going.”

Jake Krzeczowski is a locally based free-lance writer. Follow him on Twitter: @jakekrez

Electronic dance music gets boost of energy in Chicago

By Jake Krzeczowski December 26, 2012 10:28PM

Originally appeared for Chicago Sun-Times

This summer 50,000 people flooded Soldier Field — not for a football game, or any game, for that matter. The young people coming through the gates of the home of the Chicago Bears were there for another reason: to dance.

Spring Awakening, a dance-music festival held June 16-17 in and around Soldier Field, is just one local example of how big the electronic dance music craze got this year.

EDM concerts are usually pre-packaged parties led by larger-than-life DJs, producers and musicians armed with extravagant light shows, glowstick cannons and head-pounding bass.

“The dance scene in Chicago right now is just thriving,” said DJ Steve Aoki, who played a sold-out show Dec. 15 at the Congress Theater. “Especially the past two years, it’s really gotten bigger and not even in terms of people but energy too. Kids have really embraced it and taken it to this state.”

Chicago’s concert winter calendar is packed with shows, culminating in a pair of concerts on New Year’s Eve: Big Gigantic at the Aragon Ballroom and Porter Robinson at the Congress Theater.

Big Gigantic, which returns for its second consecutive NYE in Chicago, and Porter Robinson represent two different takes on the genre widely known just as EDM.

Big Gigantic creates its dubstep-infused art with a live aspect, blending drums and a saxophone with computer-generated synth lines and bass. Porter Robinson, meanwhile, mixes on a computer.

“These days,” said Dom­inic Lalli, one half of Big Gigantic, “there’s so much out there and so much music coming out, being different is really key.”

Porter Robinson plays the Congress Theater for New Years Eve
Porter Robinson plays the Congress Theater for New Years Eve

The word “different” is important. The EDM community came under fire this year when Canadian dance music mogul Deadmau5 criticized DJs within the genre, most notably David Guetta and Skrillex, referring to them as “button pushers” who pretend to work a lot harder onstage than they do.

The issue also was sparked by a YouTube video showing Swedish House Mafia DJ Steve Angello casually smoking a cigarette onstage as the party raged on in front of him. While that behavior certainly isn’t status quo, it does raise questions about whether some DJs are being paid millions essentially just to hit “play.”

For its part, Big Gigantic tries to keep its music connected to performance.

“We just love making music,” said Lalli, who lists jazz greats John Coltrane and Joe Henderson as sax influences. “We try to bring all those elements together to make this new thing or sound, and I think that’s the biggest thing these days.”

While live instrumentation may attract some to the music, others couldn’t care less what the artist is doing onstage.

“I don’t really care, people can say whatever they want,” said Los Angeles DJ Audrey Napolean. “I know what I do, and I know what I do onstage is real, and I know that I do everything I can to put on a good show, and that’s all I need to know.”

The emergence of music on the Internet has assisted the rise of dance music. One of the most recognized sites for artists trying to break into the scene is BeatPort.com, a sort of iTunes for DJs.

“We are a site for music for DJs,” said BeatPort CEO Matthew Adell. “DJs have special music needs. They’re different from the average consumer. Our goal is to get DJs the most important material they need for their set, right now.”

The site, started in 2004, has helped launch the careers of many of the biggest artists in dance music and also hosts the annual BeatPort Music Awards, which recognize the best in EDM.

One of the most recent products of BeatPort is the Chicago-born trio Krewella, booked for Saturday at the Congress Theater.

Jahan and Yasmine Yousef and Producer RainMan make up Krewella
Jahan and Yasmine Yousef and Producer RainMan make up Krewella

The three-person group, consisting of sisters Jahan and Yasmine Yousef and producer Rain Man (Kris Trindl), is indicative of the rising scene here. Trindl handles the beats while the sisters provide their piercing vocals to the bands eclectic sound. The online venue allowed them to pursue a more cohesive live show with a larger following.

“Being featured on Beatport opened up a whole new world for our EP distribution,” Jahan said. “It’s amazing coming home to Chicago because I remember even a year and a half ago when we were playing raves with like 10 kids. We feel a sense of loyalty when we come back.”

As computers and programs advance and EDM stars grow more familiar, it seems as though there is no ceiling on where the scene will go.

“I think it’s just the tip of the iceberg, to be honest,” said Avi Gallant, who runs the Untz, a leading EDM news website. “I don’t think it’ll get too big, [but] the sky is the limit. This is just the beginning.” 

Jake Krzeczowski is a locally based free-lance writer. Follow him on Twitter: @jakekrez

Three distinct shows will ring in the New Year

BY Jake Krzeczowski December 26, 2012 11:25PM

Originally appeared for Chicago Sun-Times

Updated: December 27, 2012 10:50AM

There aren’t a lot of bands doing what Lotus does.

As the laptop increasingly slides into the role of introductory musical instrument that the guitar has held for generations, jam bands like Lotus have slowly become less prevalent.

Lotus in Blacksburg, Virginia
Lotus in Blacksburg, Virginia

Lotus isn’t just any jam band though. Through a mix of syncopated improvisation ala Umphrey’s Magee and computer-generated sounds the group has been able to carve out it’s own sound it dubs jamtronica.

