A native of the Sacramento area but now based in New York, experimental producer Lee Bannon is a bit of a shapeshifter, finding his place in a number of scenes not normally connected. He first came up in the world of hip-hop, independently releasing beat tapes and collaborating with some of the biggest names in the biz like Souls of Mischief and Hieroglyphics. He’s also produced and contributed as a DJ for Joey Bada$$ and the Pro Era crew. Eventually Bannon turned his focus to a more untraditional, anti-fad sound, one rich with drum ‘n’ bass and jungle influences, and ultimately released his debut LP Alternate/Endings in January 2014 on Ninja Tune. The album received praise from Pitchfork, Rolling Stone>, The Guardian and many other media outlets. Now, fresh off a country-wide tour with hardcore band Trash Talk and experimental hip-hop group Ratking, Bannon has announced that his second full-length Pattern of Excel will be released on July 10, 2015, also on Ninja Tune.
“Pattern of Excel again signals a movement away from the ground he’s already covered and toward his own vision of the leftfield future,” the official press release stated. “Gone are the rapid fire breaks and growling B-lines of his debut, replaced instead by a considered exploration of ambient soundscapes and drone influences.” The first track to be shared of the album, “Artificial Stasis,” is available online to stream now at Soundcloud.com/bannon. You can pre-order the 15-track album now at Ninjatune.net.
I love Lee Spielman’s tweets. Sometimes you can tell he’s been smoking weed: “Antwon just showed me a photo of @JLo and said ‘Look @MelissaJoanHart got ass.’” Other times, you can tell he’s high out of his goddamn mind: “You ever stop and admire how nice someone’s front yard is?” And, on occasion, his tweets are downright frightening: “Talking to the Sacramento newspaper later today about playing our first show there in about 7 years. Might Marshawn Lynch the interview.” Ah, Lord. Do you know what is worse than an awkward interview? Nothing. So for the next day I was truly scared about talking with Spielman, the singer whose band Trash Talk I consider one of my favorites.
Trash Talk has been playing hardcore music for the past 10 years and the band has seen a dizzying amount of success, especially for such an aggressive, not-pop-friendly band. They’ve played huge festivals, gotten to work with incredible producers—like Steve Albini (on the Trash Talk album) and Alchemist (on No Peace)—and they even signed to the Odd Future label, which still confuses hardcore and punk purists to this day.
The band, known for their chaotic live shows where the crowd tends to break limbs and destroy venues, is 100 percent chaotic energy. So, needless to say, the prospect of talking with Spielman was exciting, and I had a lot of questions for the Sacramento native. I wanted to know what he thinks about his old hometown and why he left; I wanted to ask him about his collaboration with Odd Future; I was dying to hear him discuss his band’s wild reputation and some of the trouble he’s gotten into with Trash Talk; and I was also wondering why his publicist said he was working construction.
So, I guess the question is: Did Lee Spielman Marshawn Lynch this interview? Well, that’s up to you to decide.
I was so stoked to see you still have a 916 number.
Yeah, I’ve had the same number since I’ve ever had a phone.
The publicist said you were doing construction.
No, I’m building something for us.
What are you building?
Just a bunch of shit for our tour. A bunch of crazy shit. I can’t really talk about it. You’ll see eventually.
Do you work on a lot of other stuff that’s not music?
Yeah, we’re working on a lot of shit. That’s why I’ve been building all fucking day. Working on a lot more stuff that’s outside the box. The last couple months we’ve been having a lot of fun doing creative stuff, from, like, art and ‘zines to collaborating with other artists and brands that we like and not keeping it so cookie cutter on our side.
Oh, OK. Man, I love No Peace. It’s so good.
I appreciate that, man. We were trying to do something different from the demos to what we have now. I don’t even know what the next stuff is going to sound like, but it’s just kind of boring to make the same music over and over. We all know by this point we know how to make short, fast, aggressive punk songs. It’s kind of fun to test ourselves, and we try to do that every time.
When you think back to the beginning of Trash Talk is it odd to think that your little hardcore band ended up being successful and you’re getting to tour and travel and things like that?
Yeah, it is weird. But, then again, it’s something I’ve always loved and have been involved in forever. So it’s weird, but I don’t know what else I would want to do. I’ve been involved with this stuff since I was a little kid, so it almost makes sense. And it’s kind of rad that it turned out the way it did. But I think [our success is] because ever since we started we’ve been 100-percent all the way.
What do you think you would be doing if you weren’t in Trash Talk?
I have no idea. I’d probably would have went to college and shit like that.
Is it weird that we still kind of claim you as a Sacramento band?
I did a lot of things there as a kid. We started playing there when I was a little kid. I booked shows there for the better part of high school years. It was almost like I could say that I learned how to be in a band and how to tour through booking shows in Sacramento.
Was that at Westcoast Worldwide?
Yeah. [Mike Hood] would leave for tour and me and my friend Jason T. would legitimately go to every single show there. We didn’t care what kind of band it was, whether it was a thrash band, a punk band, whatever. I don’t even think they knew my name until the first year. We went so many times and…we kind of took over for a little while. That taught me how to treat bands on tour—how to pay bands, how to book shows, how to promote shows. I kind of owe that whole area of us starting [to that period of time] because I booked all our first tours and it was like, “Hey, remember that time I booked you a show in Sacramento? Can you book me a show in New Jersey?” It was just kind of a tradeoff and punk and hardcore is cool for that. I met all my best friends like that.
Anthony Anzaldo from Ceremony was talking about Westcoast Worldwide and he remembers it being a huge pile of shit.
Yeah, it was a shithole. But it was our shithole, so it was OK.
Do you ever miss Sacramento?
Yeah, my family still lives there. Some of my best friends still live there. I’ve just been going so hard doing other shit. I don’t know, the day I turned 18 I got in our bass player’s car and drove straight to Seattle, and then I haven’t moved back home since then. But it’s been fun because I’ve lived in London, Seattle, Philadelphia, San Francisco, Richmond, Virginia. I feel like every kid should get out and see what’s up. Sacramento is a beautiful place and I’d be psyched to have a house there one day or some shit. I’m too young to be stuck there right now.
Do you think it was important for your band to get out of this place and just go?
I think we got to the point where it was like we were getting asked to play a lot of shows in Southern California and stuff and it was like, “Fuck it, let’s just go to Southern California. We drive there every weekend, anyway.” We all kind of moved apart. Our bass player was living in Bakersfield, our drummer in Los Angeles, our guitar player in Seattle, so one of the main reasons of me moving out was so we could all move to one place and operate as a unit. That helped us get a lot of shit done.
What has Odd Future helped you do?
There’s just other opportunities. It’s more like a whole new set of eyes and ears to work with on the creative side. And just kids in general. I don’t feel that punk and hardcore should be stuck to punk and hardcore kids. [Music should be] projected to someone that can make their own opinion to whether or not they like it, but a lot of time people don’t get the chance. Some kid at an Odd Future show may never have heard of anything like this, but the second he sees it he’ll know it’s his favorite shit. So I think it’s really important to do shit like that in general. Like, we’re coming through Sacramento with Ratking. We’re down to play with Wavves. Or a DJ. Or whatever. It doesn’t matter.
I never heard Ratking until I looked at your flyer and YouTube’d them. They’re really good.
That’s what it’s all about. Shit like that. And then vice-versa. There’s probably a kid in Sacramento who’s never heard of us and going to see Ratking and typed [Trash Talk] in and is like, “Damn, this is tight.”
Skateboarding has always had this connection between punk rock and hip-hop.
I’ve always said that forever. Like, Ratking, we’re going on tour with them. There may rap and stuff and we play a different genre or style of music, but at the same time we’re all the same kids. We got into music for a reason and we’re traveling with our friends, seeing the world, having fun—skating, tagging—doing whatever we want. At the end of the day, regardless of the genre, we’re kind of the same kids.
Since you guys are touring so much, do you ever just get tired out? Like you don’t even want to go on stage?
For sure. Sometimes I’m like, “This fucking sucks. I can’t do this.” But then maybe like 10 seconds before the first note it’s like, “Alright, this is OK.” Then five minutes into the set it’s like, “This is fucking sick.” Halfway through it’s like you forgot how you’re feeling. But this next tour is like 30 days. It’s definitely going to take its toll.