The unique sound arrives for two nights in Chicago with a back to back showcase at the Riviera Theater December 27 and 28 as part of their five-night New Year’s Eve tour that starts in Chicago and ends on the 31st with a show in Baltimore.

“We often do several shows leading up to New Year’s but this might be the most we’ve done in a row,” said Jesse Miller (bass/sampler). “It was a good chance for us to get out and play a number of shows in

cities we haven’t played ina while.”

The two-night run at the Riviera will surely feature the band’s endless onstage jamming that will touch on their extensive catalog, both old and new paired with an inspired light show.

“We try to draw the crowd into the human element of the show,” said Luke Miller (guitar/keyboards). “[The lighting] is a very powerful part of our show and our lighting guy has been with us since the beginning so he’s locked into our improvisation.”

Lotus closes out 2012 with its eye on the future, including plans for at least two albums and maybe a third that is still in production dropping in 2013.

“I think it’s going to be a celebration, a celebration of the new year,” said Jesse. “It’s a great opportunity to get a bunch of people in some cool rooms and have a good time.”

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Chris Mathien and Peter CottonTale of mathien

New Year’s Eve will be Chris Mathien and Co.’s second time playing a concert as they ring in the New Year at Reggie’s Rock Joint for a 21+over show.

With that experience behind them, they kind of know what to expect.

“We performed two years ago at Reggie’s and we were supposed to do the countdown at midnight,” said lead singer/guitarist Mathien. “Everyone’s cell phone was on a different time so people were kind of celebrating sporadically while we counted off.”

That was two years ago.

Since then the band, consisting of Mathien and drummer Omar Jahwar, bassist Erik Kaldahl and keyboardist Peter CottonTale (Wilkins), which performs under their lead singer’s surname has figured a few things out.

After starting the band as a college student at Southern Illinois University, Chris Mathien moved north to Chicago and met CottonTale, a gifted musician who he immediately added to the band’s lineup nearly three years ago.

“I grew up playing Jazz and Soul but then I found this Rock/Funk, Maroon 5-sounding guy,” said CottonTale. “But it was a smooth transition musically because I understood where he was coming from.”

With the end of the year quickly approaching, mathien has been sure to plan out the show carefully will be handing out 100 free CDs with an unreleased new single, as well as polishing that countdown.

“I think we’re going to put an official countdown on the stage somewhere this time to avoid confusion,” said Mathien. “We’re excited to have the chance to rung in the New Year in Chicago.”

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Charles Bradley – “The Screaming Eagle of Soul”

Across town, Charles Bradley performs two shows at Lincoln Hall. Known to audiences as the “Screaming Eagle of Soul,” 65-year-old Charles Bradley visits Lincoln Hall for shows on Dec. 30 and 31.

“I’m looking forward to returning to Chicago, when I was there last it was a beautiful time,” said Bradley.

The funk/soul singer got his break in music late, at age 49, performing as a James Brown impersonator under the name “Black Velvet.” Noticed by Daptone Records, the Otis Redding-like vocalist has since recorded several albums with another one on the way in 2013.

For all it’s history in Blues and Jazz, Chicago seems like the perfect place for Bradley to land for a beginning to the New Year.

“I’ve been pushing for a long time for this opportunity,” said Bradley. “I am taking that opportunity and making the most of it, I want to show everyone at these shows what I can do and show them all the love I have.”

Jake Krzeczowski is a local free-lance writer.

[Interview] RH First Look: Alex Wiley

Alex Wiley

–words and interview by Jake Krzeczowski. (Originally Appeared for Ruby Hornet)

Alex Wiley has been working hard lately. The Southside MC has been busy for the better part of 2012 garnering followers through a steady flow of videos and songs online and collaborations with Kembe X and a host of other Chicago artists. Wiley is now looking to drop his own solo project, one that has gone through several changes throughout the last few months.  What originally started as an EP under the name Village Up, has transformed several times during endless recording at SoundScape Studios, where I recent met and spoke with the budding emcee. To be sure, Wiley was due for a nap. Luckily, I was able to catch him just before he curled up on the couch, exhausted from a long day.

That Wiley sleeps at all may be the most surprising thing. The high-energy emcee can be found around town rapping in a Santa suit like he did onstage at Chance The Rapper’s AcidRap Live show at The Metro November 23, or chopping up philosophies on the intricacies of the perfect taco bar, which he has plans to unveil somewhere in the near future. A glance at Wiley’s robust Twitter feed could make anyone wonder if the kid sleeps at all. Since releasing #MoPurp with Chance and Kembe earlier this year, a video for which has garnered over 75,000 YouTube views in just under six months, Wiley has set about making his mark on the Chicago scene and beyond and is nearing the release of his debut project, Club Wiley, which has spanned almost a full year of his progression and is set to drop early 2013 via the indie label, Closed Sessions.

Alex Wiley
Wiley at SoundScape Studios

 

RubyHornet: How did all this get started for you?