Have you ever played Harlow’s before?
No, I’ve never been there. Is it on J Street or some shit?
Yeah, it has a weird ‘80s lounge vibe. And VIP booths.
That’s tight. We haven’t played Sacramento in hella long. I’m curious to see what’s going to happen.
Do you guys get in a lot of trouble at your shows?
Yeah, a lot. It’s a blessing and a curse. It’s one of those things, people book us to play and they’re like, “Oh, I want this crazy show!” and they get it and they’re super bummed. The crowd’s not bummed. It’s usually the owners or some shit. But it’s not like we ever go out of our way to intentionally break anything. It’s usually not even us. It’s usually the crowd doing too much. We’ve been in trouble a shitload of times. We’ve had riots. We’ve had police shut down our shows. It’s kind of weird now. Every time we pull up, they know we’re pulling up and they have a list of rules of shit we can’t do before we walk in the building.
Is there one rule that people always have for you guys?
Don’t climb on shit.
Well, good, man. I’m glad you didn’t Marshawn Lynch me.
I thought about it.
Who knows what will happen when Trash Talk plays Harlow’s. That’s why you have to be there to find out. The show is March 16 and also features Ratking and Lee Bannon. Tickets for the all-ages show are $15 in advance and can be purchased at Harlows.com.
One of Sacramento’s newest faces on the hip-hop scene, Jo Vegas, projects a clear sense of self on latest release
Words by Andrew Bell • Photos by Jeff Mars
Rapper Jo Vegas is a fresh face to the Sacramento hip-hop scene, but to call him a rookie would be an incredible disservice to the 916 lyricist. Seemingly coming out of nowhere with a heavy cosign by Sacramento super producer Lee Bannon, Vegas’ first album, ID, released in 2011, sounds like what Rick Ross could sound like if he spent his summer reading instead of rapping in that weird, trying-to-dislodge-food-stuck-in-his-throat voice like he usually does.
Vegas’ baritone bellows over new school bass heavy beats are sure to have your trunk rattling and your rear view mirror shaking. Somewhere between trap and traditional boom bap, Vegas finds a sound that will resonate with both the hip-hop snobs who are primarily concerned with lyrical content and their girlfriends who only care that the beat hits.
The road to his hard-hitting, soulful new release, ID.1, documents his long journey from being an injured sports hopeful to one of Sacramento’s newest rap notables. Vegas, whose given name is Jovon Bray, is a Sacramento native who played both football and hockey at American River College before suffering a career-ending injury to his left shoulder in 2006 during a football game. Since then, many of the lessons he learned on the field have translated to the music industry. We sat down with Mr. Vegas to talk music, sports, psychology and small jungle cats in order to find out more about the new kid on campus.
Where do your roots in this rap thing start and why the name Jo Vegas?
I have always had a passion for all art but the music is in me. My pops and all my uncles either played or still do. I thought I was going to play ball but reality did not. I ended up running into Lee Bannon at the mall on some “meant to be the moment” stuff, and he was like, “My parents just got me this beat machine. You should rap!” Sounds stupid but it’s the truth.
My name, though, is something that I hold in high regard because the Vegas means so much. To me it represents the internal battle I fought with myself every day in order to become the person I became and the person I will be. The fact that I adopted the moniker Vegas was to tell you to expect the unexpected. Anything goes.
With everyone talking about finding/creating their own lane in the hip-hop world, what is your lane, and what separates you from the million other hopeful MCs with a new album out?
I just want people to become conscious of themselves and their surroundings. I understand it is not for everybody. I am especially human, though, with my opinions so don’t get offended by the contradictions of my thoughts, because then I will be offended that you’re offended. Then we’ll just both be offended. Lighten up, it’s just wrestling.
You used to rap, and then you were on a promising trajectory athletically, and then you suffered a career ending injury while playing football and returned to rap. Which would you rather be doing now? Rapping or playing ball? And how do the two compare?
I love sports. I’m a fanatic like I’ll paint my face team colors and pout and cry when they lose, but honestly I love what I do and to be at the beginning of this long journey and to have people tell me they respect my mind is something I value highly, because it wasn’t always like that. I think the spirit of competition is what really motivates the drive to become relevant in people’s conversations. My goal was/is, when it’s all said and done, to do it at the highest level possible. My only dream was to be able to inspire my brothers and take care of my parents and Jaelyn, my daughter. I am confident that will happen.
Your new album is called ID.1 referring to Freud’s structural model of the psyche, and it’s the first of a three part series that will include the ego and the superego. Where does your interest in Psychology come from and how do you relate it to hip-hop?
I was at a low point, and I felt like I was losing myself, like I was mad depressed and knew something had to change. The more I started writing, the more I began to see things differently, with an enlightened eye, and that made its way into the music. When it comes to songwriting, attitude and behavior mean everything to the moment so being in control starts there. I think if more rappers did harder things [in the world of hip-hop music] wouldn’t be in such bad shape. There is nothing wrong with being you. That’s why I can appreciate all of the A$AP Rockys and Danny Browns of the world. It is unique. It is appealing. Most of all they look like dudes who are really comfortable in their own skin. I think it’s dope.
What do you hope to accomplish with ID.1 and what can listeners expect?
Expect that you can’t put this in a box—plain and simple. I’m going to give you what you want and what you need. You see, I am an artist and art takes time, so don’t expect Rome on the first try. But I do expect Egypt.
Tell us about your upcoming record release party for ID.1.
That’s going to be over at the Parlare Lounge (Downtown Sacramento) on Feb. 27, 2013. The project drops the next day. We’ve gotten a lot of hits back, so it should be pretty live. Special thanks to Jacquie Yo of FreshPages for taking that on, as well as DJ Epik and fam for holding Jo Vegas and Team Tokyo down. Grazie, fellas.
What’s one random Jo Vegas fact that we would never guess about you?
My first rap check I will be skipping over cars and houses. I am getting an exotic baby jungle cat of some sort.
Catch Jo Vegas live at Parlare Lounge for his release party during Shine on Feb. 27, 2013 and be sure to check out the new album ID.1 as it drops Feb. 28, 2013. For more information on Jo Vegas including download links to the ID album, Facebook, Twitter, Soundcloud, and more go to Jo-Vegas.com. You can also look up the video for his song “Long Journey” on YouTube.
After many delays, Tribe of Levi release their first album, Follow My Lead
Tribe of Levi is a fixture in the Sacramento hip-hop scene as members of The People’s Revolution collective, but in the six years of being a crew the group never released a proper record. With the completion of Follow My Lead, the true schoolers are bringing local pride and world vision to the burgeoning scene.
The night before our interview, Chuuwee, Task1 and Poor of Tribe of Levi, among other local MCs, hit the KDVS airwaves for a session as part of the ATF: All Things Fresh’s last show of the semester. Tribe of Levi member, N.O.N. listened in while on the job saying, “It was a good display for the radio with good MCs.”
With N.O.N. on the job and Mic Jordan tending to “domestic things,” Poor represented for Tribe of Levi on the session. “While I was there, it hit me that this radio show was really special,” Poor said. “Not just because there were hella rappers there. But because this show was the only underground hip-hop you can hear on the radio. I’m not talking about Internet radio either. No diss to all the Internet radio cats out there, but I’m talking, in your car coming home on a late night radio. Feel me? On the FM dial! Plus, it is rare for me to be in a room with a lot of rappers that I consider really talented.”
The following morning, sitting down with Mic Jordan and N.O.N. of Tribe of Levi at the Javalounge, it was stated immediately, “Sacramento, per capita, has the best hip-hop scene in the country.” Without my provocation, Mic Jordan and N.O.N. came to the interview with a positive spin on the exhausting conversation of the local scene. Perhaps, it is time to stop worrying about what we don’t have and start appreciating the assets we do?
Like all talks with locals, it lapses into issuing complaints, issuing blame upon permits, shady promoters and community apathy. But as Tribe of Levi’s Follow My Lead record came together, the group saw past the common discrepancies to find inspiration and pride within the people who helped construct the album. As bleak as it can feel, an engineer working off the clock to perfect a mix, a local producer bouncing ideas and gathering resources and friends contributing guest verses and video treatments encouraged the group to see to it that Follow My Lead was released–even if they had to do it on their own.