Alex Wiley: My friend Kembe was rapping and shit, and I used to go to the studio with him and we started making these joke songs whenever he was done recording what he had written. We would just call it Swag Village because we just made really dumb songs and put them on Facebook. I just kept doing that and just started rapping over old “Electric Relaxation” and Nas beats. It was just like a weird progression, it was really slow. When Kembe’s mixtape was about to come out, this kid Genesis was harassing like every blogger with it and it found it’s way to Alex at RubyHornet and Andrew at FakeShore first. Once we started getting local blog posts, it just progressed and my friend Calez got on 2DopeBoyz and then we did a song and that went up, and then all of a sudden people were kinda taking us seriously as rappers.

RubyHornet:  What’s the transition like, going from another kid to being taken seriously in Hip Hop?

Alex Wiley: I dropped out of school at like 17, and I used to intern at a couple boutiques around town and that was probably what I was going to do for the time being, working at some little store. Then I just got to rapping, and it was cool and once I started doing it I just really, really like doing it.

RubyHornet: With everyone coming out of Chicago, how do you stay different?

Alex Wiley:  I don’t know, I haven’t really thought about it a whole lot to be honest. I think me and my friends have just been in a good situation and we are just ourselves, and get good enough feedback to where we can keep doing it.  I don’t think our particular side of the Chicago scene has a whole lot of competition and shit going on. I think everyone’s just themselves and people will fuck with it, or they won’t so much.

RubyHornet: Do you feel fortunate to be part of the rising scene in Chicago?

Alex Wiley: This is amazing. I mean, there are people who have been doing it way longer and have way more material out that are still trying to put it all together.  I just feel like I’m in a good situation with local people that I fuck with, but that we can still get the job done on a non-local level. I think it’s cool, I do feel fortunate to just be able to come by and be in the studio like this and work regularly.

RubyHornet: What do you credit that to?

Alex Wiley: Man, I don’t know. I’m just thinking how I got to a point where a label would even want to fuck with me. It doesn’t make a whole lot of sense to be honest. I mean it’s cool, I’m just fortunate to be where I’m at. I feel like it’s on me now, you know? It’s not going to be where I didn’t make it because my situation was fucked up, it’ll be because people don’t really like my music, but I don’t really see that being the case.

RubyHornet: Do you feel any pressure from that?

Alex Wiley: I haven’t had the experience of putting something out where people were just like “this is terrible.” So I don’t know, I feel like I can just do what I want to do, and people are going to fuck with me on some level.  yeah, I don’t think so.

RubyHornet: What’s the relationship like with SaveMoney and Chance and those guys?

Alex Wiley:  I went to grammar school with Chance, so I knew him since I was like five and then went to high school with most of the rest of them. So I’ve just known them for awhile, I have songs with a few of them and I fuck with them.

RubyHornet: How big was it for you to get on #10Day?

Wiley and Chance The Rapper - #MoPurp
Wiley and Chance The Rapper – #MoPurp

Alex Wiley: I wanted to be on it just because I knew how good it was going to be. I don’t think any of us knew it was going to crack the way it did. I had heard a couple records on the album and had been sort of subliminally asking Chance to be on it for awhile. When he came to the studio to do “MoPurp” and this other song, “Spaceship”, we did both of those in one night. He played me a couple records and I was like, I guess it wasn’t so subliminal, I just asked him, but jokingly because it was still his decision. He called me like three weeks before 10Day was out basically and was like “I want you to add a verse to ‘Windows’” because “Windows” was already out and he said he wanted me to add a verse to it and give it a little more bounce. So we just did that, and I think it came out cool. That tape, I think, is like a Chicago classic.

RubyHornet: Tell me a little about your label situation with Closed Sessions.

Alex Wiley: Man, it’s cool. I just think what we have in store is cool, like our plan for this shit, just where we’re trying to go. I think it’s just going to be very interesting to watch. If we do it right, and I think we will, I think it’ll be something to really watch because I think we’ll be getting at this shit that only major artists get at and still be doing it our way while still keeping it indie.

RubyHornet: What does Chicago mean to you?

Alex Wiley: I don’t want to leave. I feel like other rappers want to get rich and move to LA or some shit, but I really like it here. I think you can hear it in my music that I’m from Chicago and this is what I’m about. I feel like Chicago, all the people that are hot here, you can just hear they’re from Chicago, they’re popping because they bring that Chicago shit.

RubyHornet: What do you want listeners to take away from an Alex Wiley record?

Alex Wiley: I want them to just inherently like it as a song. I’m not trying to make music that’s preachy or making people think too deeply. I just want people to hear it and like it and just be pleasing to the ear. I just want people to like it and fuck with it. I just want people to feel it.

RubyHornet: What can we expect from Alex Wiley moving into the end of 2012 and beginning of 2013?

Alex Wiley: Just like a barrage of shit coming in January. We got videos, several more singles, it’s just a whole bunch of shit. We’ve been saving records for a long time. People think that because I’ve only dropped a couple songs in the past couple months that I haven’t been recording, but I’ve been recording a lot of shit for the coming weeks. I think it’ll be a good gauge of whether people will fuck with my tape too, because a lot of these songs didn’t quite make the project but they still kind of had that sound. I’m really eager to see if people fuck with it, I think they will but you never know what happens.

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