The making of Follow My Lead began after a trip to Austin, Texas, for SxSW in 2011. The group returned home rejuvenated from the love it received in the southern oasis. An unfinished record entitled Levitation, was waiting for them at home, looming over their heads in limbo after issues arose with a producer who decided his beats were off the market, despite the songs already being laid down.
“We felt a little bogged down after spending five years trying to do Levitation,” Mic Jordan said. “It started to feel like an albatross.”
Mic Jordan opened the front apartment of his Midtown property to producer Lee Bannon. With Bannon a door knock away, the group began recording in his living room. The producer also linked up Tribe of Levi with New Jersey producer Akili Beats, who handled a majority of the production. “At first we were re-arranging beats,” Poor said. “Switching one out for the other, and so on. Until eventually, we decided to just write a whole other album. Lee Bannon played a huge role in helping the Tribe of Levi get a second wind.”
In August 2011, Tribe of Levi offered insight into the progress of Follow My Lead with a Jae Synth-directed video for “Things to Do” featuring fellow The People’s Revolution member Bru Lei. Shot at Mic Jordan’s home and around his 19th and G block, “Things to Do” opens with Poor riffing, “I’m on my Sacto shit today/I’m on my grown man shit too,” which is telling of the group’s mindset. Each rapper on the track sets up the closing stanza of his verse with, “I’m a grown ass man/I got things to do.”
On Follow My Lead, the group attacks each track with a no frills mentality that runs deeper than just on record. Mic Jordan had few qualms with stating that the record will be their push to take the group global, rather than fall victim to the small town thinking associated with the city. On “Things to Do” he raps, “Our community is crawling with future kings/But usually we stupidly ruin things.”
Photo by April Irene Fredrikson
“Historically and even presently we deal with this conundrum of being on the verge of being a big city and the verge of being a small back water,” he said. “There’s this strange confluence of really motivated, driven people and then you get to a certain level and you get shut down by retrograde, backwards, close-minded people who are plugged into a good ol’ boys network trying to preserve a status quo that’s actually kind of weak. It’s just rough.”
Much like Mayor Kevin Johnson’s vision, Mic Jordan spoke of Sacramento as a “should be” destination city, citing the climate, the capitol and its beauty as attractions. The deterrent to a blossoming music scene, to him, comes down to overlapping enforcement agencies and regulations on live music that make it so little can be done.
“International visitors can’t even get into the 21-and-over venues with their passports,” he said, which lends restriction on putting Sacramento hip-hop on the global scale.
“The idea for this album was to be able to do something that had national appeal,” he said. “If we are able to make the jump to being national or international, I hope I can put some sort of bridge or infrastructure in for the rest of the artists.”
Historically, the artists from the capitol have not done much for the city that raised them, and it continues with bands like Trash Talk repping Los Angeles harder than here or Death Grips hiding out but only playing three shows locally. Listening to the Beastie Boys’ Hello Nasty record, a Mixmaster Mike phone call before “Three MCs and One DJ” features Mike saying he’s out here, but as N.O.N. notes, “It’s just a trip because you don’t see people like Mixmaster Mike out here doing events.”
“People don’t associate Sacramento’s biggest acts with Sacramento,” Mic Jordan added. “People don’t know that Blackalicious went to Kennedy. Other than [Brother] Lynch [Hung], he’s the only major act from here that was associated with it. But things are changing with Chuuwee, Death Grips and Bannon. Maybe the tide is turning finally. We’ve just got to figure out how to push it further.”
Follow My Lead is littered with hometown pride as the city’s name is invoked numerously throughout the record. It boils down to the people who helped make the album possible. Tribe of Levi is deeply rooted, recording tracks in Bannon’s kitchen and taking them to be mastered by PeteSpace at SoundCap Audio. “Everybody seemed to really believe in what we were doing and made it feel like they were participating in something worth while,” Mic Jordan said.
N.O.N. said he was recently searching Pandora Radio to see how many local MCs had stations, only to find artists like Mahtie Bush and Death Grips on the server. The initial push for Follow My Lead will begin on the grassroots level, as the group intends to handle its own public relations by writing letters and emails to the friends they’ve made internationally while traveling. The group will follow up the album with the delayed Levitation record, which is shaping up to be more of a mixtape, as well as solo projects from each member. N.O.N joked, “There’s a reason you have a mic in your house instead of a horse,” and it once again harkens to their grown men mindset.
“There’s not many people from Sac who are up on Pandora,” he said. “We’ve been keeping it real underground for the most part. We’ve performed so many songs that people can’t buy or listen to in their car. We’re putting our record on there.”
Tribe of Levi’s album release show for Follow My Lead will be Tuesday, July 10, 2012 at Harlow’s. Follow the band on Twitter (http://Twitter.com/tribeoflevi) for more updates and information. You can listen to some of the tracks from the album on the group’s Reverb Nation page (http://www.reverbnation.com/ and search “Tribe of Levi”).
Sacramento rapper C-Plus is up to all sorts of no good, with at least three new projects/releases scheduled before the year’s up. His sophomore solo album L.O.C.A.L. (loyalty over cash and luxury) is done and in the post-production and mixing stages. L.O.C.A.L. will be released later this year after Young Champions, a collaboration C-Plus did with Lee Bannon, comes out sometime in April. There is also a group EP with Chuuwee, Moe Green and N-Pire Da Great coming out in the future as well, so as you can see, C-Plus is grinding and is repping Sacramento hard along the way. Keep up with him at http://twitter.com/#!/plusmoney or at http://thirdletta.com/
Task1ne, State Worker by Day, Rapper by Night, Unites Sacramento Hip-Hop Scene with His New Album
Superheroes assume secret identities that symbolize the life of the common man to protect themselves and the lives of those around them. The secret identity keeps the gifted rooted in reality. Following superhero archetypes, Task1ne is a rapper who protects his passion for music by doing accounting work for the state under the name Corey Lake Pruitt.
Pruitt takes the light rail to work and sits in the back. At the state office, he processes documents while quietly rapping to himself, which draws ire from his hard-nosed boss. He’s well known at the comic stores and strictly wears comic book T-shirts. At home, he has two cats that are disinterested in him unless it’s feeding time. He enjoys comics (a lot) and reviewing films. “I’ve seen Captain America 12 times,” he said. “It’s as good as a Captain America movie could have been. Is it the best comic book movie? Hell no. But, they captured Captain America, unlike Green Lantern, which was the worst piece of shit I’ve ever seen in my life.”
But, when the clubs open and the mics are plugged in, he transforms into Task1ne, a loud-mouthed, nerdcore rapper that speaks street Wookie and reps a crew called Skynet. He’s also poised to join the elite local ranks. “I’m extremely slept on,” he said. “I feel like I’m the underdog of Sacramento because I started out when everyone was already established.”
Like most superheroes, he had to polish his special powers in order to shed his colt legs. Remember Spider-Man’s first attempts with his webbing? Bad things happen to heroes not quite accustomed to their powers. Bad things like getting humiliated in a rap battle against Mahtie Bush. “I completely lost my lyrics,” Task1ne said. “It was three years ago, but to this day people call me ‘the guy that lost to Mahtie.’ It’s like what do I have to do to get people off of that?”
Determined to never lose a rhyme again, Task1ne took to mastering the art of freestyling. He freestyled at work. He kept instrumental CDs in his car to rhyme over. If a mic was offered at an onstage cipher, he seized it, until his skills off-the-dome became notorious.
“I stepped my freestyle game up,” he said. “I’m a geek, so my brain is going different places. I try to rhyme crazy things, like one time I rhymed about Pirates of Dark Water, the old cartoon. Or I said, ‘I swing from tree tops like I’m an Ewok.’ It’s in my brain. That’s what I do.”
But freestyles and a mixtape compiling a year’s worth of guest verses titled Task1ne Verses the World were not enough to earn him the Sammie nomination he sought, or a shot at a Submerge cover for that matter. Task1ne had to prove he could join the ranks of Random Abiladeze, C-Plus and Lostribe by dropping an album in 2011. “I did a lot of work last year,” he said. “I went from being in a group to being solo. I changed my style up a little bit and people started really liking it. So I started getting thrown on other people’s songs [including DLRN’s “Trill Cosby” with C-Plus]. Didn’t get nominated. That kind of hit me.”
Task1ne began working on District 916 a year and a half ago at Sound Cap Audio. He took a neutral stance for his solo record in order to work with whoever would send a beat his way. The only criteria was the producers had to be from Sacramento, which earned Task1ne beats from Lee Bannon, Adam Bomb, Nicatyne, Rufio and Jon Reyes, among others. “The whole album I wanted it to represent Sacramento,” he said. “One of my favorite movies is District 9. I feel like we as hip-hop here in Sac are kind of like that. In the movie the aliens are trapped there, and they feel like they have no way out. I kind of feel that way. But at the end one of them finally escapes out. I’m trying to be the one that escapes out.”
Task1ne has unbridled pride for the local scene, which filters into his philosophy on collaboration. He’s dieting, but his natural presence offers a well-sized frame to put the city on his shoulders. District 916 is a melting pot of crews that included working with Nicatyne and Yae of Fly High in Natomas. “Nobody really messes with them,” he said. “They do their own thing. There are a couple of groups they work with, but for the most part no one really does stuff with them. I wanted to. Got a beat from Nicatyne, which became the track ‘Villian’ featuring Yae–another Fly High member. Yae hit me up about doing a song about us being super villains. I said, ‘Here’s the beat. Start!’ That’s probably my favorite song on the album.”
The album is a balance of nerdcore references prepped for the battle circuit and everyman storytelling. The track “Bounce” breaks down the true story of Task1ne’s first groupie experience, in which he reacts like any normal dude with a state job and raps on the side might–mistake fleeting groupie love for the real thing. “I jumped to all these conclusions, thinking about a relationship, but she’s trying to leave. And I was just left like ‘Where are you going?’ So I tell my boys about it and they were like yeah, those are groupies.”
His daily routine of riding light rail inspired him to write “Back of the Bus,” a song pondering why young black men still sit in the back of the bus despite the privileges Rosa Parks made possible. “We’re a new generation. We can’t really relate to that. There’s no real answer to why I sit in the back. It’s just an automatic thing that I do.”
On “Introducing the Greatest,” Task1ne ponders what it takes to get a Sammie. And while the answer is power-bombing social networks with self-promotion, he needn’t wonder any longer–his name was included in the Best Emcee list of 2011. “I got it this year, thank God,” he said.
Implementing a no-days-off policy, he is planning his next project to be a free EP produced entirely by Adam Bomb, who produced three tracks on District 916. Task1ne maintains his secret identity beyond the common traits of superheroes. He holds his state job as a reminder to not give up his quest to be one of Sacramento’s greatest rappers. “I’m glad I work there because I see what I don’t want.”
In District 9 the alien that escapes takes the spaceship with the intentions of returning to those left behind and bettering their situation. Task1ne intends to do the same with a fall tour along the West Coast. In October he’ll play shows in Portland, Seattle, San Diego and Los Angeles. “I’m actually scared; I’m not going to lie,” he said. “Most rappers act cool about it, but naw, I’ve never done this before. I’ve never been to Seattle or Portland. A lot of people feel like it’s hard to find a way out, even though there are ways out. A lot of people feel trapped here and can’t branch out.
“I want to go up there and establish the Sacramento name, so the next time I come I can bring people with me. Like in the movie, the guy left and he’s going to come back to get his people.”
The District 916 CD release party will take place at The Blue Lamp in Sacramento on Sept. 15. Performing will be Digital Martyrs, JRas of SouLifted, Dregs1, Sleeprockers and of course Task1ne. For up to the minute info, follow Task1ne on Twitter @TASK1ne.
Lee Bannon and Chuuwee look to make a mark among local hip-hop connoisseurs
With the recent death of legendary MC Guru of Gang Starr, nostalgia is running strong in hip-hop for the golden era sound. Gang Starr’s simplistic formula of Guru lending his commanding voice only to DJ Premier’s gritty boom bap production was a staple of an era that would be followed by meandering albums with a gang of producers tugging the sound in all directions.
So it goes, with every death there is a birth. Local rapper Chuuwee wasn’t born yesterday, but he was barely an infant when Gang Starr’s Step Into the Arena first hit the streets. Out to get a rep, Chuuwee is only 19, but his mind is old. Case in point: I never expected the first influence he mentioned to be Big L, another late great-just like I never expected Chuuwee to be underage when I inadvertently invited him to meet me at a pub. “Am I allowed in here?” he asked sheepishly, but I shrugged it off and guided the kid to the beer garden-he looks old enough.
On “6 Feet Deep,” a track Chuuwee played for me, he harks back to the Nas lyric, “I keep falling, but never falling 6 feet deep,” like he grew up on Illmatic. With the right influences in place, Chuuwee just needed his Premier, his Large Professor, hell, even his DJ Jazzy Jeff, to provide the proper backdrop to his voice. He found his complement in Lee Bannon, who is three years his elder. “There’s been duos throughout time and usually the producer is older,” Bannon said. “I look at it like we’re part of that tradition-the classic way of doing it.”
Typically, when a producer does this, I nod politely, but consider the comparisons a stretch. But, as Bannon played beats to an upcoming project, it actually had DJ Muggs qualities, like an off-kilter bounce and the sharp chop of cacophonic samples.
The two met by chance at a local beat battle. Bannon took the initiative, reaching out to Chuuwee before the battle and giving him a beat to perform over. Initially, Chuuwee wanted a single beat from Bannon, but Bannon challenged the young pup to write a record. “I got a call from him unexpectedly,” Chuuwee said. “We started kicking it at a homegirl’s house and he got inspired by a pizza box. It all started falling into place from there.” Titled Hot ‘n’ Ready, the collaborative album has taken a wildly creative turn with a unique limited run in packaging. Forty pizza boxes filled with T-shirts designed by 12ftdwende, stickers and the CD will be available at urban boutiques like Havoc and United State, as well as other Midtown/downtown locations. “It will be a scavenger hunt-type thing,” he said. “If you seriously want the project in the collector’s box, you have to search for it. It’s a really cool idea. I ain’t never had nothing like that before, so I’m pretty excited about it.”
Bannon’s creative marketing strategy, matched with Chuuwee’s infatuation with concocting well thought out projects (a sensitivity sparked by his Obsessive Compulsive Disorder), make Hot ‘n’ Ready a unique project. The marketability of CDs is a dying art with the shift to digital formats. Bannon intends to intrigue new and old fans alike by presenting his music as a collector’s item before it’s even out of print and up for high-dollar auctions. “I’m trying to push the envelope with every project I go into concept-wise,” he said.
The pizza theme is not limited to the packaging, as Chuuwee said the concept loosely runs through the album, as evidenced by the closing track, “Last Slice.” “I wrote it in three-and-a-half weeks,” he said. “I don’t want it to seem like I rushed it. I’ve got extreme OCD, so my projects are always overly thought out. I only wrote it fast because [Bannon’s] beats were so inspiring. It just flows out.”
Chuuwee said he’s been stuck in the ‘90s since he started rapping. For the project, he requested that Bannon cater the beats to that style. “I’ve heard his first mixtape and it had a huge range,” Bannon said. “He did stuff over Neptunes, Dr. Dre and Common beats. It was a big spectrum of taste, so I knew I couldn’t make it all ‘90s boom bap, but a lot of it is that style.”
Bannon is more than a producer when it comes to conducting his business. A PR team is hardly necessary. His inspired approach with Chuuwee is just one of many projects with intricately thought out publicity plans. He is in talks of possibly having unplugged Chuuwee sets at local pizza parlors-although it’s a mystery as to how hip-hop can go unplugged. “What’s the biggest thing you’ve seen come out of Sacramento in the last five years?” Bannon asked, to which I could only reply Brother Lynch Hung. “It’s been a minute, and I think we can get into the masses like that. With his talent and my resources, I’m hoping to duplicate the past success I’ve had except through his words, instead of just my production.”
